Symphony No. 1 (Three Movements for Orchestra)
Ellen Taaffe Zwilich
1982 | Full Orchestra
1982 | Full Orchestra
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I.
mm. 16-44 |
Skills & Techniques: Accuracy, High Register, Loud Playing, Soft Playing
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Horn 1-4 (F)
Due to restrictions, sheet music for this excerpt is not provided.
Indianapolis Symphony Orchestra (1986)
Composer & Composition Information
Ellen Taaffee Zwilich (b. 1939)
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As the 21st century dawns and the musical offerings of the world are more varied than ever before, few composers have emerged with the unique personality of Ellen Taaffe Zwilich. Her music is widely known because it is performed, recorded, broadcast, and above all, listened to and liked by all sorts of audiences the world over. Like the great masters of bygone times, Zwilich produces music "with fingerprints," music that is immediately recognized as the product of a particular American composer who combines craft and inspiration in reflecting her optimistic and humanistic spirit in her compositions.
Ellen Zwilich is the recipient of numerous prizes and honors, including the 1983 Pulitzer Prize in Music (the first woman ever to receive this coveted award), the Elizabeth Sprague Coolidge Chamber Music Prize, the Arturo Toscanini Music Critics Award, the Ernst von Dohnanyi Citation, and Academy Award from the American Academy of Arts and Letters, a Guggenheim Fellowship, four Grammy nominations, and, among other distinctions, she has been elected to the Florida Artists Hall of Fame and the American Academy of Arts and Letters. In 1995, she was named to the first Composer's Chair in the history of Carnegie Hall, and she was designated Musical America's Composer of the Year in 1999. The text & image are reprinted from Wise Music Classical where more information about the composer can be found. |
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Symphony No. 1 (Three Movements for Orchestra)
Symphony No. 1 grew out of several of my most central music concerns. First, I have long been interested in the elaboration of large-scale works from the initial material. This 'organic' approach to musical form fascinates me both in the development of the material and in the fashioning of a musical idea that contains the 'seeds of the work to follow.'
Second, in my recent works I have been developing techniques that combine modern principles of continuous variation with older (but still immensely satisfying) principles, such as melodic and pitch recurrence and clearly defined areas of contrast.
Finally, Symphony No. 1 was written with great affection for the modern orchestra, not only for its indescribable richness and variety of color, but also for the virtuosity and artistry of its players.
The text is written by & reprinted from Wise Music Classical where more information about the composition can be found.
Second, in my recent works I have been developing techniques that combine modern principles of continuous variation with older (but still immensely satisfying) principles, such as melodic and pitch recurrence and clearly defined areas of contrast.
Finally, Symphony No. 1 was written with great affection for the modern orchestra, not only for its indescribable richness and variety of color, but also for the virtuosity and artistry of its players.
The text is written by & reprinted from Wise Music Classical where more information about the composition can be found.
Notable Performances/Recordings:
Indianapolis Symphony Orchestra (1986)
Indianapolis Symphony Orchestra (1986)