Orchestra Works
Duration - 1’45"
Instrumentation - 3[1.2/picc.picc 3[1.2.eh] 3[1.2.bcl] 2 – 4 3[1/ptpt.2.3] 3[1.2.btb] 1 – timp.3perc – hp - str
An American Fanfare - Program Notes
This fanfare ends in the same key as the National Anthem.
The "Concerto for Brass and Orchestra" was written in 2014 to celebrate the Indianapolis Symphony's 7th Music Director,Krzysztof Urbański. The work was commissioned by the Indianapolis Symphony and co-commissioned by the Eastern Connecticut Symphony Orchestra, Toshiyuki Shimada, Music Director; the Evansville Philharmonic, Alfred Savia, Music Director; the Oklahoma City Philharmonic, Joel Levine, Music Director; and the Omaha Symphony, Thomas Wilkins, Music Director.
The premiere of this work occurred on March 20, 2015 with the Indianapolis Symphony with Maestro Krzysztof Urbański conducting. The "An American Fanfare" originated in the third movement of this brass concerto and was rearranged from this work in 2016 for the Kansas City Symphony who premiered the fanfare.
"Concerto for Brass and Orchestra" has two main components. The composition was composed to feature the brass section of a symphony orchestra. The work is also in memory of the ISO concertmaster's mother, Linda DePue, who died tragically when our concertmaster, Zach DePue, was only 6 years old. A melody that Zach DePue wrote as a child in dedication to his mother is included in the "Concerto for Brass and Orchestra." The composer was introduced to this melody when he saw its hand written manuscript version hanging on DePue's wall at an post concert party in 2012. A subtitle for this brass concerto from which the fanfare is derived was figuratively subtitled, "Portrait on a Wall," as DePue's childhood melody was the seed that generated the music from which the entire concerto is based. This adds a programmatic dimension to this concerto and this fanfare.
Duration - 10’
Instrumentation - 3[1.2.optl picc] 2[1.eh] 2 2 – 4 2 3[1.2.btb] – optl timp.2perc – hp – str – opt choir and vocal solo
Amazing Grace Program Notes
This piece was written in memory of a former cellist with the
Indianapolis Symphony. Jiro Yamaguchi died suddenly in 1997 from a
heart attack in the prime of his life. He is sorely missed. This is why the
arranger decided to begin the work with a cello solo. The Boston
Symphony performed this arrangement on a Japanese tour as an encore
with Maestro Ozawa conducting.
"Amazing Grace" is an arrangement of this beautiful hymn that can be
performed in many ways. This work was written to be able to stand alone
as an arrangement for orchestra without vocals. It can also be performed
as a work for orchestra and a vocal soloist. There are choir parts
available for this piece so this arrangement can be performed with choir.
Amazing Grace
The American Dream
Duration – 3’45”
Instrumentation - 3[1.2.picc] 2 3[1.2.bcl] 2 – 4 2 3[1.2.btb] 1 – timp.3perc – hp – str
Score – (see PDF)
The American Dream - Program Notes
“The American Dream” is the final movement of a longer composition entitled “Night Visions”. Written in 1992, the work is dedicated to Mr. & Mrs. Charles O’Drobinak. “Night Visions” was commissioned by Price Waterhouse. The entire piece is comprised of four movements with each movement dedicated to a different dream. The other movements are “Flying”, “Gates of the Unknown”, and “Vision of a Lost Friend.” The final movement, “The American Dream” was meant to pay particular tribute to Mr. O’Drobinak in his success as CEO of Price Waterhouse. With the freedoms that our country offers, any individual has the opportunity to pursue and achieve their dreams and aspirations. The middle section of “The American Dream” includes the hymn, ‘For the Beauty of the Earth.” This hymn quote was meant to pay homage to the wonderful natural resources that bless this great country.
Instrumentation - 3[1.2.picc] 2 3[1.2.bcl] 2 – 4 2 3[1.2.btb] 1 – timp.3perc – hp – str
Score – (see PDF)
The American Dream - Program Notes
“The American Dream” is the final movement of a longer composition entitled “Night Visions”. Written in 1992, the work is dedicated to Mr. & Mrs. Charles O’Drobinak. “Night Visions” was commissioned by Price Waterhouse. The entire piece is comprised of four movements with each movement dedicated to a different dream. The other movements are “Flying”, “Gates of the Unknown”, and “Vision of a Lost Friend.” The final movement, “The American Dream” was meant to pay particular tribute to Mr. O’Drobinak in his success as CEO of Price Waterhouse. With the freedoms that our country offers, any individual has the opportunity to pursue and achieve their dreams and aspirations. The middle section of “The American Dream” includes the hymn, ‘For the Beauty of the Earth.” This hymn quote was meant to pay homage to the wonderful natural resources that bless this great country.
Duration – 3’
Instrumentation - 3[1.2.picc] 2 3[1.2.bcl] 2 – 4 3 3[1.2.btb] 1 – timp.3perc, 3optl – optl cel - str
Score – (see PDF)
A Christmas Fanfare - Program Notes
There are three versions of the fanfare, one for symphony orchestra, one for band, and one for Brass Choir. The orchestral version is written to either segue into Leroy Anderson's A Christmas Festival or to stand on its own. This work has enjoyed much success since it was written in 1992 to open the "Yuletide Celebration" concerts for the Indianapolis Symphony.
Performed by: Anderson, IN Annapolis Atlanta Symphony Atlanta Youth Orchestra Baltimore Bakersfield, CA Binghamton Bloomington, IN Bozeman, MT Buffalo Cape Symphony Carmel Symphony Charleston Charlotte Columbus, IN Corpus Christi Dayton Philharmonic DC Air Force Orchestra DePaul University DePauw University Detroit Eugene Evansville Florida West Coast Fort Collins Ft. Smith Ft. Wayne, IN Grand Rapids Great Falls, MT Greeley Philharmonic Greenville, SC Gulf Coast, Biloxi, MS Hendersonville, NC Houston, TX Indianapolis * IPFW Community Orch Jacksonville, FL Johnstown Knoxville Lafayette, IN New Haven, CT New Jersey New Mexico North Carolina NW Indiana Omaha Oregon Orlando Philharmonic Oshkosh Owensboro, KY Philadelphia Phoenix, AZ Rockford Roswell Sammamish San Antonio Sarasota South Bend Spokane Springfield, MA Springfield, MO Stavanger, Norway Syracuse, NY Tacoma, WA Terre Haute, IN Topeka, KS Tucson University of Hawaii, Hilo Virginia Waco West Virginia Wichita, KS Wichita Falls, TX Winston-Salem
Instrumentation - 3[1.2.picc] 2 3[1.2.bcl] 2 – 4 3 3[1.2.btb] 1 – timp.3perc, 3optl – optl cel - str
Score – (see PDF)
A Christmas Fanfare - Program Notes
There are three versions of the fanfare, one for symphony orchestra, one for band, and one for Brass Choir. The orchestral version is written to either segue into Leroy Anderson's A Christmas Festival or to stand on its own. This work has enjoyed much success since it was written in 1992 to open the "Yuletide Celebration" concerts for the Indianapolis Symphony.
