Margalit Music

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Composed in celebration of Beethoven's 250th year, each of the four movements of Symphony no. 2 ("Refractions") is a response to Beethoven's music, refracted through the lens of time.   

III.  The Roiling (Scherzo)
" ... Then music raged in me, / rising so swiftly I could not write quickly enough / to ease the roiling."
-	Rita Dove, "Ludwig van Beethoven's Return to Vienna"

Beginning as quiet as possible and growing until the full ensemble is engaged, the third movement is a response to the atmosphere and energy of a Beethovenian scherzo.  In some movements of symphonic works, Beethoven appears to link the subdivision of beats to the formal design of the piece, and in response, this movement is built upon frequent metric modulations, where the speed of material is linked to the phrase structure of the work.  The trio is a brief fugue for three snare drums.

Symphony no. 2, Movement 3

Concert Band Score & Parts

Composed in celebration of Beethoven's 250th year, each of the four movements of Symphony no. 2 ("Refractions") is a response to Beethoven's music, refracted through the lens of time.   

I. Custom's Sword (Adagio / Allegro)
"Deine Zauber binden wieder / Was der Mode Schwert geteilt"
("Thy magic powers re-unite / What custom's sword has divided")
-	Friedrich Schiller, "Ode to Joy" (original 1785 version)

The opening movement takes musical ideas that comport with early 19th-century norms and filters them through rhythmic, harmonic, melodic, and textural procedures informed by changes in musical styles that have happened since.  Some parts veer quite close to the music of Beethoven, nearly quoting his work in a few select passages, while other portions depart rather drastically.

II.  Tranquil Blossom ... Tortured Stem (Adagio, molto sostenuto)
"This moment is the best the world can give: / The tranquil blossom on the tortured stem."
-	Edna St. Vincent Millay, "On Hearing a Symphony of Beethoven"

All of the harmonic material in the second movement comes from slow movements of piano sonatas and symphonies of Beethoven, sewn together and stretched such that extra notes suspend across sonorities, like the refraction of light through a prism.

III.  The Roiling (Scherzo)
" ... Then music raged in me, / rising so swiftly I could not write quickly enough / to ease the roiling."
-	Rita Dove, "Ludwig van Beethoven's Return to Vienna"

Beginning as quiet as possible and growing until the full ensemble is engaged, the third movement is a response to the atmosphere and energy of a Beethovenian scherzo.  In some movements of symphonic works, Beethoven appears to link the subdivision of beats to the formal design of the piece, and in response, this movement is built upon frequent metric modulations, where the speed of material is linked to the phrase structure of the work.  The trio is a brief fugue for three snare drums.

IV.  The Towers of Babylon (Allegro)
"... trying to calculate / the distance between madness and genius / realizing that Beethoven's musical measurements / could take you to distances / reaching past the towers of Babylon ..."
-	Shane Koyczan "Beethoven"

After a brief introduction, the final movement is a set of variations on a theme from the third movement of Beethoven's Sextet in Eb Major, Op. 71, first presented in its original orchestration for six wind instruments.  As in movement one, some variations stay close to Beethovenian norms, while others go far afield.

Symphony no. 2

Witch Doctor takes its title and musical flavor from the lore and
  traditions of voodoo priests and Louisiana swamp boogie. With hints of Albert
  Brumley's famous hymn, "ll Fly Away", a slow and murky introduction
  is followed by an extended brass band dance.

Witch Doctor

Brass Band Score & Parts

Backwater Catfish is a southeastern prelude with some local
    
    flavor. The treatment is more like an expanded big band than a symphonic
  wind section, with brief solo figures tossed around the ensemble over a bed
  of percussion and low brass.

Backwater Catfish

Composed in celebration of Beethoven's 250th year, each of the four movements of Symphony no. 2 ("Refractions") is a response to Beethoven's music, refracted through the lens of time.   

