Ronald Royer, Author at Ronald Royer

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 30^th 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.

Exuberance (orchestra)

Instrumentation:

2 Versions:

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

Hark: A Christmas Celebration for Trumpet and Organ

Independent
2010

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

Tracks:

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

And lo, the angel of the Lord came upon them,
And they were sore afraid.
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.

Lest We Forget

for Solo Violin, Piano, Percussion, and String Orchestra (piano and percussion parts are optional)

Date: 2009

Duration: 5:00

Other Version: 2^nd movt. of Echoes for Clarinet and Orchestra

The Hollywood Flute of Louise DiTullio

Cambria Master Recordings
2009

Louise DiTullio-Flutes
Sinfonia Toronto, Ronald Royer-Conductor

“This CD was recently evaluated by me and I believe it is one of the best soloist performances of film music in recent years. Louise DiTullio’s flute playing is flawless and the choice of film music is outstanding, especially the suite from HOOK, arranged by Mark Watters. Also, the selections arranged by Ronald Royer make for very enjoyable listening. Because of its excellence I am designating this CD as Editor’s Choice, Best of the Month. It fully deserves any accolades it might receive. “

Roger Hall, Film Music Review, November 2010

Introduction by Louise DiTullio

Ronald Royer

A Note on the Recording

Introduction by Louise DiTullio

This recording fulfills my own personal goals to revisit and record some of the solos I have played in films over my long career as well as concert music written for me by celebrated film composers. I have had long-standing professional relationships with all of the composers on this disc over several decades, having played on more than 1,200 movies, many of them scored by these composers. Le Papillon was written for me by David Rose in 1980 and I played its premiere in the same year. It has been my wish ever since to help secure a place for it in the flute repertoire with a recording.

Born in Los Angeles, the progeny of two wonderful, highly respected musical families, I grew up as a musician with the support, encouragement and advice of my father, several uncles and cousins, all busy, working professionals. My father, cellist, Joseph DiTullio, my sister, pianist Virginia DiTullio Royer, and I performed for many years as the DiTullio Trio. Living in Los Angeles, I have had the opportunity to pursue simultaneous careers in recording as well as all facets of classical music.

Words can never express my gratitude to John Williams, John Barry, Danny Elfman, Laurence Rosenthal, and posthumously, Jerry Goldsmith and David Rose, for the honor of playing in their orchestras for literally decades. Their music has filled me with joy and provides an outlet for music-making of an entirely different kind. Although I love playing classical music, playing movie music of the quality that they produce completes a musical circle for me that I value beyond measure. I thank them for allowing me to adapt and include their music in this presentation. Thank you to David Rose Publishing for commissioning the reduced orchestration of Le Papillon to make this recording possible, and for permission to make this first recording of the work. Thanks also to Larry Rosenthal for his permission to make the first recording of The Piper at the Gates of Dawn. Special thanks to composer Mark Watters for his remarkable adaptation and orchestration of the music to Hook. And finally, special recognition and thanks to my nephew, Ronald Royer, for composing Short Stories for this CD, arranging the movie music and Le Papillon, conducting the recording sessions, and taking care of a myriad of details as the project’s co-producer. It is largely due to his efforts that this CD was conceived and became a reality.

Finally, now that it is complete, there is the realization and satisfaction that there is more than an hours’ worth of new repertoire for the flute. It is at once beautiful, challenging, fun, and musically rewarding. I take great satisfaction in sharing this music as a legacy to future flutists. May they enjoy playing it as much as I.

–Louise Di Tullio, August, 2009

Ronald Royer

Short Stories for Flutes, Harp, Percussion & String Orchestra

Siren’s Song, for Alto Flute (4:07)

Rather Blue, for Bass Flute (3:23)

The Chase, for Flute (2:55)

Child’s Play, for Piccolo (3:24)

Commissioned by Louise DiTullio for The Hollywood Flute CD Recording and Concerts, Short Stories was composed to showcase the varied tone colors and techniques of the alto flute, bass flute, flute and piccolo. During her career as a free-lance musician in the studios of Los Angeles, Louise has regularly been asked to play these four unique instruments. As well, Short Stories was designed to connect with the style and programmatic content of the film music theme of The Hollywood Flute project.

Siren’s Song for alto flute was inspired by the many great scores for Film Noir movies. The composer felt the hauntingly beautiful sound of the alto flute was a perfect fit for the classic femme fatale character of this genre.

