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S976FSHL00294817
NIN
TH SYMPHO
NY
Jam
es Barnes
SOU
THERN M
USIC
S976FS HL00294817
Ninth Symphonyfor Large Wind Band
Full Score
MUSICR
Concert Band Signature Series
James Barnes
MUSICR
James Barnes’ contribu�on to the band repertoire over the last half century can hardly be overstated. His numerous works for concert band and orchestra are extensively performed throughout the world, in such venues as Tanglewood, Boston Symphony Hall, Lincoln Center, Carnegie Hall, the Kennedy Center in Washington, DC, Tchaikovsky Hall in Moscow and the Tokyo Metropolitan Concert Hall. Barnes twice received the coveted American Bandmasters Associa�on Ostwald Award, and has been the recipient of annual ASCAP Awards for composers of serious music for over 30 years, along with other numerous honors and grants. The world-famous Tokyo Kosei Wind Orchestra recorded three compact discs of his music. Barnes is dis�nguished by having received commissions
from all five of the major American military bands in Washington, DC. James Barnes is Professor Emeritus of Music Theory and Composi�on at the University of Kansas.
Premiered on September 21, 2018 in Lawrence, Kansas by The University of Kansas Wind Ensemble (Dr. Paul Popiel, conduc�ng), James Barnes’ Ninth Symphony was composed between January and late June of that same year. This large work was commissioned by a consor�um of twenty-one college bands, community bands, professional bands and individuals to help mark the 70th birthday of the composer (b. 1949). It is an expansive forty-minute work in four movements, of which the composer writes, “This is my last symphony…this work represents a compendium of all that I have learned during the fi�y years of composing and scoring for this wonderful new medium: the modern wind band.”
The first movement, Elegy, is based around G minor. It is the longest movement of the symphony. Tragic and despondent in character, it is cast in sonata-allegro form. The second movement is en�tled Scherzo. Barnes claims that “I have always wanted to write a waltz,” and that is how this movement is cast, in a modified rondo form in D minor. In contrast to the mood of the first movement, the scherzo is a deligh�ul posy of expansive melody, splashy color, humor and rhythm. The third movement, which is in a modified ter�ary form, is en�tled Night Music. In contrast to the scherzo, this movement begins with a mysterious incanta�on, first displayed by solo Alto Flute. The music becomes even darker and more mysterious, while overall the movement effec�vely expresses an “otherworldly” mood, ending with a solo soprano offstage which suddenly emerges, eerily singing a modified version of the opening incanta�on. Cast in sonata-allegro form, the fourth movement is most definitely a rousing Finale, beginning with a brilliant fanfare and undergoing several mood transforma�ons before emerging into the final coda, ending the symphony with an energe�c splash of color.
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EAN 13
FULL SCORE
INSTRUMENTATION
Grade 5Duration: Approx. 40 Minutes
Copyright © 2019 Southern Music (ASCAP).International Copyright Secured. All Rights Reserved.
1-FULL SCORE1-SOLO SOPRANO VOICE (offstage)1-PICCOLO2-1st FLUTE2-2nd FLUTE2-3rd FLUTE2-4th FLUTE1-1st OBOE1-2nd OBOE1-3rd OBOE4-1st CLARINET4-2nd CLARINET4-3rd CLARINET2-BASS CLARINET1-CONTRA ALTO CLARINET in Eb or CONTRA BASS CLARINET in Bb1-1st BASSOON1-2nd BASSON1-CONTRABASSOON1-SOPRANO SAXOPHONE4-ALTO SAXOPHONES2-TENOR SAXOPHONES1-BARITONE SAXOPHONE
2-1st TRUMPETS2-2nd TRUMPETS2-3rd TRUMPETS2-4th TRUMPETS1-1st FLUGELHORN1-2nd FLUGELHORN1-1st HORN in F1-2nd HORN in F1-3rd HORN in F1-4th HORN in F2-1st TROMBONES2-2nd TROMBONES2-3rd TROMBONES2-BASS TROMBONES1-1st EUPHONIUM T.C.1-2nd EUPHONIUM T.C.1-3rd EUPHONIUM T.C.2-1st EUPHONIUMS B.C.2-2nd EUPHONIUMS B.C.2-3rd EUPHONIUMS B.C.4-TUBAS1-DOUBLE BASS1-TIMPANI1-1st PERCUSSION: Suspended Cymbal, Triangle (7”), Piccolo Snare Drum, Regular Snare Drum, deep-shelled Military Field Drum, Wood Block, Chimes, Crotales1-2nd PERCUSSION: Clashed Cymbals (French, Viennese, small, large), Finger Cymbals (2), Tam-tam, Suspended Cymbal, Sleigh Bells, Triangle1-3rd PERCUSSION: Bass Drum, Tam-tam, Tambourine1-4th PERCUSSION: Glockenspiel, Marimba1-5th PERCUSSION: Vibraphone, Xylophone1-HARP1-PIANO/ CELESTA
James BarnesNinth Symphony
for Large Wind Band, Op. 160
SAMPLE
Premiered on September 21, 2018 in Lawrence, Kansas by The University of Kansas Wind Ensemble (Dr. Paul Popiel, conducting), James Barnes’ Ninth Symphony, Op. 160 was composed between January and late June of that same year. This large work was commissioned by a consortium of twenty-one college bands, community bands, professional bands and individuals to help mark the 70th birthday of the composer (b. 1949). It is an expansive forty-minute work in four movements. Barnes has written the following comments about this and his other eight symphonies:
“Symphonies are not just large, long pieces of music. The symphony is a form. Even today, certain aspects of the symphony follow the traditions of all the wonderful examples by Haydn, Mozart, Beethoven, Mendelssohn, Tchaikovsky, Brahms, Mahler and into the 20th Century with Sibelius, Shostakovich, Stravinsky, Prokofiev, Copland, Persichetti, William Schuman and yes, even John Corigliano.