Performed by: Anderson, IN Annapolis Atlanta Symphony Atlanta Youth Orchestra Baltimore Bakersfield, CA Binghamton Bloomington, IN Bozeman, MT Buffalo Cape Symphony Carmel Symphony Charleston Charlotte Columbus, IN Corpus Christi Dayton Philharmonic DC Air Force Orchestra DePaul University DePauw University Detroit Eugene Evansville Florida West Coast Fort Collins Ft. Smith Ft. Wayne, IN Grand Rapids Great Falls, MT Greeley Philharmonic Greenville, SC Gulf Coast, Biloxi, MS Hendersonville, NC Houston, TX Indianapolis * IPFW Community Orch Jacksonville, FL Johnstown Knoxville Lafayette, IN New Haven, CT New Jersey New Mexico North Carolina NW Indiana Omaha Oregon Orlando Philharmonic Oshkosh Owensboro, KY Philadelphia Phoenix, AZ Rockford Roswell Sammamish San Antonio Sarasota South Bend Spokane Springfield, MA Springfield, MO Stavanger, Norway Syracuse, NY Tacoma, WA Terre Haute, IN Topeka, KS Tucson University of Hawaii, Hilo Virginia Waco West Virginia Wichita, KS Wichita Falls, TX Winston-Salem
A Christmas Fanfare
Concerto for Trombone
Duration – 20’
Instrumentation - 3[1.2.picc] 2 2 0 – 4 2 3[1.2.btb] 1 – timp.3perc – optl hp - str
Performers on recording are Joseph Alessi, soloist, and Gulf Coast Symphony.
Concerto for Trombone - Program Notes
This work was written not only to showcase the trombone soloist, but also to feature the orchestra in a significant work for orchestra.
The Trombone Concerto was written in the summer of 2013 for a joint commission of ten bands. The performance at DePauw University on October 15, 2013 was the premiere of this work in piano reduction, performed by James Beckel on trombone and Greg Martin on piano. The orchestral premiere occurred on April 5th of 2014 with the Gulf Coast Symphony conducted by John Strickler. The trombone soloist was Joe Alessi.
The work is composed in three movements and the first movement begins with a long tutti introduction marked Moderato maestoso. The opening theme, heard in the trombone at the Andante misterioso, in the first movement, presents a conflict between the major and minor third. This haunting motif is heard throughout the work and is a unifying theme melodically and harmonically. In this first movement, after the opening Andante misterioso, a rondo-like form continues in a tempo marked Allegro moderato.
While the standard concerto form is made up of three movements, in this concerto, the second movement borrows from the symphonic four-movement form, combining a slow, reflective Andante section with a joyful, waltz-like Allegretto. These two sections are through-composed, acting as one movement. The ending of this movement uses elements from both sections in its conclusion.
The third movement is the most intense of the three, continuing the on-going conflict between major and minor tonality. The haunting opening trombone motif from the first movement returns in the middle of this third movement, as if to ask for sanity in a chaotic world. This is followed quickly with a Presto that races to a climactic ending.
This work is less programmatic than most of the composer's body of work. Although the concerto is based on personal reflections and introspections throughout this work, the composer, at a more mature age, is looking for answers to life's questions that most people have regarding their existence and the meaning of life. With age comes only the realization that he has more questions than answers to these great religious and philosophical mysteries. The composer decides in his own mind that mankind does have free will, but firmly believes that the consequences of man's free will can also lead to destinies that are unavoidable. This is the programmatic basis for the 3rd movement. The composer further believes that we are capable of being good or bad in the choices that we make throughout our lives; hence, the juxtaposition of the major and minor third throughout this work. In one regard, this work represents the conflict between good and evil in the real world, religiously and philosophically. In the composer's mind the opening of the second movement is religious in nature and is a search for truth in the world. The scherzo that follows in this second movement loosely reflects the composer's feelings regarding the celebration of life. But the opening Andante theme, now heard in the trombone, returns at the end of this movement, against the celebrative theme from the scherzo, now present with major and minor keys being concurrent. The movement ends with questions unanswered.
In essence, there is a subtext to each movement. The first movement could be subtitled "More questions than answers." The second movement Adagio could be titled "The search for truth." The waltz component of this movement would be entitled "The celebration of life," and the last movement could be subtitled "Unavoidable consequences."
This concerto is available for band and orchestra accompaniment as well as the piano reduction.
Performed by
Gulf Coast Symphony *
DePauw University Orchestra
*Premiere
Comments from Performers
Joe Alessi (Principal Trombonist with the New York Philharmonic):
"I had the greatest time performing James Beckel's Concerto for Trombone. Being that it was composed by an accomplished trombonist, all the passages are written with the instrument in mind, allowing the trombonist to play with ease. Not only is this piece fun to play, it exploits the beautiful legato singing style that all trombonists crave. The piece is a crowd pleaser and the melodies are memorable. I highly recommend this wonderful concerto to all trombonists!"
Carl Lenthe (Professor of Trombone at Jacobs School of Music, I.U.):
"James Beckel's new trombone concerto is a major work of symphonic dimensions and depth, and showcases the solo trombone very effectively. I am thrilled and honored to play it."
Bill Mathis (Professor of Trombone at Bowling Green State University):
"It was a great pleasure to have the opportunity to give the first performance of James Beckel's Trombone Concerto with Wind Band Accompaniment on April 29, 2014 with the Detroit Symphony Civic Youth Wind Ensemble under the direction of Kenneth Thompson. Beckel's Concerto is a beautiful, expansive, and dramatic work. The music lies so well on the horn, it is obvious that this is a piece written for trombonists by a trombonist. It is a challenging work, to be sure, but quite accessible for advanced college students and professional trombonists."
Duration – 3’40”
Instrumentation - 3[1.2.picc] 2 2 2 – 4 4[1.2.3.4optl] 3[1.2.btb] 1 – timp.3perc – hp - str
Colorado Vistas - Program Notes
Colorado Vistas for orchestra is an arrangement of the third movement of Portraits of the American West and is dedicated to Michael Krajewski.
Portraits of the American West was commissioned by Greg Hustis and dedicated to Mason Jones. The piece for twelve horns and two percussionists was meant to capture scenes from the early American west.
The third movement, Colorado Vistas, portrays a picture of Colorado. The opening fanfare is a tribute to the grand, majestic image of the Rocky mountains. The Allegro that follows is a tribute to the American cowboy and the adventures that they had while herding cattle in 1876.
Colorado Vistas
Concerto for Brass and Orchestra
Duration – 20’
Instrumentation - 3[1.2/picc.picc 3[1.2.eh] 3[1.2.bcl] 2 – 4 3[1/ptpt.2.3] 3[1.2.btb] 1 – timp.3perc – hp - str
Listen – link to ISO Sound Cloud Stream Indianapolis Symphony | Listen to Concerto for Brass and Orchestra playlist online for free on SoundCloud
Concerto for Brass and Orchestra - Program Notes
The "Concerto for Brass and Orchestra" was written in 2014 to celebrate the Indianapolis Symphony's 7th Music Director, Krzysztof Urbanski. The work was commissioned by the Indianapolis Symphony and co-commissioned by Eastern Connecticut Symphony Orchestra, Toshiyuki Shimada, Music Director; the Evansville Philharmonic, Alfred Savia Music Director; the Oklahoma City Philharmonic, Joel Levine, Music Director; and the Omaha Symphony, Thomas Wilkins, Music Director. The premiere of this work occurred on March 20, 2015 with the Indianapolis Symphony with Maestro Urbanski conducting.