Rather Blue for bass flute was inspired by blues and jazz; two musical idioms commonly found in film music. While the bass flute can be found in jazzy scores by composers like Henry Mancini, it is unusual to find the instrument playing quite so many notes as found in this challenging piece.

While the solo flute is usually not the featured instrument heard during dramatic chase scenes, The Chase was composed to demonstrate that the flute can play with the flair and virtuosity needed to create the tension required for effective ‘chase’ music. Imagine a scene featuring a chase on foot through the narrow streets of a crowded city.

Child’s Play for piccolo was inspired by the qualities of magical imagination and youthful enthusiasm commonly found in music associated with children in film. Louise specifically requested that the movement for piccolo feature the less commonly used melodic aspect of the piccolo as well as the typical virtuosic side of the instrument.

A Note on the Recording

It was a true pleasure to be able to create this recording with my aunt, Louise DiTullio. I grew up hearing Louise, my pianist mother Virginia DiTullio Royer, and my cellist grandfather, Joseph DiTullio rehearsing and performing. These and other family members inspired me to become a musician. It was wonderful to be able to work with Louise, first as a cellist and later as a composer and conductor. This recording is a special part of that collaboration.

It was my honor and pleasure to be able to arrange and conduct the music of a group of great film composers. Finally, I appreciated co-producing this recording with my friend, Dr. Jeannie Pool, another person I have great respect for.

Ronald Royer

Audio Tracks on YouTube:

Gooby

“5 DOVES. Highest Rating. This is truly a movie for the entire family.” – The Dove Foundation

Genre: Action and Adventure, Family

Cast: Matthew Knight, Robbie Coltrane, Eugene Levy, David James Elliott, Ingrid – Kavelaars

Writer, Director, Producer: Wilson Coneybeare

Composers: Ronald Royer and Kevin Lau (Orchestrated by Chris Meyer)

Imagine if you had a six-foot tall “monster” to help you through the rough times when you were a kid! Willy (Matthew Knight) is terrified about moving into the family’s new house. He’s convinced it’s filled with evil space aliens out to get him. In response to his longing for someone to save him, Gooby (voiced by Robbie Coltrane, Harry Potter’s Hagrid) comes to life as a big, lovable, scruffy creature who quite possibly may be more frightened of the world than Willy. The two new pals embark on hair-raising adventures and learn about courage and the power of friendship all the while with Eugene Levy (Night at the Museum) on their trail. In the end, Gooby fulfills Willy’s wish by bringing Willy and his dad (David James Elliott, “JAG”) together in a heart-warming and exciting climax.

Gooby premiered at the Cannes International Film Festival, was a finalist at the International Family Film Festival, Los Angeles, showed at the Platinum Remi Worldfest, Houston, International Film Festival, and was an Official Selection, Sprockets Toronto International Film Festival for Children.

http://www.montereymedia.com/theatrical/films/gooby.html

Danza Habanera for Flute, Oboe, Clarinet, Bassoon and Chamber Orchestra

Instrumentation:

Solo fl.,ob.,cl.,bsn./0.0.0.0./4.2.0.0./2perc./strings
Solo fl.,ob.,cl.,bsn./0.0.0.0./2.2.0.0./1perc./strings

Other Version: Flute, Oboe, Clarinet, Bassoon and Piano

Date: 2008

Duration: 9:00

Notes:

A habanera is a Cuban dance and song named after its capital, Havana. It was first popular in the western world at the beginning of the 19^th century and later became popular in Europe, especially in Spain. The habanera is possibly the most universal of all Cuban musical forms. There are various theories regarding its origin, ranging from Cuban Pre-Columbian music or even the music of the Incas, to a similarity between the habanera and the zortzico Basque air of Spain.

Mr. Royer added Danza to the Habanera title to denote a freer use of form from the traditional habanera. Four solo woodwinds (flute, oboe, clarinet and bassoon) are featured in various groupings, each of which is featured in a short solo cadenza. The Danza Habanera starts with a plaintive air in the key of C Minor and gradually evolves into a happier but dreamier piece in the key of F Major. With a variation of the opening habanera rhythm, the composition (now in G Minor) builds in intensity to reach the climax in an intense orchestra tutti before returning to the beginning plaintive atmosphere.

Commissioning

The Danza Habanera was first performed in 2008 and was commissioned by the Mississauga Symphony Orchestra with the assistance of the Canada Council for the Arts. This work is dedicated to John Barnum and the Mississauga Symphony Orchestra.

