AUTO '66 - Concerto for Clarinet
Commissioned by a consortium of universities (listed alphabetically):
· Arizona State University: Robert Spring, soloist; Gary Hill, conductor · Colorado State University: Wesley Ferreira, soloist; Christopher Nicholas, conductor · Columbus State University: Lisa Oberlander, soloist; Jamie Nix, conductor · Eastern New Mexico University: Jennifer Laubenthal, soloist; Dustin Seifert, conductor · Georgia Southern University: Linda Cionitti, soloist; Robert Dunham, conductor · Northwestern State University: Malena McLaren, soloist; William Brent, conductor · South Dakota State University: Michael Walsh, soloist; Eric Peterson, conductor · Troy University: Tim Phillips, soloist; Mark Walker, conductor · University of Alabama: Osiris Molina, soloist; Randall Coleman, conductor · University of Central Arkansas: Kelly Johnson, soloist; Ricky Brooks, conductor · University of Western Ontario: Jana Starling, soloist · Valdosta State University: Jeffery Olson, soloist; Joe Brashier, conductor · Western Carolina University: Shannon Thompson, soloist; John West, conductor · Western Michigan University: Bradley Wong, soloist; Robert Spradling, conductor |
Purchase Score and partsChamber version $50 - Includes piano score, solo clarinet part, and percussion part
Wind Ensemble Version $150 - Bound 11x17 score, bound solo part, and complete parts in PDF format
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Score: Wind Ensemble Version (printing disabled)
Recordings:
Live performance by Wesley Ferriera with the Colorado State University Wind Ensemble, Christopher Nicholas, conductor
Program Notes
The automobile, perhaps more than any other piece of technology, inspires strong emotional reactions in people, and certain cars seem to transcend their role as means of transportation to become works of art. My clarinet concerto is about three such vehicles that were built in 1966. They were chosen for their historical significance, physical beauty, and ability to inspire their owners. Further, all three cars have different national origins, which allowed me to draw from the native music for each.
First up is the Lamborghini Miura, the original mid-engine “super-car.” In this movement, the opening “coloratura” cadenza quickly leads into a breathless Italian tarantella. This is then morphed into an Afro-Cuban rhumba, a similarly energetic Latin dance in a compound meter. Finally, a brief slow section depicts the racer headed far into the distance only to suddenly and violently meet its end.
Since all cars should be fast, the usually slow middle movement is replaced with a brief scherzo that depicts the tiny British rally car known as the Mini Cooper S. Two works of Gustav Holst serve as source material: the intermezzo from his First Suite in E-flat and “Mercury” from The Planets. Motives from both pieces swirl around constantly with occasional bits of Morse code that spell out the name of the car.
Last, but never least, is the Pontiac G.T.O., the first true muscle car. Many forms of American music are on display from funk to metal to hard bop with a special nod to the legendary Artie Shaw. Percussion plays a crucial role as the famous “Amen Break” takes on several different guises. This work is dedicated to my father who taught me to love cars and bands, and to my wife who taught me to love the clarinet.
-notes by the composer, December 2011
The automobile, perhaps more than any other piece of technology, inspires strong emotional reactions in people, and certain cars seem to transcend their role as means of transportation to become works of art. My clarinet concerto is about three such vehicles that were built in 1966. They were chosen for their historical significance, physical beauty, and ability to inspire their owners. Further, all three cars have different national origins, which allowed me to draw from the native music for each.
First up is the Lamborghini Miura, the original mid-engine “super-car.” In this movement, the opening “coloratura” cadenza quickly leads into a breathless Italian tarantella. This is then morphed into an Afro-Cuban rhumba, a similarly energetic Latin dance in a compound meter. Finally, a brief slow section depicts the racer headed far into the distance only to suddenly and violently meet its end.
Since all cars should be fast, the usually slow middle movement is replaced with a brief scherzo that depicts the tiny British rally car known as the Mini Cooper S. Two works of Gustav Holst serve as source material: the intermezzo from his First Suite in E-flat and “Mercury” from The Planets. Motives from both pieces swirl around constantly with occasional bits of Morse code that spell out the name of the car.
Last, but never least, is the Pontiac G.T.O., the first true muscle car. Many forms of American music are on display from funk to metal to hard bop with a special nod to the legendary Artie Shaw. Percussion plays a crucial role as the famous “Amen Break” takes on several different guises. This work is dedicated to my father who taught me to love cars and bands, and to my wife who taught me to love the clarinet.
-notes by the composer, December 2011