At least one movement of the work (usually the first, the last, or both) must be in some sort of sonata form (either sonata-allegro or sonata rondo.) Large, multi-movement works without at least one movement in sonata-allegro form should be referred to as ‘symphonic suites,’ not symphonies. This is why Holst’s The Planets is called a suite. This is why Rimsky-Korsakov calls Scheherazade a ‘Symphonic Suite,’ since none of the four movements is cast in sonata-allegro form. While most symphonies contain three or four movements, there is no rule about this. Mahler composed five movements in some of his symphonies, while Samuel Barber’s First Symphony is cast in one continuous movement. The attractiveness of symphonic form to composers comes from the fact that, even from its highly stylized beginnings in Classical Music, it has always been flexible, not rigid.
The beauty of the symphonic form is its vast expanse. The symphony is to a composer as the novel is to a writer. In the case of the symphony, it affords the composer the time and space to express many different moods. It allows the creator the time to delve deeply into many shades of thought and the time and space to construct dramatic moments, tragic episodes, touching expression and yes, even a little humor – all within the confines of one marvelous form.
This is my last symphony; nine is enough. In some ways, this work represents a compendium of all that I have learned during fifty years of composing and scoring for this wonderful new medium: the modern wind band.”
The first movement of Barnes’ Ninth Symphony, subtitled Elegy, is based around G minor. It is the longest movement of the symphony. Tragic and despondent in character, it is cast in sonata-allegro form. After a full tutti introduction, featuring many major ninths (as in…Ninth Symphony) and a moment of repose by solo horn (echoed by solo muted horn), the first theme is introduced by trumpets. Its simple, dramatic melody, based on open fifths, is reminiscent of many “march-like” moments in the music of Mahler. Several settings of this dramatic theme, accompanied by a recurring sub-theme dirge in somber trombones and low woodwinds, eventually takes the listener to the second main theme, stated by three oboes in the sub-dominant (C minor.) This rather sassy melody is repeated by muted brass before the first main theme is loudly proclaimed at the beginning of the development by trombones. Both of the main themes are then tossed about in various settings until the first theme, dramatically stated by low brass, takes the music to the recapitulation, introduced by solo horns (echoing the beginning of the movement), “distant” muted trumpets and the recurring dirge by the trombones and low woodwinds. The second main theme is restated in tonic (G minor) by the saxophone choir. The movement ends with snippets of the dirge, a final horn echo, and the dirge rhythm played by solo timpani.
The second movement is entitled Scherzo. Barnes claims that “I have always wanted to write a waltz,” and that is how this movement is cast. Like many waltzes and scherzi, the movement is cast in a modified rondo form in D minor. In contrast to the sadness, drama and despair of the first movement, the scherzo is a delightful posy of expansive melody, splashy color, humor and rhythm. It serves as an effective antidote to the despondency and despair of the first movement. “But that is what scherzi are for,” writes Barnes. “They are like the lemon sherbert served between the main courses of a heavy four-course meal. They lighten one’s palate.”
