Echoes for Clarinet and Orchestra

Instrumentation:

Solo cl./2(2=picc).2(2=ehn).2.2./4.2.3.1./timp.2perc./strings

Other version: 2nd movt., Lest We Forget for Solo Violin, Piano, Percussion, and String Orchestra

Date: 2010

Duration:  21:10

Notes:

Echoes, a Concerto for Clarinet and Orchestra was composed to explore various meanings and ways an “echo” can be incorporated into a soloist-versus-orchestra structure.  This three-movement work utilizes musical ideas that can be echoed by different combinations of the soloist and various instruments of the orchestra, or sometimes, just by the soloist.  Echoes exploits the clarinet’s wide range of expressive possibilities and technical versatility, including the instrument’s huge dynamic range.  For the orchestration, Echoes uses several spatial and antiphonal effects, on stage as well as the placing of musicians in the auditorium and backstage.

Echoes was commissioned by the Brantford Symphony to commemorate the 30th anniversary of clarinetist Kaye Royer playing with the orchestra.  The composer writes, “I greatly appreciated the opportunity to compose this concerto for my wife.  She is a wonderful professional player, and we always enjoy working together.  The music was written in a neo-romantic style to represent the continued romance of our marriage.”

Commissioning and First Performance

This composition was commissioned by the Brantford Symphony Orchestra (BSO) supported by a music-commissioning grant from the Ontario Arts Council. The first performance was on April 18, 2010 with Kaye Royer playing clarinet, Philip Sarabura conducting the BSO and the composer playing in the cello section.

Exuberance (chamber orchestra)

Instrumentation:

2(2=picc).2.2.2./2.2.2.0./timp.1perc./strings

Other Version: Orchestra                                                                                                                                       

Date: 2010
Duration:  6:00

The Oxford dictionary defines exuberance as “the quality of being full of energy, excitement, and cheerfulness; ebullience.” I was excited when conductor Brian Jackson approached me with the idea of a short virtuosic overture for orchestra. After discussing what he was envisioning, I realized the word “exuberance” reflected his ideas well and could be used as the title. The process of composing this upbeat composition was a particularly enjoyable experience for me.

Exuberance starts with an introductory flourish, followed by the main theme played by a solo oboe. This theme is passed through the orchestra, often partially, but occasionally as the full theme. The music slows, becomes more serene and introduces a new theme played by a solo clarinet. After this second theme is played by the full orchestra, a short clarinet cadenza transitions the music back to the original exuberant theme and music. A final coda section leads to a triumphant brass led ending.

Commissioning and First Performances

Exuberance for Orchestra was commissioned by conductor Brian Jackson in connection with the Kitchener-Waterloo Symphony, Orchestra London, the Thunder Bay Symphony, and the Victoria Symphony and was supported by a Toronto Arts Council Music Creators and Composers Grant. The first performances occurred on January 13, 2011 at the River Run Centre, Guelph, and January 14 and 15, 2011, at the Centre in The Square, Kitchener, performed by the Kitchener-Waterloo Symphony, Brian Jackson, conductor. This was followed by performances by Orchestra London on Feb. 4 and 6; the Victoria Symphony on April 7, 8, 9 and 11; and the Thunder Bay on April 16, 2011, all conducted by Brian Jackson.

On Tour in China with the Ontario Festival Orchestra

The Ontario Festival Orchestra, Jerome Summers conductor, performed Exuberance in Suzhou, Yancheng, the Changshu District, Nanjing, and Hangzhou, all in the area surrounding Shanghai, China. A highlight of the tour was the New Year’s Eve concert in the Yancheng Theatre, which was also broadcast on Chinese television to millions of people in China and beyond (including Canada). Mr. Royer had the privilege to be the guest of honour for the mayor of Yancheng, sitting next to him during the concert.

The Ontario Festival Orchestra, New Year's Eve 2011, Yancheng, China
The Ontario Festival Orchestra, New Year's Eve 2011, Yancheng, China
Dr. Jeannie Pool, Brian Jackson, Kaye Royer, Ronald Royer & Louise DiTullio after a concert with the Niagara Symphony
The Ontario Festival Orchestra in rehearsal, Nanjing, China

Exuberance (orchestra)

Instrumentation:

2 Versions:                                                                                                                         

  1. 2(2=picc).2.2.2./4.2.3.1./timp.3perc./strings            (alternate parts for 2 percussion)
  2. 2(2=picc).2.2.2./2.2.2.0./timp.2perc./strings            (alternate part for 1 percussion)

Date: 2010
Duration:  6:00

 

The Oxford dictionary defines exuberance as “the quality of being full of energy, excitement, and cheerfulness; ebullience.” I was excited when conductor Brian Jackson approached me with the idea of a short virtuosic overture for orchestra. After discussing what he was envisioning, I realized the word “exuberance” reflected his ideas well and could be used as the title. The process of composing this upbeat composition was a particularly enjoyable experience for me.

