Whitwell, Symphony Nr. 5 “Sinfonia Italia”

USD $80

During the Winter of 1990–1991 I was invited to serve as the President of the Jury for an international piano contest in Italy, which led to my spending some time hiking in the mountains west of Milano. This Symphony came to mind during that period and was written after I returned to Los Angeles.

Product Description

Sym­pho­ny Nr. 5, “Sin­fo­nia Italia”
David Whitwell (1937–)

Date: 1991
Instru­men­ta­tion: Con­cert Band
Dura­tion: 15:00
Lev­el: 5

Score pre­view


Sym­pho­ny Nr. 5, “Sin­fo­nia Italia” (1991)

I. Dawn on Monte Rosa
II. Sacro Monte
III. La Visione

Dur­ing the Win­ter of 1990–1991 I was invit­ed to serve as the Pres­i­dent of the Jury for an inter­na­tion­al piano con­test in Italy, which led to my spend­ing some time hik­ing in the moun­tains west of Milano. This Sym­pho­ny came to mind dur­ing that peri­od and was writ­ten after I returned to Los Angeles.

Monte Rosa is the high­est moun­tain in Italy, a very large and impos­ing sight in all respects.

Sacro Monte refers to a small local shrine in the moun­tains near Var­al­lo. It con­sists of a series of tableaus of life-size fig­ures carved by local artists depict­ing the final days of Jesus. When I vis­it­ed it was in dis­re­pair with the fig­ures cov­ered in dust, all of which added to a sense of the ancient. While walk­ing around this out­door shrine I heard dis­tant church bells. These are heard again in this move­ment togeth­er with the singing of the vil­lage faith­ful (rep­re­sent­ed by the singing of the audience).

The title of the third move­ment, La Visione, refers to some pri­vate thoughts I had at the time.

Per­for­mance Notes
In the sec­ond move­ment the audi­ence joins some band mem­bers in singing, every- one in uni­son. The audi­ence part should be dupli­cat­ed to pro­vide each mem­ber of the audi­ence an indi­vid­ual part.It will be nec­es­sary to have a brief “audi­ence re- hearsal,” which I rec­om­mend be done before the per­for­mance and not in the mid­dle, between the first and sec­ond movements.In this rehearsal the con­duc­tor will explain to the audi­ence that each time they will be alert­ed by hear­ing the chimes play two pitches.Immediately fol­low­ing this they will hear the brass instru­ments per­form the part they will sing in the fol­low­ing measure.At this point the con­duc­tor should try one of these sequences: chimes, brass and audi­ence singing. The audi­ence will love this idea of their hav­ing a rehearsal and they will fur­ther enjoy it if after the first at- tempt the con­duc­tor pre­tends to be dis­ap­point­ed in their performance—I did not see every­one singing—you must sing loud­er, etc.Finally the con­duc­tor should point out the p and f and explain their meaning—perhaps try­ing the forte one.All this need require only three or four minutes.

David Whitwell

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