The third movement, which is in a modified tertiary form, is entitled Night Music. In contrast to the scherzo, this movement begins with a mysterious incantation, first displayed by solo alto flute. The music becomes even darker and more mysterious with the entrance of arpeggiating clarinets playing pianissimo, accompanied by harp glissandi. The thick harmonies of this portion of the work effectively express an “otherworldly” mood. Snippets of the open fifth theme from the first movement eventually introduce a transition, first introduced by solo tenor saxophone, then answered by solo Flügelhorn, as this portion moves toward the central idea of the movement, first boldly stated by low horns and euphoniums. This expressive theme is reset several times before the composer eventually takes the listener back to the first idea of the piece, this time played by English Horn. As the music returns to its original mood, a solo offstage soprano voice suddenly appears, eerily singing a modified version of the first idea. The movement ends as mysteriously as it began.
Cast in sonata-allegro form, the fourth movement is most definitely a rousing Finale. It begins with a brilliant fanfare, accompanied by scampering woodwinds, before the first theme appears in the trumpets and Flügelhorns in the thirty-eighth measure. Based on the open fifth theme from the first movement, this lively, easily memorable theme based on G major is bantered about by different sections until a progression of “dreamlike” chords, played in woodwinds and celesta (reminiscent of Barnes’ Second Symphony), introduce the second main idea; a rather hymn-like melody first introduced by double reeds. Even here, the first theme, played by solo brass, keeps interrupting this second theme. The second idea is then played by the “saxhorn choir” (Flügelhorns, euphoniums and tubas) before statements of the opening theme, first played by trumpets, then trombones, take the listener to the beginning of the development section. Here, both main themes are tossed about, sometimes singly, sometimes in combination with each other, until the music quietens and eventually grinds to a halt. Playing a somber version of the second theme, a euphonium-tuba choir introduces a solitary oboe cadenza, followed by solo flute. Over a low, sustained chord, a solo bassoon provides transition to the return of the “dreamy” parallel chords, this time played only by celesta and vibraphone. Suddenly the faster tempo of the work reappears in solo timpani before layer after layer of the first theme begins to reappear in contrapuntal fashion, more like the opening fanfares. This highly energetic, complex texture continues to intensify until a “clear statement” of the first theme by unison woodwinds introduces the recapitulation portion of the work. The second theme suddenly bursts out in the choir of brass, this time in the “home key” of G major, while snippets of the second theme scamper about in counterpoint. Final fanfares in the brass section, each time answered by woodwinds, mallet instruments and piano, provide the abbreviated coda for the work, and the symphony ends with an energetic splash of color.
SAMPLE
Premiered on September 21, 2018 in Lawrence, Kansas by The University of Kansas Wind Ensemble (Dr. Paul Popiel, conducting), James Barnes’ Ninth Symphony, Op. 160 was composed between January and late June of that same year. This large work was commissioned by a consortium of twenty-one college bands, community bands, professional bands and individuals to help mark the 70th birthday of the composer (b. 1949). It is an expansive forty-minute work in four movements. Barnes has written the following comments about this and his other eight symphonies:
“Symphonies are not just large, long pieces of music. The symphony is a form. Even today, certain aspects of the symphony follow the traditions of all the wonderful examples by Haydn, Mozart, Beethoven, Mendelssohn, Tchaikovsky, Brahms, Mahler and into the 20th Century with Sibelius, Shostakovich, Stravinsky, Prokofiev, Copland, Persichetti, William Schuman and yes, even John Corigliano.
At least one movement of the work (usually the first, the last, or both) must be in some sort of sonata form (either sonata-allegro or sonata rondo.) Large, multi-movement works without at least one movement in sonata-allegro form should be referred to as ‘symphonic suites,’ not symphonies. This is why Holst’s The Planets is called a suite. This is why Rimsky-Korsakov calls Scheherazade a ‘Symphonic Suite,’ since none of the four movements is cast in sonata-allegro form. While most symphonies contain three or four movements, there is no rule about this. Mahler composed five movements in some of his symphonies, while Samuel Barber’s First Symphony is cast in one continuous movement. The attractiveness of symphonic form to composers comes from the fact that, even from its highly stylized beginnings in Classical Music, it has always been flexible, not rigid.
The beauty of the symphonic form is its vast expanse. The symphony is to a composer as the novel is to a writer. In the case of the symphony, it affords the composer the time and space to express many different moods. It allows the creator the time to delve deeply into many shades of thought and the time and space to construct dramatic moments, tragic episodes, touching expression and yes, even a little humor – all within the confines of one marvelous form.
This is my last symphony; nine is enough. In some ways, this work represents a compendium of all that I have learned during fifty years of composing and scoring for this wonderful new medium: the modern wind band.”
