GAGARIN by NIGEL CLARKE The Studio Music studiomusic LONDON
GAGARIN by NIGEL CLARKE GAGARIN was written or Dr. Matthew George and the University o St. Thomas symhonic wind Ensemble in Minnesota, USA. It is written in three movements: Road to the Stars Orbit Homecoming Yuri Alexeyevich Gagarin was the Soviet arm boy who became the irst man in sace. In Gagarin I have tried to cature the sirit o the sace race. Road to the Stars describes the momentous launch o the irst manned sacecrat, caturing the excitement o those involved and the strength o Gagarin s character. Orbit looks at the exhilaration that Gagarin might have exerienced and the imression that seeing Earth rom sace would have had on him. Homecoming is a celebration in the orm o a Russian olk-dance. At various moments in the work I use ragments o Sing to the Motherland, Home o the Free (now revised and adoted as the Russian national anthem). Gagarin was born on 9 March 194, and this work celebrates his 0th anniversary. It was not until 191 that the wider world heard his name. His short lie sanned the 20th century s most traumatic times rom the turmoil o the Second World War in Russia, through to the cold war, at the height o which Gagarin served as a oicer in the SovietAirorce. It was against the backdro o the cold war that the two main ost war suerowers cometed to launch the irst man into sace. Twenty o the Soviet Union s excetional test ilots were selected rom a list o over 2000 and ut through arduous training. Only one was to be chosen to be the irst cosmonaut in sace. Gagarin was the man the authorities selected him or this historical light, the decision being taken only a ew weeks beore the actual launch. His rocket, now world amous, was Vostok 1. The launch took lace in a secially made launch station in the south o the reublic o Kazakhstan at Baikonur. There were many disasters and deaths that aved the way to this event. Only weeks beore the launch, 190 men died when a rocket exloded at the Baikonur site. It was doubtul whether Gagarin knew about this as the whole roject was shrouded in secrecy. By today s standards the whole launch rocess was rimitive, but on 1st Aril 191 Yuri Gagarin orbited Earth or 108 minutes beore returning to Earth and landing near the village o Smelkovka in the Saratov region. His return to Earth was reorted to be witnessed by one or two local country eole.as knowledge o the mission was conined to a rivileged ew, or them it must have been an unnerving been an unnerving sight. Gagarin s exerience obviously had a roound eect on him: ater his orbit he said Circling the earth in the orbital saceshi I marvelled at the beauty o our lanet. Peole o the world, let us saeguard and enhance this beauty - not destroy it! In his own oicial account o events Road to the Stars he describes that at the moment o launch he heard an ever-growing din and elt the rocket tremble all over beore it slowly lited o. He also soke o a huge range o musical tones, itches and timbres that no comoser or set o musical instruments or voices could ever dulicate. Gagarin became a national hero ater his courageous mission, but although he gained world-wide recognition, he was never allowed to ly in sace again. He died, tragically, on 28th March 198 whilst lying his MiG-15UT1 jet. NIGELCLARKE began his musical career as a trumeter but a develoing interest in comosition, stimulated by the New Polish School o comosers, took him to the Royal Academy o Music to study with Paul Patterson. Here his striking originality and caacity or hard work were recognised by several signiicant awards including the Josiah Parker Prize adjudicated by Sir Michael Tiett and the Queen s commendation o Excellence - the Royal Academy o Music s highest distinction. A British Council Scholarshi enabled him to articiate in the 8th Summer School or Young Comosers in Poland, where he studied the works o Penderecki and Lutoslawski. Nigel Clarke was reviously Head o Comosition a the London College o Music and Media and is currently a guest roessor at the Xinjiang Arts Institute in north-west China and Associate Comoser to the Royal Military School o Music, Kneller Hall. In recent years Nigel has co-written the soundtracks to a number o major eature ilms. studiomusic LONDON