Exuberance starts with an introductory flourish, followed by the main theme played by a solo oboe. This theme is passed through the orchestra, often partially, but occasionally as the full theme. The music slows, becomes more serene and introduces a new theme played by a solo clarinet. After this second theme is played by the full orchestra, a short clarinet cadenza transitions the music back to the original exuberant theme and music. A final coda section leads to a triumphant brass led ending.

Commissioning and First Performances

Exuberance for Orchestra was commissioned by conductor Brian Jackson in connection with the Kitchener-Waterloo Symphony, Orchestra London, the Thunder Bay Symphony, and the Victoria Symphony and was supported by a Toronto Arts Council Music Creators and Composers Grant. The first performances occurred on January 13, 2011 at the River Run Centre, Guelph, and January 14 and 15, 2011, at the Centre in The Square, Kitchener, performed by the Kitchener-Waterloo Symphony, Brian Jackson, conductor. This was followed by performances by Orchestra London on Feb. 4 and 6; the Victoria Symphony on April 7, 8, 9 and 11; and the Thunder Bay on April 16, 2011, all conducted by Brian Jackson.

On Tour in China with the Ontario Festival Orchestra

The Ontario Festival Orchestra, Jerome Summers conductor, performed Exuberance in Suzhou, Yancheng, the Changshu District, Nanjing, and Hangzhou, all in the area surrounding Shanghai, China. A highlight of the tour was the New Year’s Eve concert in the Yancheng Theatre, which was also broadcast on Chinese television to millions of people in China and beyond (including Canada). Mr. Royer had the privilege to be the guest of honour for the mayor of Yancheng, sitting next to him during the concert.

The Ontario Festival Orchestra, New Year's Eve 2011, Yancheng, China
The Ontario Festival Orchestra, New Year's Eve 2011, Yancheng, China
Dr. Jeannie Pool, Brian Jackson, Kaye Royer, Ronald Royer & Louise DiTullio after a concert with the Niagara Symphony
The Ontario Festival Orchestra in rehearsal, Nanjing, China

Hark: A Christmas Celebration for Trumpet and Organ

Independent
2010

HornPipes! Duo, Pamela Smitter-Baker-Trumpet & Michael Bloss-Organ

Tracks:

  1. Of the Father’s Love Begotten, Plainchant: Divinium Mysterium, .46
  2. Washet auf! Ruft uns die Stimme (verse 1), Johann Ludwig Krebs (1713-1780), 2:26
  3. Chorale: “Nun seid ihr wohl gerochen” (Christmas Oratorio BWV 248), Johann Sebastian Bach (1685-1750), 2:29
  4. Rejoice greatly, O daughter of Zion (Messiah HWV 50), George Frederic Handel (1685-1759), 4:52
  5. Wachet auf! Ruft uns die Stimme (verse 2) Johann Ludwig Krebs (1713-1780), 4:04
  6. If With all your Hearts (Elijah) Felix Mendelssohn (1809-1847), 2:48
  7. Organ Toccata on “God Rest Ye Merry, Gentlemen” (An Advent Christmas Suite), Alfred V. Fedak (b. 1953), 2:06
  8. Gloria in Excelsis Deo (Angels We Have Heard on High) arr. Jean Thilde, 1:45
  9. Ave Maria Op. 52 No. 6 Franz Schubert (1797-1828), 2:13
  10. Wachet auf! Ruft uns die Stimme (verse 3), Johann Ludwig Krebs, (1713-1780), 3:47
  11. The Adoration of the Shepherds – A Meditation for Trumpet and Organ, Ronald Royer (b.1959) World Premiere Recording, 8:16
  12. Ave Maria, Guilio Caccini (1551-1618) arr. Nicholas Palmer, ASCAP, 4:33
  13. A Rondo for Christmas, Naji Hakim (b.1955), 4:53
  14. Dieu Parmi Nous (La Nativite), Olivier Messiaen, (1908-1992), 7:36

Ronald Royer – The Adoration of the Shepherds, A Meditation for Trumpet and Organ (8:16)

The Adoration is based on two verses (Luke 2:9-10) from the King James version of the Bible. The composition is divided into three continuous parts, based upon three selections of text.

  1. And lo, the angel of the Lord came upon them,
  2. And they were sore afraid.
  3. And the Angel said unto them, Fear not: for behold, I bring you good tiding of great joy, which shall be to all people.

In Part One of the composition, the music is slow and unmetered, creating an atmosphere of mystery and suspense as the Shepherds realize something unusual is about to happen.

In Part Two, the tempo of the music accelerates and builds in intensity, all the while creating a mood of increasing apprehension. This second section features a dramatic trumpet melody and a fugato section for both the trumpet and organ.

Part Three begins with a chorale-like idea introduced by the organ. The feat and suspense pass, resolving into joy.

The Adoration of the Shelpherds was written in the fall of 1998 and is dedicated to Erik Schultz and Jan Overduin. The premiere performances took place in Germany in December 1998.