The first movement of Barnes’ Ninth Symphony, subtitled Elegy, is based around G minor. It is the longest movement of the symphony. Tragic and despondent in character, it is cast in sonata-allegro form. After a full tutti introduction, featuring many major ninths (as in…Ninth Symphony) and a moment of repose by solo horn (echoed by solo muted horn), the first theme is introduced by trumpets. Its simple, dramatic melody, based on open fifths, is reminiscent of many “march-like” moments in the music of Mahler. Several settings of this dramatic theme, accompanied by a recurring sub-theme dirge in somber trombones and low woodwinds, eventually takes the listener to the second main theme, stated by three oboes in the sub-dominant (C minor.) This rather sassy melody is repeated by muted brass before the first main theme is loudly proclaimed at the beginning of the development by trombones. Both of the main themes are then tossed about in various settings until the first theme, dramatically stated by low brass, takes the music to the recapitulation, introduced by solo horns (echoing the beginning of the movement), “distant” muted trumpets and the recurring dirge by the trombones and low woodwinds. The second main theme is restated in tonic (G minor) by the saxophone choir. The movement ends with snippets of the dirge, a final horn echo, and the dirge rhythm played by solo timpani.
The second movement is entitled Scherzo. Barnes claims that “I have always wanted to write a waltz,” and that is how this movement is cast. Like many waltzes and scherzi, the movement is cast in a modified rondo form in D minor. In contrast to the sadness, drama and despair of the first movement, the scherzo is a delightful posy of expansive melody, splashy color, humor and rhythm. It serves as an effective antidote to the despondency and despair of the first movement. “But that is what scherzi are for,” writes Barnes. “They are like the lemon sherbert served between the main courses of a heavy four-course meal. They lighten one’s palate.”
The third movement, which is in a modified tertiary form, is entitled Night Music. In contrast to the scherzo, this movement begins with a mysterious incantation, first displayed by solo alto flute. The music becomes even darker and more mysterious with the entrance of arpeggiating clarinets playing pianissimo, accompanied by harp glissandi. The thick harmonies of this portion of the work effectively express an “otherworldly” mood. Snippets of the open fifth theme from the first movement eventually introduce a transition, first introduced by solo tenor saxophone, then answered by solo Flügelhorn, as this portion moves toward the central idea of the movement, first boldly stated by low horns and euphoniums. This expressive theme is reset several times before the composer eventually takes the listener back to the first idea of the piece, this time played by English Horn. As the music returns to its original mood, a solo offstage soprano voice suddenly appears, eerily singing a modified version of the first idea. The movement ends as mysteriously as it began.
Cast in sonata-allegro form, the fourth movement is most definitely a rousing Finale. It begins with a brilliant fanfare, accompanied by scampering woodwinds, before the first theme appears in the trumpets and Flügelhorns in the thirty-eighth measure. Based on the open fifth theme from the first movement, this lively, easily memorable theme based on G major is bantered about by different sections until a progression of “dreamlike” chords, played in woodwinds and celesta (reminiscent of Barnes’ Second Symphony), introduce the second main idea; a rather hymn-like melody first introduced by double reeds. Even here, the first theme, played by solo brass, keeps interrupting this second theme. The second idea is then played by the “saxhorn choir” (Flügelhorns, euphoniums and tubas) before statements of the opening theme, first played by trumpets, then trombones, take the listener to the beginning of the development section. Here, both main themes are tossed about, sometimes singly, sometimes in combination with each other, until the music quietens and eventually grinds to a halt. Playing a somber version of the second theme, a euphonium-tuba choir introduces a solitary oboe cadenza, followed by solo flute. Over a low, sustained chord, a solo bassoon provides transition to the return of the “dreamy” parallel chords, this time played only by celesta and vibraphone. Suddenly the faster tempo of the work reappears in solo timpani before layer after layer of the first theme begins to reappear in contrapuntal fashion, more like the opening fanfares. This highly energetic, complex texture continues to intensify until a “clear statement” of the first theme by unison woodwinds introduces the recapitulation portion of the work. The second theme suddenly bursts out in the choir of brass, this time in the “home key” of G major, while snippets of the second theme scamper about in counterpoint. Final fanfares in the brass section, each time answered by woodwinds, mallet instruments and piano, provide the abbreviated coda for the work, and the symphony ends with an energetic splash of color.
