Images of the Adirondacks, Op. 25 - Adirondack Wind Ensemble

World premiere of "Images of the Adirondacks" performed by the Adirondack Wind Ensemble on Sep. 22, 2024 at E. Glenn Giltz Auditorium in Plattsburgh, New York.
Sheet music available at: www.iandeterli...
Commissioned by the Adirondack Wind Ensemble
Personnel:
Flute
Robin Cameron-Phillips (piccolo), Retired Music Faculty, SUNY Plattsburgh
Trevor White, Music Graduate, SUNY Plattsburgh
Christina Fray, Music Faculty, Saranac Middle School
Juliet Wivell, Music Education Graduate, Colorado State University
Oboe
Lija Treibergs, Research Associate, Adirondack Watershed Institute, Paul Smiths, NY
Clarinet
Janine Scherline, Music Faculty, SUNY Plattsburgh
Diane Bargiel, Retired Music Faculty, SUNY Adirondack
Edna Stroinski, Music Graduate, Crane School of Music, SUNY Potsdam
Ryan Nerp, Music Education Graduate, SUNY Fredonia
Alex Malin (alto), Conductor, Community String Orchestra of the Adirondacks, Lake Placid
Margali Grenier (bass), Director, Plattsburgh Community Clarinet Choir
Bassoon
Molly Finkel, Music Graduate, Miami University (Ohio)
Saxophone
Todd Pray (alto), Music Faculty, Peru Central Schools
Rachel Leach (alto), Music Faculty, Keene Central Schools
Kevin A. (alto), Care Coordinator, Alzheimer's Support Initiative, SUNY Plattsburgh
Linda Sullivan (tenor), Retired Music Faculty, Plattsburgh City Schools
Lily lanaconi (baritone), Music Faculty, Malone Central Schools
Trumpet
Keith Kogut, Music Faculty, Saranac Lake High School
Jacob Rushlow, Director of Operations, Lake Placid Sinfonietta
Marjorie Kelting, Music Faculty, Malone Central Schools
Jeanette Woodruff, Retired Music Faculty, Saranac Central Schools
Bill Long, Retired Campus Machinist, SUNY Plattsburgh
French Horn
Mary Schlanger, Master of Music in Horn Performance, Crane School of Music
Tom Whitney, Chief Engineer, Vermont Mechanical Inc., Williston, VT
Bruce McRae, Retired Director of Instrumental Music, Fairfax, VT
Nancy Liotta, Music Faculty, Saranac Central Schools
Eric Neilsen, Photographer, Castleton, VT
Trombone
Mike Nystoriak, Music Faculty, Beekmantown Central Schools
Andrew West, Chiropractor, Champlain, NY
Tricia Jackson (bass), Graduate, Crane School of Music, SUNY Potsdam
Euphonium
Eric Weller, Music Faculty, Plattsburgh City Schools
Tuba
Benjamin Cepulo, Music & Music Arts Management Graduate, SUNY Plattsburgh
Percussion
Alison Menard, Music Faculty, Northeastern Clinton Central Schools
Mike Lewandowski, Music Faculty, SUNY Plattsburgh & Chazy Central Rural School
Nelson Moore, Music Graduate, SUNY Plattsburgh
Dario Morales, Senior, Plattsburgh High School
Conductor
Daniel Gordon, Professor of Music, SUNY Plattsburgh
Notes
In January 2024, Dan Gordon asked if I would be interested in writing a new piece for the Adirondack Wind Ensemble to premiere. He explained that the theme of the concert is "home in the Adirondacks," and he thought I might have an interesting perspective, having recently moved to the area.
Mvt. I. Autumn Colors
Autumn is by far my favorite season: the colors, the smells, the cooler temperatures-and it is an exceptionally magical time here in the Adirondacks. I love being outside in nature, and this opening movement is a musical depiction of an early morning walk in the woods. The cold morning sunlight illuminates the frost-covered leaves and twisted branches of majestic oaks and maples. Rising and descending melodies represent leaves that seem to almost dance as they’re carried off by the wind, creating waves of browns and oranges between the trees. Various sections of this movement are punctuated by rhythmic motifs symbolizing acorns falling to the ground.
Mvt. II. Mountain Sunset
I’m always in awe of summer sunsets where the sky seems to erupt with brilliant oranges, reds, and purples. This movement begins with an overcast sky; the clouds float and churn in the distance. About halfway through the movement, the clouds finally part, allowing the warm sun to shine through a kaleidoscope of clouds. To me, a sunset becomes gradually more and more dramatic up until the very last moment when the last sliver of sun disappears behind the horizon.
Mvt. III. Tempest
This movement is about my very first trip to the Adirondacks. In August 2023, I drove to Plattsburgh, New York, to conduct the premiere of a new piece I wrote for the Plattsburgh Community Clarinet Choir. Since the reason for my trip was a clarinet choir performance, I decided to start the third movement with the clarinet section. The playful, light accompaniment reflects my initial optimism and excitement of driving through the beautiful Adirondacks. The movement depicts the weather that accompanied my journey; patches of light rain and sunlight, the thin layer of seam that rose from the highway, then and intensifying rain that culminated in a hailstorm.

