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7/25/2019 Purgatorio guion
http://slidepdf.com/reader/full/purgatorio-guion 1/42
Commissioned
by
and
Dedicated
to
the
James
lvladison
University
Band,
Dr.
J.
Fatrick
Rooney,
Conductor
PURGATORIO
From
'The
Divine
Comedy-
ROBERT
W.
SI,IITH
I
1
5
5
t
I
5
5
3
I
I
2
I
1
I
:
1
2
2
2
1
1
1
1
1
1
'l
I
.I
t
t
1
1
2
Bf,LWIN
IIISTRUIt{ENXATTON
Conductor
C Piccolo
tst
C
Ftute
2nd
C
Flute
lst
Oboe
i
2nd
Oboe
.,
lst
Bt
CIa¡lnet
+.)
Znd
Bl
Ctarinet
5rd
Bl
Oarinet
Bl.
Bass
Clarinet
El.Contrabass
CIa¡inet
Bassoon
lst
EtAtto
Saxophone
(Bf
Soprano
Saxophorie¡
lll:
,
lÉS
Alto
Saxopohone
,
¡r
,r
B
Tenor
Saxophone
-,.,,:j:.
Et tsaritone Saxophone
lst
Bl
TrumFet
2nd
Bl
Trumpet
5rd
Bb
Trumpet
lst
tlom
in
F
2nd
tlorn
in
F
5rd
Hom
in F
4th
tlorn
in
F
lst
lombone
'
2nd
Trombone
3rd
Trombone
Baritone
Ba¡itone
T.C
tubas
Timpani
Piano
Hallet
R¡cussion
(Xylophone
Taiko
Drum
(opl
low Tom-Tom),
Chimes)'
Fercussion
I
(Snare
Drum.
Taiko
Drurn
(opl
low
Tom-Tom))
Percussion
It
(Bass
Drurn)
Fercussion
III
(Crash
Cymbals,
Suspended
Cymbal,
l-arye
Beaded
Gourd.
Cabasa)
7/25/2019 Purgatorio guion
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r u r tt l,rftlLt
q
-ü
From
"The
Divine
Comedy
ü
+
OBERT
w.
SMITH
G
:
e
ROGnAM
NOTES
G
DInNE
colvIEDY-
is a
four
movement
work
based
on
Dante
A.lighieri's
litenry
classic
of
the
same
narne.
The
ü
Dante's
trilogr
is
very
basie
one day
Dante
finds himself
lost
in
i
cark
wood.
virgil,
a
character
based
on
the
é
Po€L
aPpears
and
rescues
him. virgit
guides
Dant¿
to
a
contemplation
of
Hell-and
pu,g.iory.
o.nL,
i.riis
=
his hults,
and with
Beatrice
as
his
guide.
is led
into
Faradise
un¿
uit"int
a
gtimpse
of
the
faá
of
óoo.
d
thesecond
of fourmovements
ín'TllE
DIVINEcoMEDy.'Dante,
havingcompleted
hisjourney
-
'The
Inferno,-
is brought
by
virgil
to the
shores
of
Lhe
island
mount¡in
purgatory
in
the
midst
of
the
southern C
mountain
is comprised
of
seven
terr¿ces,
each
representing
one
of
'seven
üory
sins..
ln
each
terrace,
sinners
ó
an
appropriate
P."ry:"
which
is
symbolically
tied
to
their
transgressions
on
earth.
The
sufferi .rdc
anrrrraá
--^
-é
voluntarily
by
the
spirits,in
atonement
for
thlir
sins.
The
compotl
nrr
"ou.n
tog.th;;;;'i.r.rü"-"ntr
4
of
the
sins
of
therseven
tenaces.
For
ocample
the
sin
of
trre
first
terrace
is
'prida-
n.
,oiil'i'loiffiTJ
C
mountain,
bowed
double
by
huge
rocks
on
their
backs.
As the composition develops, tt¡e
soun¿l;íffi;il:
C
their
heavy
loads,
can be
heard
against
the
haunting
melodic
line. r
v'l.rotttuturr,e
d
j:J"1"3
E
on
earth.
As
Dante
and Virgil
continue
up
the
*ount
irt,
ül.V
i.¿
a viclent quaking
at
which
.i';
ffi-td A
'Qloria
in
excelsis
Deol-
(clory
to cod
in tne
ñignest).
Dante
t-earns
that
the
quaking
signats
g,.
.orp"úffi;íffi
d
for
which.all
other
sculs
give
thanks.
The
completion
of
Üre
penance
aliows
the
soul
to
ascend
to
-pandiso.
t
taking
his
or
hei
rightful
positión
in
relatjon
to
God.
',q
q
NOTES
TO
CONDUCTOiT
G
a
horn
solo
should
be
as lyrical
as
possible.
Careful
attentiori
should
be
given
to
balance
between
the
soloist
G
choir
which
responds
to the
opening
chanl
The
flute
and
soprano
,*olpnone
solos
should
be
as
intense
as
C
Please
note
thai
a
clarir¡et
may
be
used.
as
an
appropriate
substitute
for
the
lopranq
saxophone
so¡o.
I
have
not
ó
for
this
purPose.
If
the
substitution
is
necessary,
have the
soroirlr*á
from
tne
saxophone
parl
^=..:
effect
of
the
feet
may
be
enhanc.ed
by
placing
a
piece
or
paper
;;
th.
n*r
unde¡
n.
uppropliaie
root.
1e
C
should
be
audible
but
not
too
energetic.
P¡ease
nót.'th.
cue
at
measure
2z
for
selected
-rorir.:'ir;;il;
il;
+
'The
luferno,-
this
effect
should
bJcarefully
-cast-
for
realisrn
..il
Drums
(opt.
Large
Toms)
are
most
effective
if
placed
on
opposite
sides
of
the ensembie.
I would
suggest care-
G
of
all
of
the percussion
for
optimum
clarity.
eftects
Curing
the
'eart'rrquake-
beginning
at
meFsure
51
should
be
interpreted
wit¡
as
much
eners/
as
€
'cloria
in
excelsis
Deo'
should
be
jubilant
against
the
horns and percussion.
The
chant
rt
r."rut.
gi;ñúld
C
reverent
by
comparison.
secLion
beginning
at
mea-sure
155
should
be
as
aggressive
as
possible.
After
establishing
the tempo,
it
a
conducted
in
one-
hy
careful
attention
to balance
between
the horni and percussicn
at
16i. I
would
suqqest
-
saxophones
to
reinfoice
the
horns
if
audibility
of
the
line
against
the aggressive
percussion
s
a
..;;;.
'*55-'
accented
'hlls-
in
measures
172
and
174
should
ue véry
aggressive.
The
entire
;;;i;,
shoutd
;
a
cacophony
of
sound,
concluding
with
the unison
'C
in
measure
lg1.
This
unison
statement
fJffi;;;;
C
as
the'exclamaüon
point-
ró't
t¡.
entire
tnou.r.nl
The decresc.poco
a
poco
beginning
¡r
rü"rJrig
*
to
the
final not¿
_-
--'
r---
-
r
---
--¡t""'
C
that you. your
ensemble and
your
audience enjoy
'puRcATozuo'
from .THE DTyINE
coMEDy-:
Best
wishes
Eperformancel -
¿
-¿
C
Robert
W.
Smíth-
C
e
e
ta
7/25/2019 Purgatorio guion
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