The composition was composed to feature the brass section of a symphony orchestra. The work is in memory of the ISO former concertmaster's mother, Linda DePue, who died tragically when the former concertmaster, Zach DePue, was only 6 years old. A melody that Zach DePue wrote as a child in dedication to his mother is included in this work. This adds a programmatic dimension to this concerto for brass and orchestra.
The first movement opens quietly, intending to reflect the loneliness that a child would feel at the loss of his mother at such a young age. The sadness and angst of such a loss is reflected in the harmonic language heard in the string section at the opening of this piece. The first entrance of the brass is also hushed and, when possible, meant to be played off stage as an echo of the memory of the deceased mother. The dialogue between strings and brass continues and grows in intensity until the L'istesso Tempo where the orchestra rhythmically goes between 6/8,3/4, 7/8,9/8, and 2/4 replicating the unsettling course of events. This leads into a fugue section where the listener hears snippets of Zach DePue's childhood melody contrapuntally displayed in strings and woodwinds. This interplay grows in intensity where we now hear the brass section featured alone in an antiphonal setting not unlike what you might have heard at St. Mark's Cathedral in the time of composer Giovanni Gabrieli. The full orchestra eventually joins in with the brass to at times create a cheerful musical setting, but a horn call reintroduces Zach Depue's childhood theme, still in a fugue-like setting, now more sentimental in nature and musically imitating a distant memory of his mother. This fugue section takes us back to the hush of the opening of this movement where we for the first time hear DePue's childhood song played in its original form by off stage French horn.
The 2nd movement is less programmatic and more of an exhibition piece for the various sections of the brass. The dramatic opening of this movement, however, is meant to reflect some of the anger that might be felt by a child whose parent has been taken from them at such a young age. This 2nd movement motive acts as a cohesive component for this movement that is similar to a rondo form. From the beauty of the trumpet solo entitled "a child's prayer" to a jovial tuba solo, followed by a comical trombone section feature, the soaring horn lines and choir-like brass chorales, these soli sections show off the many qualities of an orchestral brass section.
The 3rd movement is more celebrative in nature. It is in part meant to reflect the great musical achievement that Zach DePue has accomplished in his life. We all owe much of our adult successes to the mentoring of loving parents. In another way this movement celebrates the human spirit, instilled in us perhaps from our parents, that encourages us to overcome hardships in life. In that vein, the composer has decided to borrow a theme from his French horn concerto, "The Glass Bead Game." The coronation march theme from the final movement of that horn concerto is purposely referenced in the final movement of this concerto for brass and orchestra as a celebration theme. The composer has intentionally waited till the final movement to show off the grand and exciting music that can be created by the brass section of an orchestra. This movement begins with the sound of bells ringing, taking us into a grand brass and orchestra fanfare. The music then briefly features each section of the brass before leading into a return to the quiet theme from the first movement. For the composer, programmatically this music returns us to the memories of our own parents as they stay with us even in their absence throughout our lives. This moment of reflection goes into an exhilarating race to the end of the work where a grand unison melody stated by the entire brass section victoriously concludes this "Concerto for Brass and Orchestra."
Reviews
Indianapolis' NUVO, Tom Aldridge:
"The work sparkles with energetic rhythms and tonal colors, some of them suggesting, but not imitating Copland and Bernstein."
Jay Harvey Upstage Blog, March 21, 2015:
". . . the new work significantly honors orchestral brass - trumpets, trombones, horns, and tuba - by spotlighting its expressive and technical capability throughout. It's a highly effective exposition of the instruments among which Beckel has spent his professional life."
" . . . The dynamic variety in the score is stunning, colorful and virtuosic. Yet Beckel is careful not to lose touch with the simplicity of a child's inspiration in recalling his absent mother with a tender waltz.
The second movement also packs in quite a lot, but its variety struck me as more frankly charming and companionable. . . ."
"The finale . . .puts a seal on the new work's effectiveness. Its intended mood of celebration is brilliantly rendered, with the featured brass often given extra ping by mallet percussion. The sudden hush before the final outburst couldn't be better timed: Beckel knows how to marshal his forces to the very end, providing moments of relief and reflection where they are most welcome. Led by music director Krzysztof Urbanski, the premiere performance exhibited love and commitment in every phase."
Performed by
Indianapolis Symphony *
Evansville Philharmonic
Eastern Connecticut Symphony
Duration – 11’
Instrumentation - 3[1.2.picc] 2 3[1.2.bcl] 2 – 4 3 3 1 – timp.3perc – hp - str
Fantasy after Schubert - Program Notes
Fantasy after Schubert was commissioned by the Indianapolis Symphony Orchestra to commemorate its 75th season. The work is dedicated to the orchestra’s sixth Music Director, Mario Venzago.
The form of this piece is as its title implies, and the majority of the musical material from which the work is based is derived from Schubert. There are four main components to Fantasy after Schubert which include: the opening theme to Schubert’s 9th Symphony (the Great C Major), first movement; the lyrical melody from the first movement of Schubert’s “Wanderer Fantasy”; the urgent dactyl rhythm (one long and two short) from this same piano work by Schubert including the descending suspended harmonic progression that accompanies this rhythm in the first movement of Schubert’s “Wanderer Fantasy”; and an unrelated-to-Schubert tone row. The interaction of these four main ideas provides an almost rondo-like, theme and variations.
Fantasy after Schubert opens quietly with a Largo section played by the strings and woodwinds introducing these main ideas of the work. This slow tranquil opening is meant to pay reverent homage to Schubert’s great musical genius. The tone row is then used as a transition to the main Allegro Molto section where the listener hears the rhythmic dactyl theme in the brass for the first time. While the very opening slow section subtly hints at Schubert’s C major theme from the 9th symphony, this melody is now heard without camouflage in the low strings and horn. The lyrical theme from Schubert’s “Wanderer Fantasy” quickly follows this C major theme in a similar orchestral fashion. From here the various themes interact throughout including a fugue in the strings combining the tone row theme with the C major Schubert melody. The piece continues and culminates in a grand concluding statement with the full orchestra sounding the great, C major, Schubert theme.
Fantasy after Schubert has the option of finishing at the end of this recapitulated C major theme with an alternate shorter concert ending. In the longer, concert version of this work, the piece continues to build intensely to a sudden return of the opening quiet, Largo music that began this fantasy. This tranquil ending to the piece now has subtle, soft interjections of Schubert’s beautiful melodies in this reverent finish to Fantasy after Schubert.
The piece was premiered by the Indianapolis Symphony Orchestra on their opening subscription concert with Mario Venzago conducted September 18th and 19th, 2004, at the Hilbert Circle Theater. The length of the work is 9 minutes for the shortened version of this piece. The full-length concert version of Fantasy after Schubert is 11 minutes in duration.
Comments from Mario
"Jim Beckel's Fantasy after Schubert is an effective, brilliant, virtuosic and successful orchestra piece. It combines, in a very individual and surprising way, the harmonic structures of the well-known modern American style with twelve tone elements of the 20th century European technique, quoting original music by Franz Schubert and transforming it into a very complex but immediately understandable tone poem. I highly recommend this fantasy for its deeply felt musicality and its special charm -- an outstanding program opener or a strong short statement."
