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!. -z' \. Hymn Hiraeth -/' !. -/' For Concert Band 1 -/' \. -a' For the John Agnew Band; Sarah Nielsen, conductor . \. Part of Canberra City Band, Inc. Canberua, Austalia (2011) -a' !.

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Composed by !: Matthew Schoendorff (: -z' !.

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lnstrumentation

Conductor Score 1 , French Horn '1" Piccolo/FIute 1 5 I Trombone Trombone nium B.C. Bassoon 2 nium T.C.

Bb Clarinet Bb Clarinet Percussion 1 - (glockenspiel, i suspended cymbol, crosh cymbol,

Bb Bass Clarinet Percussion 2 - (chimes, suspended cymbol) Eb Alto Saxophone 4 Bb Tenor Saxophone 2 Eb Baritone Saxophone 1 '1"' Bb 2no Bb Trum

Other Works by Matthew Schoendorff from MSB Publishing:

O The Photography is rny Proof MSBO Solitude Publishing Hirercth /hreragO/ - a Welsh rru,ord with no direct English translation. often defined as

hornesickness tinged'ur,ith srief or sadness over the lost or departed. It is a mix of lon_eing.

yearning. nostal-eia. wistfulness. or an earnest desire for the Wales of the past.'

While the tenn hirueth connotes a distinctly Welsh cultr-rral tradition. here it is transplanted as a reverent and nostalgic celebration of musical practices during the comrronpractice craolWestern (European) art music. lasting lrom about 1600 to around 1900. Often broadly defined sin-rp11,' as "Ciassical rnusic." this era actuall.v encompasses the Baroquc. Classical- and Romantic periods. Dr,rring this era. well-defined contrapr,rntal and harmonic procedures dictated how music was composed. 'fhese included the prominence of diatonic scales with tonal centers. chrornatic extensions of these scaies based on lelationsliips u-ithin the diatonic collections. goal-oriented harmonic motion directed primariiy by perfect 5th intervallic lelationships (the same interval from wl-rich diatonic collections are derived). and the strict resolution of dissonance into corlsonance via established contrapuntal procedures.

Hymn Hiraeth expounds upon the ideals of this tradition. Common practice procedures are applieC to an original. yet somehow.all-too-familiar. diatonic h,vmn tune- highlighting the primary relationships in tire major mode arnon,q tonic (E, ). dominant (85 ). and the relative minor (C). The setting is mostly diatonic. straying only to tonicize the relative minor ke1,. This implication is realized in the final statement of the hymn tune. modulated to the key of the relative minor. but presented in the parallel major mode (C rnajor). Codetta-like flirtin-e with the new subdominant (F). a frequent idiom especially in the Baroque era. leads to a final cadence involvin-s only the root and fifth of the tonic chord. This emphasizes the importance of the perfect 5tr' interval and harkens back to cadential traditions which pre-date even common practice tonality.

Beyond these technical aspects. H1,mn Hirctelh honors the eff-ectiveness of common practice tonality in creating honest and dramatic musical landscapes. The hymn revels in its simplicity arrd unabashed presentation. yearning for the basal spirituaiity that binds and connects all men and women and the idealistic pr.rrity of that connection.

About the Composer Matthelv Schoendorff (8.M.-Music Education and Composition. Western Michigan University: M.M. and D.M.A.-Music Composition. Michi-san State University; composes music fbr an eclectic range of ensembles. voice types. and media. Ilis w'orks have been performed on several continents and are listed on many state band and orchestra reqr-rired music lists. Schoendorff mainlains au actjve composing career and has provided arrangements for lhc Opera Rernix htilicttitte at the 'l'or,vnsend Opera Company in Modesto. CA. He is the composer-ir.r-residence for the NUCLASSICA ensemble. Theory & Composition Chair at the National Music Institute fbr Youn-q Arlists (.currently in affiliation rvith the Cranbrook Educational Community in Bloomfield Hills. MI). and MSBteaches music theory and composition Publishing at Wayne Statc Univcrsity in Detroit- MI. PERFORMANCE NOTES:

l. In a lot of ways, the hymn is a self-aware parody of tonalmusic, yet it takes itself completely seriously. AlI musical elements should be exaggerated to make the most of the seriousness of the parody.

2. The chimes at the beginning should be like a background ambient sound. as if half- remembered from a dream. The sarne goes for the glockenspiel at rn.29.

3. Dynamic levels are not necessarily strict markings for volurne, but also intend to portray the manner in which ceftain sections should be played. This is especially true during the "interlude" at m.36. The piccolo is scored quite high in its register. because it is emulating a kind of pennywhistle effect. There is NO WAY that will come out at a piano dynamic levell The rest of the ensemble probably will have to raise their volume to match and blend with the piccolo at this point. The piano marking, itself, is intended to poftray a sense of intirnacy during this section, not strict softness of volume. The same goes for the very end, where theforte andfortissimo dynamics likely will have to be exaggerated to achieve a dramatic effect of "Wagnerian" proportions. The rule of thumb at all times is not to sacrifice the tone and balance/blend for the dynamics. If the dynamics need to be adjusted for the sake of tone and balance, then so be it! The letter "N", which appears at the end of several decrescendo markings near the beginning stands for "niente", which is a standard Italian term for silence.

4. In general. each phrase inthe Tentpo rubcrto section at measure 36 should gain a little speed and intensity, then settle back in. before the next phrase begins.

5. The tempo between m.45 arrd m.62 should never slow. If anything, it needs maintain speed, especially at the softer dynarnic levels, as if it is constantly anticipating the arrival al m.62. The energy needs to be maintained all the way througlr to this final statement of the hymn tune.

6. The saxophones accompanying the euphonium solo at n.72 are marked piano, but again, this is a marking of sryle and intimacy as nruch as it is volume. Yes, the euphonium solo takes precedence here, but it needs to be supporled strongly enough by the saxes behind it.

7. The dissonances in this piece are always SO irnportant! Whenever instruments have dissonance, they should lean into it and make a big deal out of it. (Well...within reason. Don't Over-do it!) A good example would be the clarinets at m. 80. Each part needs to play confidently enough and not shy away frorn any dissonance or the counterpoint worr't work.

8. Whereverthe tuba is split into divisi, it is done so to emulate pedaltones on a pipe organ and the aural "magic trick" of the false fundamental. The bottom parl should emphasize these lower notes and bring them out in the texture as fully as possible.

9. The pipe organ analogy works for the entire piece, in point of fact. It really should sound Iike a pipe organ in a Iarge church, continually changing its stops, as is mirrored by the orchestration.

10. The most impoftant consideration should be for the best possible musical performance. The composer approves of any and all adjr-rstments made at the discretion of the conductor to achieve this end.

MSB Publishing- Matthew Schoendorff 2016 For tlte .Iohn Agnev, Bqnd; Sorah Nielsen, conduclor Part of'Canberra Cifi' Buncl. lnc. . Canherrct, Au,stalia (2014l HYvN HIRAETH Full Score Perfbrmance time - 5:20 MATTHEw EitrHtrENDtrRFF

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