Mirage (chamber orchestra)

Instrumentation:

2(2=picc).2.2(2=bcl).2./2.2.0.0./timp.1perc./strings

(alternate part combining timpani and percussion for 1 player)

Other Versions: Orchestra, String Orchestra and Quintet

Date: 2010

Duration: 9:45

Notes:

My intent in this composition is to explore the shifting and illusionary world of the dream state. Mirage begins with a slow meditative introduction representing the act of falling asleep. A solo viola cadenza follows, starting a sequence of musical episodes, each emphasizing different emotions and parts of a dream. As the string orchestra enters, the music takes on a melancholy air with occasional mysterious interludes. In the next section, the music speeds up and takes on a restless and more intense character employing a bluesy and jazz-infused theme. The music moves into a more flowing and serene section before leading into a faster and more agitated section representing the dream taking a more troubled direction. Leading to an unsettling climax, the music abruptly stops leaving silence. The original meditative music returns as the dreamer starts to awake entering that in-between world of wondering if the dream was real or not.

Analysis

Mirage is based on three musical motifs which are continuously evolving and developing, giving the music an unstable yet unified character. The first two motifs are heard in the opening five bars. The third motif is introduced in the first allegro section. The form can be considered a fantasia or fantasy variation.

Motif 1 – ascending perfect 5^th, minor 2^nd, and perfect 5^th (bars 1-3)

Motif 2 – descending minor 2^nd, and major 3^rd, then an ascending major 2^nd (bars 4-5)

Motif 3 – ascending minor 3^rd, major 2^nd, and minor 3^rd (bars 44-45)

Commissioning and First Performance

Mirage was originally composed for orchestra and was commissioned by the Orchestras Mississauga (John Barnum, music director) with the assistance of a Canada Council for the Arts composer residency grant. The re-orchestrated version of Mirage for string orchestra was commissioned by the Orchestras Mississauga and Soundstreams Canada (Lawrence Cherney, artistic director) and again was assisted by the Canada Council for Arts composer residency grant. The first performance of the string orchestra version was on February 19, 2007 at the Glenn Gould Studio, Toronto, featuring the Amici Strings and the University of Toronto Schools String Ensemble conducted by Joaquin Valdepenas.

Suite from the Motion Picture Gooby

(Kevin Lau, co-composer, Chris Meyer, orchestrator)

Instrumentation:

2(2=picc).1.2.2./4.2.3.1./timp.3perc.hp.pn./strings (harp or piano are optional; alternate parts for 2 percussion)

Date: 2008
Duration: 12:14

Main Title – 1:35
Bicycles, Bullies and Bears – 2:35
Space Cart Ride – 1:14
Construction Site Waltz – 1:29
Gooby’s Farewell – 3:53
Finale – 1:28

Notes:

Gooby (DVD-2009)

Monterey Media.com – Theatrical – DVD / VHS

– Genre: Action and Adventure, Family
– Writer, Director, Producer: Wilson Coneybeare
– Cast: Matthew Knight, Robbie Coltrane, Eugene Levy, David James Elliott, Ingrid – Kavelaars

-Composers: Ronald Royer and Kevin Lau (Orchestrated by Chris Meyer)

Imagine if you had a six-foot tall “monster” to help you through the rough times when you were a kid! Willy (Matthew Knight) is terrified about moving into the family’s new house. He’s convinced it’s filled with evil space aliens out to get him. In response to his longing for someone to save him, Gooby (voiced by Robbie Coltrane, Harry Potter’s Hagrid) comes to life as a big, lovable, scruffy creature who quite possibly may be more frightened of the world than Willy. The two new pals embark on hair-raising adventures and learn about courage and the power of friendship all the while with Eugene Levy (Night at the Museum) on their trail. In the end, Gooby fulfills Willy’s wish by bringing Willy and his dad (David James Elliott, “JAG”) together in a heart-warming and exciting climax.

Premiered at the Cannes International Film Festival. Finalist International Family Film Festival, Los Angeles; Platinum Remi Worldfest, Houston, International Film Festival; Official Selection, Sprockets Toronto International Film Festival for Children.

http://www.montereymedia.com/theatrical/films/gooby.html

Film Orchestra

Author: Ronald Royer

Instrumentation:

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Audio Tracks on YouTube:

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