Reviews
Tom Aldridge, NUVO Magazine, Sept. 22-29, 2004
". . . unlike most music premieres, this one deserves noteworthiness. Beckel incorporates themes from Schubert's Wanderer Fantasy, plus a prominent one from the composer's C major symphony, into a most engaging display of contemporary sonic splendor. His employment of the 12-tone row as rapid filigree overlaying a basically tonal idiom makes the best use of that generally unloved serialist devise that I have heard to date. Beckel's 10-minute Fantasy deserves to join the new music repertoire and stay there."
Whitney Smith, Indianapolis Star, Sept. 19, 2004
"Beckel's "Fantasy" is a creation that has 20th or 21st century flair, yet makes a fine companion for Franz Liszt's orchestration of Schubert's "Wander Fantasy".
Performed by
Indianapolis Symphony *
University of Oregon
Dayton Philharmonic
*Premiere
Fantasy After Schubert
Freedom Tower
Duration – 7’15”
Instrumentation - 3[1.2.eh]* 3[1.2.bcl]* 2 – 4 4* 3 1 – timp.4perc* - str
Score – (see PDF)
Freedom Tower - Program Notes
Freedom Tower was commissioned by and dedicated to the USAF Heartland of American Band in celebration of their 70th anniversary. 1st Lt. Rafael F. Toro-Quinones, Commander/Conductor. This work was commissioned in the Fall of 2012 and was also arranged for orchestra. It seemed very appropriate to write a piece also dedicated to the completion of the Freedom Tower in New York, which occurred in 2013. We as Americans owe so much to the men and women in our military who protect us, and the new Freedom Tower, or One World Trade Center, In New York City, is a symbol of what our military defends, a society that believes in Liberty and Justice for all.
For the composer, this work represents many emotions. As we celebrate the completion of the Freedom Tower, it is impossible to forget the tragedy that led to the creation of this new building. The destruction of the Twin Towers and the date, 9/11, are forever burned into our national psyche. Our society, which is based on freedom, was assaulted by terrorists from outside our borders. This work has been written to celebrate the American spirit that will, in the words of President Kennedy, "pay any price, bear any burden, meet any hardship, support any friend, oppose any foe to assure the survival and success of liberty." While you will hear references of the threats that our society has faced in this piece, its main theme is one of celebration for the resilience of the people of the United States and our way of life. The work opens in a hymn-like chorale where one can hear the chanting of the word "freedom" similar to Tchaikovsky's decision to use a Russian Orthodox Troparion chanting "God save our people" to begin his 1812 Overture. As Tchaikovsky's work celebrated the Russian's victory over Napolean, this work is meant to celebrate America's victory over outside terrorists.
Duration – 10’30”
Instrumentation - 3[1.2.picc] 2[1.2/eh] 3[1.2.bcl] 2 – 4 3[1/ptpt.2.3] 3[1.2.btb] 1 – timp/crot.3perc – hp - str
Listen and watch – see band YouTube. https://youtu.be/l1ADXBWVtc0?feature=shared
No orchestral video available.
From the Earth to the Moon and Beyond - Program Notes
"From the Earth to the Moon and Beyond" was written to celebrate the 50th anniversary of the Apollo Moon Landing on July 20th, 1969. It was Commissioned by the Boston Pops, Keith Lockhart; Bozeman Symphony, Matthew Savery; Brevard Symphony, Chistopher Confessore; Colorado Symphony, Brett Mitchell; Evansville Phiharmonic, Alfred Savia; Indianapolis Symphony, Jacob Joyce and Alfred Savia; Kansas City Symphony, Michael Stern; Orchestra Iowa, Timothy Hankevich; United States Air Force Band of Mid America, Commander Michael Willen and Virginia Symphony, Gonzalo Farias.
This work was written for orchestra and narrator with an optional video created by Brannon Fells that can accompany this work. The band version of this piece was derived from the original orchestral composition. The text was compiled by the composer who uses words from President John F. Kennedy, Ronald Reagan, and astronaut Neil Armstrong. The work is dedicated to Wilson Ochoa who inspired me to write this work.
This piece opens with the composer imagining our universe before the "Big Bang." Many astrophysicists like Stephen Hawking have publicly stated that they believe there was nothing before the "Big Bang."
There is, however, a quantum physics theory called the "Big Bounce" that some astrophysicists like Carlo Revelli believe might have occurred. In this theory the current universe recreated itself from an earlier universe that had collapsed from gravitational compression not unlike a black hole. Using this scenario as a model, the composer imagines the moment before the universe recreates itself. Musically, this image creates an almost constant static state of nothing that is slightly percolating, trying to recreate itself. In the opening measures we hear a continuous sounding A that is interrupted with the half step glissando to G# in the Celli. The interrupting tritone in the harp is mathematically and musically meant to be foreboding, a precursor of what is about to happen. The tritone is significant as it divides our octave exactly in half. The sound of the cuica is meant to replicate the sound of a gravitational wave. Gravitational waves are disturbances in the fabric of space/time.
The first such gravitational wave was detected on September 18, 2015, by the Laser Interferometer Gravitational-Wave Observatory. The sound of this discovery once again verifies Einstein's Theory of Relativity and also interestingly sounds very similar to the sound made by a cuica. Putting this sound in the opening of this composition is meant to represent another sign that something incredible is about to occur. The quieting of the music gives us a false sense of security that the infinite oneness of the non-universe will continue. We are then suddenly surprised by the loud orchestral music replicating a musical image of the "Big Bang." The harmonic language of 5ths stacked on top of each other until all 12 notes in our scale are represented is also intentional. At the beginning of the "Big Bang" all of the building blocks of our universe were believed to be present even though it was initially a cosmic soup, too hot for atoms to form. The musical reference of this primordial soup, where everything was moving so fast that you could not even see light, is presented by the frantic music. The score then abruptly transitions into a musical picture of the cooling of the universe 250 million years later when it is believed that hydrogen clouds first formed. In this section we hear the musical effect of stars lighting up for the first time in nebula clouds as hydrogen, affected by gravity, become dense enough for atomic fusion to occur creating photons, a.k.a. light. Then we hear for the first time the main theme of this work in the first violins and flute. This is a soaring melody meant to represent the creation of earth and the life that followed on this planet. The music in the harp and marimba represents time passing, the eternal clock of time, followed by music that accompanies a brief verbal history of science over the millennia that lead us to the ability to put two men on the moon. The earliest known song at and a medieval dance help walk us through this history. This motif of the eternal clock of time, (a gentle clock ticking) returns again as the text presents the idea that our knowledge is cumulative over the ages of our existence. As Albert Einstein once stated, "If I have seen further than others it is by standing on the shoulders of giants." The orchestral celebration is testimony to the fact that we came in peace for all mankind as stated on a plaque that was left on the moon by Neil Armstrong and Buzz Aldrin. At the end of this musical flurry there is a quick transition which describes the atmosphere in the 1960s. Many historians believe that the closest the United States ever came to nuclear war (to date) was the Cuban Missile Crisis.
This occurred in October of 1962. John F. Kennedy challenged the nation to put men on the moon in a speech that occurred at Rice University the previous month, in September of 1962. His speech said that we would put men on the moon by the end of the decade. This was partially the U.S.'s response to Russia and the space race that occurred between these two countries. Part of this famous Kennedy speech is patriotically rendered followed by music that represents the loss of life that occurred with the tragedies of Apollo 1 and the space shuttles Challenger and Columbia. An excerpt of President Reagan's touching eulogy at the loss of the Challenger Crew is used.