SAMPLE
Arkansas State UniversityTimothy Oliver, conductor
Brevard Community BandJamie Hafner, conductor
Brigham Young UniversityDonald Peterson, conductor
Amanda Drinkwater (in memory of Gary W. Drinkwater)Lewisville (TX) ISD
Fresno State UniversityGary Gilroy, conductor
Indiana Wind SymphonyCharles Conrad, conductor
The University of KansasPaul Popiel, conductor
Kansas State UniversityFrank Tracz, conductor
Lake Agassiz Concert BandMonte C. Grisé, conductor
University of Missouri at Kansas CitySteven D. Davis, conductor
University of North CarolinaJeff Fuchs, conductor
University of North TexasDennis Fisher, conductor
Purdue UniversityJay Gephart, conductor
Loras John SchisselVa. Grand Military Band
University of South AlabamaWilliam Petersen, conductor
University of South CarolinaScott Weiss, conductor
Texas A&M UniversityTimothy Rhea, conductor
Troy UniversityMark J. Walker, conductor
University of WashingtonBrad McDavid, conductor
West Chester UniversityAndrew Yozviak, conductor
West Virginia UniversityScott Tobias, conductor
Commissioned by a consortium of the following bands and individuals:
SAMPLE
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Copyright © 2019 by Southern Music Company (ASCAP).International Copyright Secured. All rights reserved.
Piccolo
Flutes 1/2
Flutes 3/4
Oboes 1/2
Oboe 3
Bassoons 1/2
Contrabassoon
Bb Clarinets 1
Bb Clarinets 2
Bb Clarinets 3
Bb Bass Clarinet
Bb ContrabassClarinet
Bb Soprano Saxophone
Eb Alto Saxophone
Bb Tenor Saxophone
Eb Baritone Saxophone
Bb Trumpets 1/2
Bb Trumpets 3/4
Bb Flügelhorns 1/2
Horns in F 1/2
Horns in F 3/4
Trombones 1/2
Trombones 3/Bs.
Euphoniums 1-3
Tubas
Double Bass
Timpani
1.Suspended Cymbal
2.Clashed Cymbals
3.Bass Drum
4.Glockenspiel
5.Vibraphone
Harp
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Largo q = 72
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Full ScoreS976
Ninth SymphonyI. Elegy
James BarnesOp. 160
for Large Wind Band
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S976FSHL00294817
NIN
TH SYMPHO
NY
Jam
es Barnes
SOU
THERN M
USIC
S976FS HL00294817
Ninth Symphonyfor Large Wind Band
Full Score
MUSICR
Concert Band Signature Series
James Barnes
MUSICR
James Barnes’ contribu�on to the band repertoire over the last half century can hardly be overstated. His numerous works for concert band and orchestra are extensively performed throughout the world, in such venues as Tanglewood, Boston Symphony Hall, Lincoln Center, Carnegie Hall, the Kennedy Center in Washington, DC, Tchaikovsky Hall in Moscow and the Tokyo Metropolitan Concert Hall. Barnes twice received the coveted American Bandmasters Associa�on Ostwald Award, and has been the recipient of annual ASCAP Awards for composers of serious music for over 30 years, along with other numerous honors and grants. The world-famous Tokyo Kosei Wind Orchestra recorded three compact discs of his music. Barnes is dis�nguished by having received commissions
from all five of the major American military bands in Washington, DC. James Barnes is Professor Emeritus of Music Theory and Composi�on at the University of Kansas.
Premiered on September 21, 2018 in Lawrence, Kansas by The University of Kansas Wind Ensemble (Dr. Paul Popiel, conduc�ng), James Barnes’ Ninth Symphony was composed between January and late June of that same year. This large work was commissioned by a consor�um of twenty-one college bands, community bands, professional bands and individuals to help mark the 70th birthday of the composer (b. 1949). It is an expansive forty-minute work in four movements, of which the composer writes, “This is my last symphony…this work represents a compendium of all that I have learned during the fi�y years of composing and scoring for this wonderful new medium: the modern wind band.”
The first movement, Elegy, is based around G minor. It is the longest movement of the symphony. Tragic and despondent in character, it is cast in sonata-allegro form. The second movement is en�tled Scherzo. Barnes claims that “I have always wanted to write a waltz,” and that is how this movement is cast, in a modified rondo form in D minor. In contrast to the mood of the first movement, the scherzo is a deligh�ul posy of expansive melody, splashy color, humor and rhythm. The third movement, which is in a modified ter�ary form, is en�tled Night Music. In contrast to the scherzo, this movement begins with a mysterious incanta�on, first displayed by solo Alto Flute. The music becomes even darker and more mysterious, while overall the movement effec�vely expresses an “otherworldly” mood, ending with a solo soprano offstage which suddenly emerges, eerily singing a modified version of the opening incanta�on. Cast in sonata-allegro form, the fourth movement is most definitely a rousing Finale, beginning with a brilliant fanfare and undergoing several mood transforma�ons before emerging into the final coda, ending the symphony with an energe�c splash of color.
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