Orchestration Piccolo Flutes 1,2, Oboes 1,2 English Horn E lat Clarinet B lat Clarinets 1,2, E lat Alto Clarinet (otional) B lat Bass Clarinet Bassoons 1,2 Double Bassoon E lat Alto Saxohone 1,2 B lat Tenor Saxohone E lat Baritone Saxohone B lat Trumets 1,2,,4 1,2,,4 Tenor Trombones 1,2 Bass Trombone Euhonium (1) Tuba (2) Double Bass Har (or synthesiser) Piano (or Clavinola) Choir (otional Timani (1 layer) Percussion (5 layers) PERCUSSION INSTRUMENTS REQUIRED: 2 Snare Drums, Tenor Drum, Bass Drum, Large Triangle, Whi, Sorts Whistle 2 Susended Cymbals, Crash Cymbal, Lengths o Metal Scaolding (S.M.L.)*, Tam-Tam, Xylohone, Vibrahone, Glockensiel, Tubular Bells, Drum Kit, Snare Drum, Susended Cymbal, High Hat, Pedal Bass Drum Duration 14 0 PERFORMANCE DIRECTIONS Only use alternative cue orchestration i the aroriate instruments are not available. All Instruments in the score are transosed. All trills in the score are to be treated as semitone trills. All metronome and temo markings are intended as an aroximate guide. NOTES ON INSTRUMENTATION. The Piano and Har arts are deemed imortant. A Clavinola or sohisticated synthesiser is an accetable alternative to a Piano. The Har art may also be layed on a suitable synthesiser i a real har is unavailable. (A suitable art that can be erormed on a synthesiser has been added to the set o erormance set. Gagarin is scored in a way that covers the Elat Alto Clarinet art at all times, thus, i the ensemble does not have this instrument, the erormance is not unduly aected. CHOIR OPTIONS Choir Parts in the Ensemble In the second movement, Orbit, there is an otional choir art. This may be added at the conductor s discretion, but is not crucial, as the work can be erormed without voices. All instrumentalists that are not required to lay during choir entries will ind the vocal line written in concert itch into their art (treble cle). It is u to the conductor to balance the numbers o male and emale singers so no one gender dominates the texture. The syllable aah should be used throughout this movement thus giving an ethereal atmoshere to the music. Onstage Choir I the work is to be erormed with a choir external to the ensemble, the instrumentalists vocal arts should be let out. The syllable aah should be used throughout this movement thus giving an ethereal atmoshere to the music. It is u to the conductor to distribute the three note chords between male and emale voices. In this erormance version the choir is imortant to the overall texture. Synthetic or Samle Choir The choir art could be gently enhanced or erormed by using a convincing choir samle, reerably rom a samler generating choir libraries such as Peter Siedlecek - Advanced Choir or Miroslav Vitous - Symhony o Voices. Another otion is to use a sohisticated synthesiser keyboard such as Kurzweil, Roland or Korg. A synthetic or samled choir may also be added to otions 1 and 2 to enhance the overall texture. studiomusic LONDON
Piccolo Flutes Oboes 2 English Horn Eb Clarinet Bb Clarinets Eb Alto Clarinet Bb Bass Clarinet Bassoons Double Bassoon Eb Alto Saxohones 2 Bb Tenor Saxohone Eb Baritone Saxohone Bb Trumets 4 4 Tenor Trombones Bass Trombone Euhonium (Baritone) Tuba Har Piano Double Bass Timani Allegro q = c.12 Bb Percussion To Dr Matthew J. George and the University o St. Thomas Symhonic Wind Ensemble, St. Paul, Minnesota, U.S.A. GAGARIN Three Symhonic Scenes or Concert Band Road to the Stars NIGEL CLARKE sim. izz. S.Dr. (snare on) / Sus. Cym. L.Tri. B.Dr. (use S.D. sticks) Glock. T.Bells (T.Bls.) Coyright 2004 by Studio Music Comany, Cadence House, Eaton Green Road, Luton, Bedordshire LU2 9LD, England All Rights Reserved Wind Band Score - ISMN: M-050-040-5 Printed in Great Britain
4 Picc. Fls. Obs. Eng. Hn. Eb Cl. Bb Cls. Eb Alto Cl. Bb Bass Cl. Bssns. D. Bssn. Eb Alto Sax.. Bb Ten. Sax. Eb Bar. Sax. 2 Bb Tts. 4 4 Trbs. B. Trb. Euh. (Barit) Tubas H Pno. D. Bass Tim. Perc. B.Dr. / Sus.Cym. 4
Picc. Fls. Obs. Eng. Hn. Eb Cl. Bb Cls. Eb Alto Cl. Bb Bass Cl. Bssns. D. Bssn. Eb Alto Sax.. Bb Ten. Sax. Eb Bar. Sax. 2 Bb Tts. 4 4 Trbs. B. Trb. Euh. (Barit) Tubas H Pno. D. Bass Tim. 11 11 Perc. R.H. R.H. R.H. R.H. R.H. R.H. 5 Cl.Cym.
Picc. Fls. Obs. Eng. Hn. Eb Cl. Bb Cls. Eb Alto Cl. Bb Bass Cl. Bssns. D. Bssn. Eb Alto Sax.. Bb Ten. Sax. Eb Bar. Sax. 2 Bb Tts. 4 4 Trbs. B. Trb. Euh. (Barit) Tubas H Pno. D. Bass Tim. rit. meno mosso (q = c.11) 1 20 Perc. easante easante easante R.H. R.H. cris T.Tam T.Bls.
Picc. 'Vostok 1' 2Quasi March ( q = c.11) 2 Fls. Obs. Eng. Hn. Eb Cl. Bb Cls. Eb Alto Cl. Bb Bass Cl. Bssns. D. Bssn. Eb Alto Sax.. Bb Ten. Sax. Eb Bar. Sax. 2 Bb Tts. 4 4 Trbs. B. Trb. Euh. (Barit) Tubas H Pno. D. Bass Tim. Perc. T.Tam (use T.Tam beater)