The rest of this work celebrates the many accomplishments that we have had in our NASA program since the first moon landing in 1969 with the hope that we will continue to work together, as a world and as the human race, to advance science and make this precious, pale blue dot in space a better place for all mankind.
Performed by
Boston Pops
Bozeman Symphony
Brevard Symphony
Colorado Symphony
Evansville Philharmonic
Indianapolis Symphony (premiere)
Kansas City Orchestra
Orchestra Iowa
Virginia Symphony
Longmont Symphony Orchestra
Heartland Symphony Orchestra
Contact composer to rent this work. Video files and cue score included in rental.
From the Earth to the Moon and Beyond
Gardens of Stone
Duration – 10’30”
Instrumentation - 3[1.2.picc] 3[1.2.eh*] 3[1.2.bcl] 2 – 4 4* 3 1 timp.4perc* - hp* pno* - str *Possible optional players
Gardens of Stone - Program Notes
"Gardens of Stone" was commissioned by the United States Air Force Band of
Flight, Lieutenant Colonel Alan Sierichs, Commander. The orchestra version of this work was commissioned by the Indianapolis Symphony and premiered on July 4th , 2007, at Conner Prairie. The work is meant to pay tribute to the military men and women who have sacrificed their lives for our country. It includes words from President Reagan, General Eisenhower, and President Lincoln. "Gardens of Stone" is programmatic in nature. The beginning of this composition is subtitled Sunrise at Arlington Cemetery which is followed by a fast Allegro section entitled Past Battles.
The use of the melody from the Civil War song, "When Johnny Comes Marching Home," is meant to reflect the hopes and prayers that all soldiers will come home safely from battles. Unfortunately, some do not.
This Allegro section is followed with music meant to represent a 21 Gun Salute and Taps. After the Gettysburg Address, there is a section entitled Parade of the Fallen Heroes. This final section is a military parade that would allow a color guard to march through the audience onto or near the stage for the ending of the work.
Duration – 18’
Instrumentation - 2[1.picc] 2[1.eh] 2 2 – 2 2 0 0 – 2perc[1.2/timp] – pno hp – str
The Glass Bead Game - Program Notes
The Glass Bead Game" is a Horn Concerto loosely based on the Herman Hesse novel of the same title. In the first movement, two main themes dominate. The work opens with a bi-tonal motif based in Eb Major and A Major. This musical idea is meant to represent Herman Hesse's existential philosophy about life which is reflected in his novel. Simply put, Hesse believed that man exists as an individual in a purposeless universe that is basically hostile. This conflict between man and his environment is represented by the juxtaposition of the two keys. His main character of this novel in fact succumbs to the cold waters of a glacier-fed lake at the end of this book. The other main theme is a leitmotif representing the main character, Joseph Knecht; and is first stated by the Solo Horn in the first movement. The dialogue of this theme between horn and Flute and Piccolo was inspired by the introduction of the Music Master in this novel. Joseph Knecht meets the Music Master, who accepts our main character into the intellectual society of the elite Castalia.
The second movement is dedicated to Father Jacobus. While the first movement leitmotif for Joseph Knecht was based on 5ths going up; Father Jacobus' leitmotif is based on 5ths going down. The second movement makes much use of sounds sustained into each other as you would hear in a Great Cathedral. The movement is meant to reflect the peace that Joseph Knecht felt with the introduction of history and religion.
The final movement is the most programmatic. This movement begins with the opening celebration of Joseph Knecht's coronation to the post of Magister Ludi. The celebration is heard at first from a great distance. Since Joseph Knecht is reticent about his promotion to this high post, the horn soloist, representing our main character, never plays the Celebration March Melody. The Solo Horn instead answers the melody with protest. This opening section of the final movement grows to a frenzy introducing us finally to the Presto Theme featuring the Solo Horn. The theme from the second movement is briefly referenced as Joseph Knecht, now burdened with the responsibilities of the Magister Ludi, reflects on his more tranquil past at the monastery with Father Jacobus. At the close of this movement, the drowning sequence is loosely reflected in the music when the opening themes of the third movement return as our main character drowns.
Opening thematic material to the second movement is used as a transition to return us to the original Joseph Knecht leitmotif in this final movement. Programmatically this is referencing the end of this great novel where Joseph Knecht's student, Tito, is now sitting on the lake's shore in shock over the death of his teacher, Joseph Knecht. But our main character lives on in Tito's mind as a wonderful teacher and mentor.
Review
The Indianapolis Star, Tuesday, November 11, 1997 (Charles Staff)
"In Monday night's concert at Clowes Hall, music director Kirk Trevor and the Indianapolis Chamber Orchestra demonstrated that the Indianapolis Symphony Orchestra has a composer in its principal trombonist, James Beckel.
Kent Leslie, a horn player with the ICO, personally commissioned the ISO trombonist to write a piece for him and introduced the results, The Glass Bead Game: Concerto for Horn, to [an] . . obviously pleased audience.
Beckel has written music specifically for the horn. Wonderfully well-crafted in form and transparently - often luminously - scored, the concerto, programmatically based on a Herman Hesse novel, is filled with melodies that suggest horn calls."
Performed by
Anderson Symphony (Indiana),
Ball State University,
Indianapolis Chamber Orchestra (premiere),
Lafayette Symphony Orchestra,
Carmel Symphony Orchestra,
Indiana State University
The Glass Bead Game
A Gospel Christmas
Duration – 9’30”
Instrumentation -
2[1.2/picc] 2 2 2 – 4 2 3[1.2.btb] – timp/perc.1perc. dr set – optl ebass – str
Choral version comes with choir parts, rehearsal piano part. Can be performed with a vocal soloist.
A Gospel Christmas - Program Notes
A Gospel Christmas was commissioned by the Baltimore Chamber Orchestra with Ann Harrigan, Music Director. It is written for full orchestra but can be played by chamber orchestra. There are also versions for orchestra and vocal soloist and for orchestra and choir (with soloist if desired).
The work is an arrangement of four gospel songs: "Go Tell It on the Mountain", "Steal Away to Jesus", "Glory to that Newborn King", and "Rise Up Shepherd and Follow". Parts of the piece really "rock" and you will find audiences wanting to clap along. Even though A Gospel Christmas was specifically written with Christmas celebration in mind, it has been successfully performed on Gospel concerts as well.
Duration – 9’
Instrumentation -
3[1.2.picc] 3[1.2.eh*] 3[1.2.bcl] 2 – 4 4* 3 1 timp.4perc* - hp* - str
* Possible optional players
I Am the American Flag - Program Notes
"I Am the American Flag" was commissioned by Lieutenant Colonel Alan Sierichs and the United States Air Force Band of Flight, Major R. Michael Mench,Commander.
This work is written for band and narrator. The narrative for I Am the American Flag includes excerpts from President Roosevelt's first inaugural address on March 4th, 1933; and his Message to Congress asking for the declaration of the existence of war between the U.S. and Japan on December 8th, 1941. Words of the "I Am the American Flag" poem that begin and end this narrative were borrowed in part from a speech delivered by Franklin K. Lane, then Secretary of the Interior, before more than 1,000 employees of the Department of the Interior on Flag Day, June 14, 1914.
Words of the "I Am the American Flag" poem that begin and end this narrative were borrowed in part from a speech delivered by Franklin K. Lane, then Secretary of the
Interior, before more than 1,000 employees of the Department of the Interior on Flag Day, June 14, 1914.
