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SYMPHONIC DANCE - amp;_Fox_Music/Scores_files/New Gen... · PDF fileSymphonic Dance No. 5, ... followed in 1957 by winning the second ABA Ostwald Award for his Symphonic Suite. Although

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Text of SYMPHONIC DANCE - amp;_Fox_Music/Scores_files/New Gen... · PDF fileSymphonic Dance No....

  • CONDUCTOR'S SCORE

    SYMPHONIC DANCE NO. 5

    "New Generation"

    INSTRUMENTATION

    Piccolo 1st Flute 2nd Flute 1st Oboe 2nd Oboe English Horn E-flat Clarinet 1st B-flat Clarinet 2nd B-flat Clarinet 3rd B-flat Clarinet E-flat Alto Clarinet B-flat Bass Clarinet B-flat Contrabass Cl.

    1st Bassoon 2nd Bassoon 1st E-flat Alto Sax. 2nd E-flat Alto Sax. B-flat Tenor Saxophone E-flat Baritone Sax. 1st B-flat Trumpet 2nd B-flat Trumpet 3rd B-flat Trumpet 1st Horn in F 2nd Horn in F 3rd Horn in F 1st Trombone

    2nd Trombone 3rd Trombone Euphonium B. C. Euphonium T. C. Tuba Timpani Percussion (Snare Drum, Bass Drum) Cymbals Crash Cymbals, Susp. Cymbal, Sock Cymbal) Tenor Drum Keyboard Percussion (Bells, Xylophone, Vibraphone, Triangle)

    Score and Parts CD-Rom . . . . . . . . . . . . . . . . . . . . . . . . . $87.00

    Ars Longa Vita Brevis

  • Clifton Wiliams: Symphonic Dance No. 5 "New Genration" Symphonic Dance No. 5, New Generation, is one of a group of five originally commissioned by the Minnie Stevens Piper Foundation commemorating the twenty-fifth anniversary of the San Antonio Symphony Orchestra, which first performed the entire set of dances on January 30, 1965 under that baton of the composer. Williams transcribed Dances 2 The Maskers, 3 Fiesta, and 5 for symphonic band, although only 2 and 3 were published initially. The composer quipped that 'New Generation' is the first piece of mine to be rejected by a publisher in more than fifteen years. He added that Symphonic Dance No. 5 "is a wedding of symphonic music and old time big band jazz into one style. Part of it is supposed to be humorous; a facetious take-off on the big band style of the 1940s, and then it has my usual big wind-up" Owing to its level of difficulty, Symphonic Dance No. 5, New Generation is only now being offered for the first time in the current edition by Maestro & Fox Music. James Clifton Williams (1923 1976) was a gifted musician who excelled in many areas: composer, conductor, clinician, teacher and mentor. Most widely acclaimed as a composer of serious music for the concert wind band, he composed in many forms, and his prizes, awards, and honors were numerous. His compositions in this medium have become basic repertory for American, Canadian, European, and Japanese Bands. He was a true product of the American school band movement and one of the most prolific composers of serious contemporary music for the wind band. Born in the small town of Traskwood, Arkansas, Williams spent his junior high and high school years in Little Rock. It was during these years that he began experimenting with composition. Among his most notable high school works were a symphony for orchestra and a composition for band performed as processional music at his own commencement. After graduation, Williams attended Louisiana Tech University for one year and in 1942 joined the U.S. Air Force (Army Air Corps at that time) as a bandsman, for whom he composed many original works. After the war, he enrolled at Louisiana State University where he was reunited with his high school band director, L. Bruce Jones. After graduating from college, he married and relocated to Rochester, N.Y. to begin work on his masters degree at the Eastman School of Music. There he studied composition with Bernard Rogers and was greatly encouraged by Howard Hanson. After completing his graduate studies in 1949, Clifton Williams began his seventeen year tenure at the University of Texas at Austin. He also played horn in the San Antonio Symphony (appearing more than thirty times as guest conductor) and the Austin Symphony. During his tenure at UT he produced a succession of compositions for orchestra and band. He gained national recognition in 1956 when his Fanfare and Allegro won the first American Bandmasters Ostwald Award for band composition. He followed in 1957 by winning the second ABA Ostwald Award for his Symphonic Suite. Although he enjoyed composing for orchestra and considered it the greatest instrument, Williams began concentrating most of his compositional energies to the creation of music for the wind band. In 1966, Williams accepted a position as chairman of the department of theory and composition at the University of Miami where he remained until his death in 1976. Despite a heavy teaching load, Williams continued to compose on a limited basis. Commissions and interest from publishers were plentiful. An unusually gifted conductor, Williams skilled and stimulating interpretation of contemporary music kept him in ever increasing demand as a guest conductor, clinician and lecturer. Included among his many honors are election to membership in the American Bandmasters Association, Phi Mu Alpha Sinfonia National Professional Music Fraternity, and the honorary degree of Doctor of Music conferred by the National Conservatory of Music at Lima, Peru in 1964. Williams health began to decline in 1974; his bladder cancer, diagnosed in 1970, had returned. Despite the persistent pain, he continued to compose and believed he would win his battle with cancer, but after 18 months of inexorable pain, he passed away just a few weeks short of his fifty-third birthday. His early and untimely death brought an end to one of the most creative talents in the wind band arena.

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    2013 Clifton Williams Publications, Inc. Maestro & Fox Music Sole DistributorsAll Rights Reserved. Printed from PDF.

    Ars longaVita brevis

    CONDUCTORSYMPHONIC DANCE No. 5

    "New Generation"CLIFTON WILLIAMS

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