I. Custom's Sword (Adagio / Allegro)
"Deine Zauber binden wieder / Was der Mode Schwert geteilt"
("Thy magic powers re-unite / What custom's sword has divided")
-	Friedrich Schiller, "Ode to Joy" (original 1785 version)

The opening movement takes musical ideas that comport with early 19th-century norms and filters them through rhythmic, harmonic, melodic, and textural procedures informed by changes in musical styles that have happened since.  Some parts veer quite close to the music of Beethoven, nearly quoting his work in a few select passages, while other portions depart rather drastically.

Symphony no. 2, Movement I

Jacob's Ladder portrays the vision or dream had by Jacob in the dessert
  of a ladder reaching from the earth to heaven, with a host of angels climbing
  in both directions. The work aims to capture some of the awe and ecstasy,
  fear and elation evoked by this image. Primary musical materials in the piece
  are ascending and descending scalar (stepwise) figures and symmetrical,
  cyclic (eternal) harmonic progressions.

Jacob's Ladder

Composed in celebration of Beethoven's 250th year, each of the four movements of Symphony no. 2 ("Refractions") is a response to Beethoven's music, refracted through the lens of time.   

IV.  The Towers of Babylon (Allegro)
"... trying to calculate / the distance between madness and genius / realizing that Beethoven's musical measurements / could take you to distances / reaching past the towers of Babylon ..."
-	Shane Koyczan "Beethoven"

After a brief introduction, the final movement is a set of variations on a theme from the third movement of Beethoven's Sextet in Eb Major, Op. 71, first presented in its original orchestration for six wind instruments.  As in movement one, some variations stay close to Beethovenian norms, while others go far afield.

Symphony no. 2, Movement 4

Composed in celebration of Beethoven's 250th year, each of the four movements of Symphony no. 2 ("Refractions") is a response to Beethoven's music, refracted through the lens of time.   

II.  Tranquil Blossom ... Tortured Stem (Adagio, molto sostenuto)
"This moment is the best the world can give: / The tranquil blossom on the tortured stem."
-	Edna St. Vincent Millay, "On Hearing a Symphony of Beethoven"

All of the harmonic material in the second movement comes from slow movements of piano sonatas and symphonies of Beethoven, sewn together and stretched such that extra notes suspend across sonorities, like the refraction of light through a prism.

Symphony no. 2, Movement 2

Encountering the ocean for the first time, some ancient peoples, lacking words for something so unfathomably immense and mysterious, are said to have called it a "river with only one bank".

The River With Only One Bank

"Si Veriash a la Rana" ("If You Could Only See the Frog") is the title of a children's song from Bulgaria sung by exiled Jews in the Spanish-Jewish dialect of Ladino:

If you could only see the little frog sitting on the oven, frying her fritas and sharing with her sisters!
If you could only see the little mouse sitting in the corner, shelling walnuts and sharing with her sisters!
If you could only see the little camel sitting on the dough-board, rolling out filo thinner than hair!

The deceptively simple and playful tune stems from a wide range of cultural influences, combining typically Ladino melodic figurations with a traditional Bulgarian metric construction, punctuated by a curious refrain in Turkish that simply means, "I love you so much".  
This concert band piece, commissioned by the Saint Mary's University Concert Band, Dr. Janet Heukeshoven, director, with generous support from the Sam &amp; Helen Kaplan Foundation, is a percussion-driven exploration of this infectious and time-tested melody.

If You Could Only See the Frog

Using traditional samba rhythms as a starting point, "Eddying Toward the Day" is an energetic piece that aims to bring some of the spirit of street festivals and drum circles into the concert hall. The title comes from the Sir Henry Newbolt poem "Imogen", which portrays a woman dancing through the night with "grace enchanting" to "music eddying toward the day".

Eddying Toward the Day

Immerse in the rich tapestry of "Passamezzo Antico" by Paul Richards. A perfect selection for concert and contest settings, this piece captivates with its intricate harmonies and timeless elegance. Elevate your ensemble's performance with this classic, showcasing musical sophistication and an enduring appeal. A gem for discerning musicians. - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

Passamezzo Antico

Global Sections - CORE [DO NOT TOUCH]*

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