I Am the American Flag
In the Mind's Eye
Duration – 18’
Instrumentation -
Section horns as soloists
3[1.2.picc] 3[1.2.eh] 2 2 0 1 0 0 – timp.3perc[1.2.3optl] – hp - str
Paintings used as inspiration
The art used as inspiration may be found at this website link. All but Robert Weaver's work are displayed in the Indianapolis Museum of Art.
In the Mind's Eye - Program Notes
In the Mind’s Eye is a Konzertstuck for horns and orchestra inspired by visual art. Visual artists and composers have often collaborated or have been influenced by each other’s work. A famous example of this is Stravinsky and Picasso working together on ‘Pulcinella’. Impressionistic music occurred during the same period as impressionistic art. In a similar vein, this piece has been greatly influenced by visual art, and employs the use of musical effects that replicate various brush stroke techniques. Five paintings were used as inspiration for this three-movement work
for horns and orchestra.
Movement I – Random Abstract
The first movement is dedicated to abstract expressionism artists. The specific painting that I used as inspiration in this movement is from the contemporary artist Ingrid Calame, who has used some of the concepts of abstract expressionism in her painting entitled ‘From #258 Drawing: Tracings from the Indianapolis Motor Speedway and the L.A. River’. This painting uses tire tracks from the Indianapolis 500 as its basis.
This first movement is written from two perspectives. Part of the music reflects the perspective of the artist, while other moments in the movement represent the perspective of the viewer. The opening of the first movement is a good example of brush stroke imitation. The opening glissando of the harp, followed by the fast scalar passages in the woodwinds, represent the fast, broad, stroke of a paintbrush on the canvas. Jackson Pollack was known to actually paint to music and there was often a rhythm to his brush stroke. Throughout this first movement the listener will also hear short, chromatic chords that are meant to represent an abstract artist randomly throwing paint onto the canvas.
In this opening movement, the first entrance of the horns is my musical representation of a patron’s first impression upon viewing such an abstract painting. The music of the horns is meant to portray curiosity, interest, and questioning. The main second theme is music representing the painter’s perspective. The euphoria of an artist totally submerged in his or her creativity can be heard as the music grows in animation and intensity. This music, still in the voice of the artist, becomes more calm and ethereal as the artist’s mind searches for inspiration. After the artist’s inspiration is realized, the music intensifies with the return of the second theme. This pure adrenalin increases to a final climax of frantic brush strokes portrayed in the fast scalar passages now heard in strings, woodwinds, harp, and xylophone. The voice of the viewer at the art museum, who is pondering the final product of the visual artist’s work, is heard next in the solo entrance of the horn.
The first movement ends from the consumer’s perspective, relishing the vivid colors and shapes on the canvas from the abstract artist’s mind.
Movement II – Daniel in the Lion’s Den
A painting of the above title by Robert E. Weaver inspires this movement. This biblical subject has been a favorite choice for many artists over the centuries. For me, Robert Weaver’s work is the most stunning of those I have seen. The music, as well as the painting, addresses the concept of faith. The movement opens quietly with the horns in a quasi-Gregorian chant, setting the stage for Daniel’s overnight trial in the den of lions where his belief in God is tested. The trials and tribulations associated with man’s faith over the millenniums are reflected in this dialogue between horns and orchestra throughout this movement in G Minor. At the end of the movement you will hear a tremolo in the strings, taking us to a moment of Eb Major, which represents the answer to Daniel’s prayers as morning arrives and Daniel has been spared from the jaws of the lions.
Movement III – Reflections
The third and final movement is meant to deal with artists’ fascination with light’s reflection, particularly on water. There are three paintings chosen as inspiration for this movement. They are ‘Roussillon Landscape’ by Georges-Daniel DeMonfried; ‘The Channel of Gravelines’ by Georges Seurat; and ‘The Regatta Beating to Windward’, by Joseph M. W. Turner. Each painting is reflected in different parts of this third movement.
The movement opens with an exciting, heroic horn call from all of the horns, representing the excitement of a sailing contest as portrayed in Turner’s painting of the Regatta. An orchestra tutti follows this opening fanfare, where the music is very secco, representing the pointillist brush technique of Seurat’s neo-impressionistic painting. The excitement of an ocean adventure is continued when the horns re-enter. The solo entrance of the harp transitions the music into a more tranquil section that is meant to represent the beauty of sunlight reflecting off the ocean as seen in DeMonfried’s seashore landscape. Horn calls abound in the next section, depicting the adventure and pure beauty of water and light in these paintings. As viewers look at these paintings, their imagination brings their own images of the ocean and reflected light. These images are heard in the music. A final return to the opening horn call signals the end of this movement climaxing in a robust celebration of life as portrayed in visual and aural art.
Reviews
Horn Call Review by Renee Menkhaus
Nuvo Review
ISO Classical Series gives fascinating program
by Tom Aldridge
a performance debut — another one by our own ISO principal trombonist/composer James Beckel: In the Mind's Eye, Images for Horns and Orchestra, featuring five ISO hornists relocated to a semicircle partially surrounding the podium. Among them is Beckel's daughter, Julie Beckel Yager, hired from "behind the curtain" a year or so ago, replacing the retired Pete Kline. Beckel wrote his three-movement piece from images inspired by paintings, most on display at the Indianapolis Museum of Art — one for each of the first two movements and three for the final one. The first movement, titled "Random Abstract," was inspired by an equally abstract (if not more so) visual work of Ingrid Calame. "Daniel In the Lion's Den," a painting by Robert Edward Weaver, induced Beckel's second movement, so titled. Three artworks depicting differing seascapes gave Beckel the material for his final movement, which he titled "Reflections."
Of the three movements, the second is the least abstract, both its formative painting and its music, and achieves the musical depths Beckel has previously given us. His outer movements, though accessible as always, seemed a bit more superficial as he attempted to play musically with such visual items as brush strokes. No matter what a composer's inspiration, his/her listeners are not required to make the aesthetic connection; it must communicate with the audience first and foremost as music — something all great music of the past has done. Still, Beckel generally does as well dovetailing with his listeners as anyone composing today. The ISO is fortunate to have him. It remains to say the hornists and the players behind them showed the benefit of exemplary rehearsals.
Scott Miley of The Herald Bulletin (Anderson, IN) interviewed Kent Leslie of the Anderson Symphony. "Every piece I've heard that Jim has written I have loved. It's [In the Mind's Eye] contemporary but it's audience friendly at the same time. There's so much contemporary music that is good but it's hard to listen to. Whether you're an expert in classical music or not, I think you're going to be drawn to the melodies and the fact that it is inspired by these paintings."
An excerpt of a review (translated) by Yngvil Bjellaanes in the Adresseavisen in Trondheim, Norway. "Beckel's music is rich, exciting (with a sense of anticipation), and varied. The three movements are of widely differing character, but I am left with a feeling of a well-fitting whole."
Jeff Nelsen of Indiana University and with Canadian Brass says: "In the Mind's Eye” will be a triumph for any horn section that performs it, and a complete joy for any audience who experiences it. Bravo Jim for creating another masterpiece for us."
