A Festive Overture

Instrumentation:

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

(alternate part for 1 percussion)

Other Versions: Chamber Orchestra and Septet

Notes:

Festive Overture is based on, and inspired by, a short overture that I wrote for a young people’s theatre project called A Storyteller’s Bag. Based on three Ojibway stories, this project was developed by Peggy Hills McGuire, music director of The Chamber Music Society of Mississauga (and principal second violinist of the Mississauga Symphony). Besides the overture, I wrote the music to the story called The Star Lily.

After I was commissioned to compose a symphonic overture for the Mississauga Symphony, I had the idea of lengthening The Storyteller’s Bag Overture from three to seven minutes and expanding the instrumentation from seven musicians (clarinet, string quintet and percussion) to a full orchestra. After discussing this idea with the music director of the Mississauga Symphony, John Barnum, I began the process of transforming The Storyteller’s Bag Overture into what would become the Festive Overture. This resulting Overture changed a simple three-part ternary form into a more developed and complex sonata allegro form, allowing for several variations of the introductory material and the first or main theme (heard first by unison strings). The second theme (first heard by the solo clarinet) also received a second and varied appearance. Since the original idea of both overtures was to capture some of the joyful enthusiasm and wonder of youth, I was very pleased when the Hamilton Philharmonic Youth Orchestra asked to co-sponsor the commissioning of the Festive Overture.

Commissioning and First Performances:

Festive Overture was co-commissioned by the Mississauga Symphonic Association and the Hamilton Philharmonic Youth Orchestra. The Mississauga Symphony, John Barnum music director and conductor, gave their premiere on March 27, 2004 at the Hammerston Hall, Living Arts Centre, Mississauga, Ontario. The Hamilton Philharmonic Youth Orchestra, Glenn Mallory music director and conductor, gave their premiere on May 22, 2004, at the Great Hall, Hamilton Place, Hamilton, Ontario. This was part of a special 40th Anniversary Concert celebrating the foundation of the orchestra and Glenn Mallory’s directorship. The Hamilton Philharmonic Youth Orchestra received funding for the commission as part of an Ontario Trillium Grant project.

Overture to an Unscripted Movie

Instrumentation:

2(2=picc).2(2=ehn).2.bcl.2./4.3.3.1./ timp.3perc.hp.pn./strings

(bass clarinet, harp and/or piano are optional; alternate parts for 2 percussion)

Date: 2001

Duration:  11:38

Four continuous sections

  1. The Hero – 2:59
  2. The Villain – 2:38
  3. The Love Theme – 2:12
  4. The Fight – 3:48

Program Notes

An Overture to an Unscripted Movie was composed to pay homage to the orchestral scores written for Hollywood action/adventure films.  The Overture is in four continuous sections:  The Hero, The Villain, The Love Theme, and The Fight.  Since the Overture was written for an unscripted movie, the composer encourages both performers and audience members to create their own movie plots.

To write this composition, Mr. Royer drew on his extensive work as a freelance cellist in the Motion Picture and Television Industry in Los Angeles during the 1980’s.  Some of the films he worked on are:  Star Trek 3 and 4, Lethal Weapon, Footloose, Gremlins, Children of a Lesser God, The Last Starfighter, and television shows such as Little House on the Prairie, Dallas, and Fantasy Island.  He had the opportunity to play under many of the top film composers including Jerry Goldsmith, James Horner, Maurice Jarre, Henry Mancini, Lalo Shifrin and John Williams.

Details of a 2002 Independent Recording with soundclips .

Partita for Violin and Chamber Orchestra (in Memory of J.S.Bach)

Instrumentation:

Solo vn./2(2=picc).1.ehn.1.bcl.2(2=cbn)./2.2.0.0./timp.1perc./strings

(contra bassoon is optional)

Other Versions:

  1. A) Partita for Violin and Piano (2000)
  2. B) Sarabande and Capriccio movements: In Memoriam J.S. Bach, for Viola, String Orchestra and Harpsichord; In Memoriam J.S. Bach, for Violin and Chamber Ensemble (Nonet); Viola and Piano
  3. C) Sarabande movt.: Viola and Chamber Orchestra; Flute, Violin and Piano (or Organ); Violin and Organ; and Viola and Piano
  4. D) Capriccio movt.: String Quartet, String Quintet (quartet and bass), and Septet

Date: 2000

Duration:  15:19

Fantasy Variations on a Theme by Pancrace Royer (1705-1755)

Date: 1999

Duration: 18:50

  1. Theme – 1:10
  2. Variation I: Air – 2:15
  3. Variation II: Ostinato Variations – 2:30
  4. Variation III: Tambourin – 1:15
  5. Variation IV: Lament – 2:20
  6. Variation V: Spanish Dance – 1:40
  7. Variation VI: “Impromptu” Prelude – 3:30
  8. Finale: Toccata – 4:10

Mistico

Date: 1997

Duration: 4:00

Other Version: 1st movt. of String Quartet No. 1                                            

Mistico for String Orchestra

Mistico is a short character piece written to evoke an atmosphere of mystery.  It symbolizes addressing of the questions of modern living through contemplation.  Urbanization, loss of touch with the natural world, and the crowing together of citizenry can be combated through a return to the inner self and a withdrawing from the fast-paced throng.  From this vantage point, solutions can be tackled through thought and analysis, when an inward-seeking policy aims to resolve outer conflicts.

