For the Fallen

Instrumentation: Amp. trumpet and stereo electronics; Amp. cello and stereo electronics; Amp. flute and stereo electronics; Amp. soprano sax and stereo electronics
Duration: 7:02
Commissions: Ivano Ascari (Trumpet); Madeleine Shapiro (Cello); Susan Fancher (Soprano Sax); Lindsey Goodman (Flute)
Premieres:

10/5/12
Ivano Ascari, Mondi Sonori, XV Edizione Trento
Conservatorio Bonporti Trento, Trento, Italy

4/4/13
Madeleine Shapiro, Cellotronics
Elebash Hall, New York, NY

3/11/16
Susan Fancher, NASA (North American Saxophone Conference)
Lubbock, TX

9/9/17
Lindsey Goodman, Pearl Arts Studio
Pittsburgh, PA

Program Note:
For the Fallen, for trumpet and electronics, was originally commissioned by Ivano Ascari, to whom it is dedicated. After discussing the project with him, I decided to take my inspiration from, and create the electronics from, recordings of the Capana dei Cauditi (Bell for the Fallen) in Rovereto, Italy, his home town. Later called Maria Dolens, the bell was originally cast from canons melted after World War I and is one of the largest ringing bells in the world. Built between 1918 and 1925, to commemorate the fallen in all wars, it is rung daily in their memory. The bell has been recast twice, and is now located on Colle di Miravalle, overlooking the city of Rovereto. While the political situation changes in its particulars, the topic is still all too timely, and I composed For the Fallen while thinking both of those who fell in World War I, and those who have fallen in war since then.

The trumpet part sometimes blends with the bell sounds, ringing for the fallen, at other times it rises in mourning, even wild keening, before closing with a sense of resignation. The original bell recordings were kindly provided by engineer Marco Olivotto. In performance, the sound of the trumpet should blend with that of the electronics. Ivano Ascari gave the premiere at the Mondi Sonori Festival in Trento, Italy, hosted by the Conservatorio Bonporti Trento.

For the Fallen, in the version for amplified cello and electronic playback, was commissioned by cellist Madeleine Shapiro. The sound of the amplified cello should blend with the electronics. Another version, for soprano saxophone and electronics, was commissioned by Susan Fancher, and been recorded by Drew Whiting. The fourth version of For the Fallen, for amplified flute and electronics, was composed for Lindsey Goodman, who premiered and recorded it. The instrumental part sometimes blends with the bell sounds, ringing for the fallen, at other times it rises in mourning, even wild keening, before closing with a sense of resignation. The original bell recordings were kindly provided by engineer Marco Olivotto. In performance, the sound of the amplified solo instrument should blend with that of the electronics. For more information, visit www.judithshatin.com. –JS

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