Duration – 12’
Instrumentation -
3[1.2.picc] 2 3[1.2.bcl] 2 - 4 3 3 1 – timp.4perc[1.2.3.4optl] – hp pno & cel optl – str - narrator
Score - (see PDF)
Speeches - (see PDF)
Video
Liberty for All - Program Notes
Liberty for All is an orchestral piece with narration which was made possible through the American Composers Forum as part of the Continental Harmony program. Continental Harmony links communities with composers to celebrate the new millenium through the creation of original musical works. The program is a partnership of American Composers Forum and the National Endowment for the Arts, with additional funds provided by the John S. & James L. Knight Foundation, Rockefeller Foundation, William & Flora Hewlett Foundation and Land O'Lakes Foundation. Continental Harmony is an Associate Partner of the White House Millennium Council.
Liberty for All uses quotes from the Declaration of Independence, George Washington, Abraham Lincoln, and John F. Kennedy in a very stirring musical setting that arouses the patriotic spirit in any American who listens to it.
The piece has been slightly revised to allow orchestras to use a video of a portion of Kennedy’s inauguration speech as part of the performance.
The Carmel Symphony is responsible for requesting the grant that made it possible to write this piece. The dedication is in memory of musician and arts administrator, Fran Shoup.
Reviews
Maestro Bowden says of Liberty for All: "The piece is fabulous and, in my opinion, will be performed all over the country in the future Independence Day, Veteran's Day and Memorial Day concerts. It is a superb, deeply moving musical expression of the privilege and cost of liberty: literally worth dying for."
Michael Krajewski, former Principal Pops Conductor with Houston, New Mexico, Long Beach, and Jacksonville says of the work: "Liberty for All is a welcome addition to the symphonic repertoire of American orchestras. It is well crafted, brilliantly orchestrated, and powerfully effective."
Rick Rogers, The Oklahoman, March 30, 2004
"Beckel, a member of the Indianapolis Symphony Orchestra, is clearly one of the most talented composer/arrangers working today. Borrowing texts from presidential speeches, Beckel created a modern-day equivalent to Copland's "A Lincoln Portrait."
Yet, while "Liberty for All: is modeled after Copland, it doesn't attempt to imitate, thereby succeeding wholeheartedly on the strength of Beckel's musical insights.
And while he may have drawn inspiration from words by Washington, Lincoln and Kennedy, his classy orchestral setting made them resonate all the more impressively."
Ted McIrvine, Hendersonville Times-News, March 8, 2004
"The work demonstrates nuanced compositional skill and excellent use of brass and woodwinds as well as percussion. This was the standout piece on the program."
Liberty for All
Make a Joyful Noise
Duration – 3’30”
Instrumentation -
2[1.picc] 2 2 2 – 3 2 0 0 – 2perc[1/timp.2] – str
Score - (see PDF)
Make a Joyful Noise - Program Notes
"Make a Joyful Noise" is a celebrative overture for chamber orchestra. The work was commissioned by the Lafayette Symphony, Anne Harrigan, music director with the help of a grant from the Indiana Arts Commission, and is dedicated to the loving memory of Greg Zawisza. The piece was premiered in April of 2001.
This four-minute work opens with a brass fanfare that combined with playful multimeters creates a modern work for chamber orchestra that is perfect for opening any concert. The middle section features a haunting melody in the solo horn that grows over time to the return of the opening melody and the recapitulation of the work. The coda section ends the work with a flare that will put a smile on your audience’s face. The orchestration is for winds in pairs except for three horns. If you only have two horns there is an alternate third trumpet or trombone part that can substitute for this extra horn. It is assumed the normal chamber orchestra personnel would include three horns counting the assistant. This work should fit a void in the normal chamber orchestra repertoire with an upbeat, exciting overture.
Duration – 4’30”
Instrumentation -
3[1.2.picc] 2 3[1.2.bcl] 2 – 4 3 3 1 – timp.3perc - str
Score - (see PDF)
Musica Mobilis - Program Notes
“Musica Mobilis” is a work that was originally written for brass choir in 1996. It was commissioned by the Indianapolis Museum of Art to pay tribute to the work of Alexander Calder. Born on July 22, 1898, in Philadelphia. Mr. Calder became famous throughout the world as the visual artist who made sculpture move. He is perhaps most famous for his work in large mobiles. Just as his artistic mobiles are constantly moving and changing, so is the music in “Musica Mobilis.” A mobile has a set number of pieces that are in constant flux, creating new images as the juxtaposition of the pieces change. The concept for this composition is derived from the same approach.
The work opens loudly, painting the musical picture of a person’s first impression upon seeing one of Mr. Calder’s large mobiles. The immense stark power of the metal work is reflected in the opening chords in the brass. At the same time, musical harmonies and motives are being stated that becomes the basis for the entire composition. The main interest while listening to this work is to follow the evolution of the music as these basic motives change position, like a mobile. The work stays in one basic tonality representing the unchangeable pieces of the mobile. When examining one of Mr. Calder’s mobiles on display at the Indianapolis Museum of Art, Mr. Beckel specifically looked at a work entitled “Five Pieces Suspended.” He decided to base this work primarily on five basic notes: A, F#, G, C, and D; as heard in the opening chords of the composition. As these notes rearrange themselves, the music takes on different moods, similar to the effects of the movement of a mobile. The only real deviation from this model is an occasional E natural used as a passing note in fast runs and a very intentional G# to cadence the work at the very end.
This four and a half minute work is constantly changing, from the ominous opening to the pensive and reflective middle section, then transforming into an exciting finale. “Musica Mobilis” is meant to reflect the magic of Alexander Calder’s moving sculptures.
Musica Mobilis
Overture for a New Age
Duration – 5’30”
Instrumentation -
3[1.2.picc] 2 3[1.2.bcl] 2 – 4 3 3 1 – timp.3perc - str
Score - (see PDF)
Overture for a New Age- Program Notes
"Overture for a New Age" was commissioned by the Diablo Symphony and dedicated to Mr. Yen Liang in celebration of the new millennium. This work was premiered in February of 2001 under the direction of Joyce Johnson-Hamilton. The adagio opening to this overture for full orchestra begins pensively with beautiful ascending lines in the strings accompanying a woodwind melody that depicts the hope and wonderment of what the next thousand years might bring for humanity. This eventually leads into a fanfare for the brass, which celebrates the arrival of the new millennium and carries us into the main, spirited allegro section of this work.
The allegro is begun with a driving dissonant theme that quickly moves into a second main melodic theme that is very festive and joyful. This allegro waltz playfully jumps from 3/4 to 6/8 time. In contemplating the next thousand years while writing this work, it became evident to the composer that he would be clueless as to what life might be like a thousand years from now. While he hopes and prays that there will be happiness, peace, and joy for mankind; Mr. Beckel also realizes that there could be many threats to our future happiness. Therefore, the use of this opening contradictory theme in the allegro sections is a bit threatening. It was the composer's musical way of saying to future generations, "Choose wisely." These two musical ideas alternate throughout this allegro section, and the work eventually returns to the opening fanfare material. This overture ends with a final statement of the threatening theme, which leaves us with a bit of a question mark regarding the future and what it might bring. This five minute overture is a lot of fun for orchestras to play, and audiences will find the piece enjoyable.
Duration – 9’
Instrumentation -
3[1.2.picc] 2 3[1.2.bcl] 2 – 4 3 3 1 – timp.3perc – pno - str
Score - (see PDF)
Toccata for Orchestra- Program Notes
"Toccata for Orchestra" was commissioned by a consortium of orchestras including the Evansville Philharmonic Orchestra, Alfred Savia, Music Director; the Indianapolis Symphony Orchestra, Mario Venzago, Music Director; the Oklahoma City Philharmonic, Joel Levine, Music Director; the Omaha Symphony, Thomas Wilkins, Music Director; and the Virginia Symphony Orchestra, JoAnn Falletta, Music Director. The Indianapolis Symphony Orchestra premiered the work.