[@iandeterlingchannel]

Sheet music available at: www.iandeterling.com/images-of-the-adirondacks

[@polystrophicmusic]

Apparently, I can't comment. I wrote a long comment and it disappeared. Anyway, I liked it.

[@polystrophicmusic]

Amazing presentation of the score. How did you do that? And a live performance! You're the real thing. Congratulations.

[@michaelball9393]

You and Gordon have done a great thing. Jesus.

[@walterharley6049]

Pure Excitement and Colorful!🎼🎶

[@iandeterlingchannel]

Thank you so much!

[@michaelball9393]

You have outdone yourself. I'm going to play this way up over the bluetooth speaker next tine I have the space to myself. It is rich abd interesting in absolute terms.

[@polystrophicmusic]

Amazing presentation of the score. How did you do that? And a live performance. You're the real thing. You deserve more than 16 views. Maybe it's because I got in early. Bravo!

[@iandeterlingchannel]

Thank you very much! I use Sibelius to create the score, and then I used Final Cut Pro to create the 'flying away page turn' effect. Thanks!!

[@michaelball9393]

You took a lead from Mussogorsky's Il Castello Vechio from Pictures at an Exhibition, moved it through central European tradition and tramsported it to America via Sousa et al. That is noble rework and craftsmanship, no more harm than Ravel did Mussorgsky, and you took it for inspiration rather than respiration. Then you move on and you drag in Bach and and several other uncles I cannot name for sure, sone of the harmony as incredibly modern as Logical Drift and Jeff Oster. And Copland as a kind of touchstone or compass. You are DOING it. MILES FROM BORING.

[@iandeterlingchannel]

Thank you so much for this very sincerely interesting assessment! Whenever I give a talk or lecture of composing, I usually try to at least touch on two points: 1. I view composers to be more akin to 'explorers' than 'creators' and 2. Composers/artists are like sponges, absorbing everything they're exposed to, and that exposure seeps its way into their work one way or another (sometimes in the form of what to do, many times in the form of what to avoid doing). Now, there were a couple of pieces that I did have in mind for a few compositional techniques and effects - but The Old Castle was not one of them (not consciously, anyway...) but I am very familiar with that piece! I played the saxophone part back in undergrad, and I've adapted it multiple times for various ensembles. However, there are a number of times where I used open 5ths as a temporary drone - is that the connection you are referring to? Or something else specifically?

[@michaelball9393]

@@iandeterlingchannel The melody was not a knock off, but the atmosphere and method of that piece sprang to my mind with...huh, kind of like Il Vecchio Castello. Wow. P@E is likely my favorite composition of the last 200 years. It has taught me a lot about a lot. That you have previously recognized it as valuable also is a testament to its craftsmanship. I knew you liked Mussorgsky listening to your prior work. It is not your only influence. Influence is connection, influence is appropriate, it is a treasure, though for the artist it is also a source of anxiety. We wish to initiate. But to participate in the great river of music is no small thing, however much we wish to perhaps be recognized as a standalone genius. I decided a while ago, I will never be a Bach, but if I work really really hard I could be a Buxtehude. I admire your work, even to the degree I prefer my own. I wish every success, for it will be yours.