The composition is comprised of a set of four strophic variations which are based upon the opening soli for two violas.  A solo cello cadenza forms an interlude between the third and fourth variations.  The composition strives to contrast subtle differences in string textures and colours.

A Canadian Celebration Overture

Instrumentation: 2.picc.2.2.2./4.3.3.1./timp.3perc.hp./strings

(harp is optional; alternate parts for 2 percussion)

Originally named A Celebration Overture

Date: 1997

Duration:  9:30

Notes:

A Canadian Celebration Overture is meant to capture musically the fast-paced energetic and joyful aspects of life in Canada today, with a look back to Canada’s early years through the inclusion of an historic Canadian folk song.

The overture opens with a brief fanfare which is followed by a calm lyrical section, featuring a melodic clarinet solo. The energy continues to build until the music climaxes with a return to the original fanfare material. The clarinet is heard again in a solo cadenza, which leads to the main section, a spirited Allegro. The Allegro’s main theme is first heard in the woodwinds and is then developed symphonically. The music slows and a beautiful flute solo emerges, which is a  Canadian Folk Song from Nova Scotia called Bold Pedlar. This folk song is heard again in the violas, cellos, and bassoons, and finally with the full orchestra. The Allegro section returns and leads into the overture’s conclusion, an exciting coda where the original fanfare returns in a fast-paced flourish. The overture was composed to be tuneful, pleasing and joyful—a symphonic celebration.

Commissioning

A Canadian Celebration Overture was commissioned by the Brantford Symphony in 1997 to commemorate the Sesquicentennial of the city of Brantford.

Journey: A Concerto for Cello and Orchestra

Instrumentation: 

Solo vc./2(2=picc).2.2(2=bcl).2./2.2.2.0./timp.2perc./strings

(alternate 3rd horn part for trombone 1)

Date: 1996

Duration:  19:30

  1. Adagio tranquillo, Allegro
  2. Allegro con spirit
Notes:

“Does the road wind up-hill all the way?

Yes, to the very end.

Will the day’s journey take the whole long day?

From morn to night, my friend.”

–Christina Rossetti

Journey has been designed to have a generalized programmatic element. The opening of the concerto depicts the dawn; the body of the concerto represents the journey; and the conclusion portrays the arrival at the destination. Comprised of two movements to be performed without break, Journey has a rhapsodic feel to contribute to the programmatic element of the composition.

The first movement employs the sonata-allegro form, with an introduction. The main motive in the introduction is presented by two solo violins. The entire concerto is based upon this motive (A, G#, Eb, D). In the main section of the movement (Allegro), the solo cello presents the first theme, which is a variation of the introductory motive. The second theme is presented in a more relaxed tempo (Moderato) yet is still related to the introductory motive.

The second movement is in a ternary or ABA form with an added brief introduction, interlude and coda. The solo cello introduces the A theme, a variation of the introductory motive (A, G#, Eb, D), now altered to A, G#, E, D. The concerto concludes with a coda, which takes as its main theme a variation of the A theme from the second movement, re-introduces material from the first and second movements, and climaxes with exciting cello work while the the flute and clarinet play a restatement of the introductory motive.

Tapestry

Instrumentation: 2(2=picc).2(2=ehn).1.bcl.2./4.2.3.1./timp.2perc.hp./strings                                 

Date: 1995

Duration:  6:00

Dance for Orchestra

Instrumentation:

2.picc.2.ehn.2.bcl.2./4.3.3.1./timp.3perc./strings

(2nd flute, English horn, bass clarinet and/or 3rd trumpet are optional; alternate parts for 2 percussion)

Date: 1995

Duration:  5:10

Notes:

The Composer’s own words best describe this playful work: “Written in the spring of 1995, Dance for Orchestra was composed for the concert stage but could be danced to by ballet or modern dancers. This composition does not seek to imitate a specific type of dance but does feature qualities that can be danced to such as lively and energetic rhythms as well as expressive and flowing melodies.

The music utilizes an ‘arch’ form (ABCBA).  The fast paced A and B sections feature short and repeating motives and jaunty melodies which are contrasted with flowing lines. In the C or middle section, the music slows and relaxes, featuring a solo by the French horn and ending with a clarinet cadenza, which leads the listener back to the faster pace of the B and A sections. The coda completes the dance adventure with a whirling increase of tempo, momentum and energy.”

Mr. Royer’s Dance for Orchestra won First Prize in the Suburban Youth Orchestra Composition Competition and was premiered in Chicago in March 1996.