This lively toccata is meant to be a miniature concerto for orchestra. From the string quartet to the lyrical flute and clarinet solos in the middle of the work, to the fugue section, every instrument in the orchestra has a solo moment somewhere in this piece.
A composition colleague of Mr. Beckel mentioned to him his discussion of toccatas with the organist at the main cathedral in Siena, Italy. He was told that in the 17th century, toccatas were typically improvisational preludes for church services often involving music that would sequence keys in fourths or fifths to see which notes on the organ might be malfunctioning, as they were unpredictable instruments at the time. This practice would inform the organist of which notes to avoid in the rest of the religious service. The composer decided to incorporate this musical idea into his toccata. The melodic pattern of fifths states all of the notes in the chromatic scale by the sixth measure, and continues to be the basis for the B theme. The use of fifths is also dominant in the rhythmic accompaniment to the A theme.
Structurally this work can be divided into five major sections. The first section includes the introduction, A and B themes, and a miniature development of those themes. The second section is meant to totally contrast the loud and rhythmic opening of the work. The more intimate music features the clarinet solo, which leads into a string quartet. This music takes us to the third section, a quasi fugue that begins quietly with the bassoons and culminates in a very loud multi-metered feature of the percussion section. The fourth section abruptly returns to the quiet music of the second section, now heard in the solo flute with an ostinato accompaniment derived from the fugue theme. This music eventually takes us to the fifth section, a recapitulation and coda.
Another key component of “Toccata for Orchestra” is the rhythmic interjection of a 7/8 meter, first stated by the piano, xylophone, flute, and piccolo. This 7/8 rhythm evolves throughout the work. The underlying rhythm of the accompanying ostinato to the lyrical flute solo is derived from this 7/8 rhythm. This toccata covers a large spectrum of sounds and moods within the orchestra.
There are many definitions for toccata including “a piece of music that shows the technical prowess of a soloist.” In this case the soloist is the entire symphony orchestra. Another definition of toccata is "to touch." While this definition refers to touching a keyboard, the composer is hoping that the lyrical moments in this work will touch the listener and show off the beauty of the orchestra, along with its dazzling technical abilities.
Reviews for Toccata for Orchestra
Indianapolis Star, Saturday, March 17, 2007 - Whitney Smith
"The crowd roared after the "Toccata," a taut, generally intense, brilliantly hued piece full of driving rhythms and melodic fragments. Beckel made fine use of the strengths of the orchestra he knows well, especially the principal string players and French horns. On this St. Patrick's Day, here's wishing the luck of the Irish to this piece."
Nuvo, March 21 - 28, 2007 - Tom Aldridge
". . . the debut performance of ISO principal trombonist James Beckel's Toccata for Orchestra, . . . began the program under Venzago. One of the few contemporary composers who gives us something to sink our teeth into (Jennifer Higdon is another), Beckel had previously impressed with his Fantasy after Schubert a few years ago. His Toccata easily maintains his earlier standard, showing his expected mastery in orchestration.
Instead of the delicate employment of a serial tone row, as in the Fantasy, Beckel's latest explores the so-called "circle of fifths," while employing fifths and fourths as open intervals, but in a new and exciting way. A xylophone struck with soft mallets serves as a connecting link between the loud sections. The audience gave the nine-minute Toccata a well-deserved standing ovation."
Evansville Courier & Press, September 16, 2007 - Jamie Morris
"The Philharmonic began with Beckel's "Toccata for Orchestra." This piece had a fanfare quality that kept your attention from beginning to end.
The energy in the orchestra was dynamic. Part of what added to the excitement was the use of mixed meters. . . .
. . . .The composer was in attendance for what was a very enjoyable and refreshing opener."
The Virginian-Pilot, October 6, 2007 - Lee Teply
"The concert opened with James Beckel's Toccata for Orchestra, a multisectional piece that required ensemble virtuosity and fine solos, both of which it got from the orchestra. It had a fresh sound, tonal but obviously modern, that brought to mind the style of Aaron Copland, the next composer on the program."
Portfolio Weekly, October 16, 2007 - M.D. Ridge (Virginia Symphony Review)
"The delightful opener, James Beckel's Toccata for Orchestra, premiered earlier this year. It's wonderful orchestration " Gershwinesque percussion, sweeping strings, a sudden shower of piano that faded as suddenly, a gorgeous cello melody in the middle section " showed off superb playing in each section of the orchestra."
Toccata for Orchestra
Waltz of the Animals
Duration – 14’30”
Instrumentation -
3[1.2.picc] 2 3[1.2.bcl] 2 – 4 2 3[1.2.btb] 1 – timp.3perc – hp - str
Waltz of the Animals- Program Notes
The "Waltz of the Animals" is a children's piece that was written to educate and entertain. The work explores the concept of music as a language introducing the listener to the basic elements of music: Melody, counterpoint, and harmony. The components of the orchestra, i.e. strings, woodwinds, brass, and percussion, are also demonstrated. The composition presents these concepts to the audience in a fantasy about a little girl and her animal friends in the forest who decide to write a song for their good friend, Frederick J. Frog, on his birthday. The work captivates the young listener while it exposes the audience to a basic musical theme performed in many different styles including Classical, Impressionistic, Contemporary, Avant Garde, and Jazz.
The work was written with a woman narrator in mind, although it can be performed with a male narrator. There are many different characters in the script, and it would be advantageous to have the narrator be someone who is good at speaking different accents. Wolfgang Amadeus Owl should be in the voice of a very astute and intelligent male. Maurice Z. Monarch should speak with a French accent, and Ludwig von Blackbird should have a squawkiness portrayed in the reading of this character. Aaron the Antelope should be macho, and Miles D. Muskrat should speak in a hippy style. The references to these great composers in the narration is intentional and are stylistically reflected in the piece.
"Waltz of the Animals" is constructed in such a way that the narrator does not have to follow a score. All readings are obvious from the script with the help of cues from the conductor. Strategic vamps have been included in the work to allow extra freedom in the reading of the script, and all narrator cues are clearly marked in the score. I personally feel the narrator should be placed close to the conductor for ease in cueing the reader. The use of stand lights or some type of lighting effects could be used to highlight the various sections of the orchestra as they play. This, of course, is optional.
This piece is not just for children. There are many subtle musical references that will delight the astute adult listener.
Reviews for Waltz of the Animals
Evansville, IN Courier, March 11, 1996
by Sherry Crawford
. . "Next came James Beckel's "Waltz of the Animals", a narrated story about a young girl who learns the components of orchestral music from animals in the forest.
An animated storyteller, Cary Gray, voiced the charming tale of how one youngster comes to know about melody, counterpoint, harmony, and the use of various instruments as explained by an owl named Ludwig and other contributors such as frogs and butterflies.
One of the final lines of the piece fell on responsive ears: "Music is a language that can say things words cannot." Many young animal lovers discovered new vistas in music as a result of the alluring selection."
Indianapolis, IN Star
by Jay Harvey
"The program opened with first trombonist James Beckel's Waltz of the Animals, a resourceful, brightly ingratiating piece using a young girl's encounter with woodland animals to explain what music's all about. . . "