Sorcsek, Symphony No. 3

USD $120

The amazing new Symphony by Jerome Sorcsek. Sorcsek is a truly unique voice in concert band composition.

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Product Description

Date: 2020
Instru­men­ta­tion: Con­cert Band
Dif­fi­cul­ty: Grade 5, Medium-Advanced
Dura­tion: 45:00
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I start­ed com­pos­ing the Sym­pho­ny No. 3 in the last few days of May 2020. I was set­tling into a sum­mer of not unpleas­ant soli­tude, and the mood of the first movement’s the­mat­ic mate­r­i­al — notably the sub­or­di­nate theme — is tem­pered accordingly. 

The sec­ond move­ment is an exer­cise in échap­pée, appog­giatu­ra, chains of sus­pen­sion and res­o­lu­tion. The aim was to cre­ate a pro­tract­ed lev­el of inten­si­ty that would envel­op the lis­ten­er in a relent­less cas­cade of emo­tive expres­sion. The pathos of this move­ment stands in sharp con­trast to the sat­is­fied charm of the first movement. 

Before start­ing work on the third move­ment, I had been read­ing about Ger­man folk­lore and came across the name Moos­fräuleins (“Moss Maid­ens”). They are for­est spir­its, sim­i­lar in appear­ance to dwarves and led by the Buschgross­mut­ter (“Shrub Grand­moth­er”). Leg­end has it that they would bor­row items from peo­ple or ask for help but would always com­pen­sate the own­ers in kind. It was also believed that they were espe­cial­ly help­ful to farm­ers with chores and the care of ani­mals. They could even bring about epi­demics and also show peo­ple the reme­dies for epi­demics. With this leg­end in mind, I thought to infuse the third move­ment with a mys­ti­cal aura of the for­est remote­ness of the first move­ment and the over­all dark­ness of the second. 

The final move­ment opens with unac­com­pa­nied state­ments that are inver­sions of motives tak­en from ear­li­er move­ments: flute – from the open­ing state­ment of the first move­ment; oboe – from the first promi­nent brass music in the first move­ment; clar­inet – from the sec­ond move­ment; bas­soon – also from the sec­ond move­ment; cor anglais – from the undu­lat­ing music of the third move­ment. Fol­low­ing this are three episodes of species coun­ter­point exer­cise, in two parts, then three, and final­ly four. After this sec­tion, there is a brief, qui­et fore­shad­ow­ing of a sep­a­rate brass fan­fare of mine that I includ­ed in this piece (Fan­fare for a North­ern Return), and then the overt state­ment of the fan­fare itself, lead­ing to the prin­ci­pal alle­gro sec­tion of the fourth move­ment. Devel­op­ment episodes on frag­ments of the fan­fare mate­r­i­al fol­low, reach­ing a cul­mi­na­tion in which there are heard the sub­or­di­nate theme from the first move­ment, the brass theme from the first move­ment, the main motive of the fan­fare, and the open­ing theme of the first move­ment. There is one last word from the Moos­fräuleins, and the sym­pho­ny ends. 

Jerome Sor­c­sek (2021)

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