This piece was my introduction to Maslanka's music. We played it in Wind Ensemble at Tennessee Tech. Needless to say, I've since been obsessed with his music, especially his orchestration technique. What an incredible gem he was, and still is through his music. Bravo for taking on the task of making a reduction of this score.
@@AnthonyOTooleMusic I used this video to teach this song. Thank you so much. My middle school band is doing the first movement, it was helpful having this as a resource to teach them the tricky materials.
This piece utterly changed my life the first time I heard it. Such an amazing showpiece of emotion and virtuosic writing by David. Every time I hear it I can't help but just succumb to its greatness.
Wow, this brought back memories! I had forgotten I played piano for this piece in my symphonic band. As always, thank you for doing these score studies! They are always such a joy.
always loved Maslanka's music, i never got to meet David, but, we played Traveler and his son Matt was helping us with the music, thank you for doing the score studies, I enjoy every single second of them.
I got to play this as a clarinet player. The first movement especially always gave me the chills. Shades of John Williams's Hymn to the Fallen there. Great video as always, Anthony.
this was the first maslanka piece I ever played... once in a high school honor band, and again with my university's wind symphony (two completely different performances in terms of quality lol) This is easily my favorite modern wind band piece, no doubt about it. Playing the first movement has brought me to tears on multiple occasions (particularly the swell to the section in E major... such a shimmery and underused key. I play saxophone so getting to go ham on the glisses was so fun) thank you so much for your continued work in score analysis. as an aspiring music educator and conductor, these videos are so fascinating and helpful
I've heard this piece before, but the score and your analysis tells me i'm woefully out of practice listening to concert works. This will definitely help me along. Thank you for posting; subbed!
I was just thinking I would love to see you cover this piece. Played it as a sophomore in high school (xylo+vibes). Thanks for putting out great content!
Great analysis! This was also my introduction to Maslanka's music, this was easily one of the most enjoyable pieces to perform. His orchestration was brilliant and really knew how to utilize the entire band in all its glory.
been watching this channel for 4/5 years now. Love seeing you cover all ranges of wind pieces. played bass tbone on this for ilmea all state 3 years ago, was a blast! Love the work you do. always find myself returning to your channel!
What I love about Maslanka is that his harmonic language is so consistent yet every piece is distinct. At times this piece could be mistaken for Requiem (it’s the lingering Cm to Bb movement)
I am and am gonna introduce Maslanka to my wind ensemble next season. I'm gonna be playing his 8th symphony with a group in the South Bay, so I'm excited for that.
Great observation! Interesting that although Maslanka really a percussionist, percussion really informed his compositional style throughout his career. Perhaps his work with Leigh Stevens influenced this.
I'm surprised people don't call Maslanka a neo-Renaissance/Baroque composer, he's literally written an entire mass, nearly every piece he writes is bound to have some type of hymn or chorale-texture built into it, Liberation has Gregorian chant with very little alteration, and many of his works are guaranteed to be ternary in form. Though he's claimed that he considers himself Romantic stylistically (definitely has the grandeur and energy and expanded harmony) and given his religious statements it's easy to see why this isn't the case. Still though, you mention the overlap at around 5:52 and 14:55 (and the canon at 11:05), which could be seen as stretto or call and response (found in countless places in this symphony), authentic and plagal cadences everywhere, very strong tonal center, pedal drones, all techniques of the Renaissance and Baroque eras. 11:51- 12:01 just came back from learning about interval cycles this could be considered cyclic if I'm correct?
You make a lot of good points, I personally think a lot of band compositions and their composers rely too heavily on thematic borrowing such as utilizing hymn tunes and chants. In my own compositions I rarely if ever quote other materials. But the bulk of the more popular band compositions tend to just be a very elaborate arrangement of a hymn or something to that effect. I'm not personally a fan of Maslanka's music since he typically does this in every piece. I also would hesitate to agree that his music is in a Romantic style, and tend to side with you first statement that he leans on a lot of Renaissance techniques.
@@AnthonyOTooleMusic Every piece? Not true at all. A lot of his music is twentieth-century in style - it's not Romantic, but calling it Renaissance or Baroque is going the wrong direction! Take a listen to his marimba music - Arcadia II, the concerto with wind band, Variations on Lost Love, My Lady White, and A Solemn Music.
do you mean Roman Numeral Analysis (RNA)? My intent is for these to be as accessible as possible and RNA requires a certain prerequisite knowledge that I can't assume all viewers have. Also a lot of modern works are awkward to put into RNA with a lot of substitutions, static modulations in quick succession, etc etc you'd have to know all the notation and short hand for those not just basics.
@@Trenton.D I think roman numerals are almost always less effective at communicating harmony than lead sheet notation. Especially with music like this that rapidly cycles through tonal centers or even doesn't sit in 7 note key like much of the second movement
![Maslanka - Symphony No. 4 [Score]](/img/n.gif)
This piece was my introduction to Maslanka's music. We played it in Wind Ensemble at Tennessee Tech. Needless to say, I've since been obsessed with his music, especially his orchestration technique. What an incredible gem he was, and still is through his music. Bravo for taking on the task of making a reduction of this score.
it was quite a task, these long pieces really require a lot of time.
@@AnthonyOTooleMusic I used this video to teach this song. Thank you so much. My middle school band is doing the first movement, it was helpful having this as a resource to teach them the tricky materials.
This piece utterly changed my life the first time I heard it. Such an amazing showpiece of emotion and virtuosic writing by David. Every time I hear it I can't help but just succumb to its greatness.
the melodic contour of the saxophone solo at 13:15 is reminiscent of amazing grace... yet another spiritual tie-in to the piece....
Wow, this brought back memories! I had forgotten I played piano for this piece in my symphonic band.
As always, thank you for doing these score studies! They are always such a joy.
That Piano part is pretty integral to this piece! Glad you enjoy them and thanks for commenting
always loved Maslanka's music, i never got to meet David, but, we played Traveler and his son Matt was helping us with the music, thank you for doing the score studies, I enjoy every single second of them.
my pleasure! I never met him either but he was a very kind and generous man from all accounts.
I got to play this as a clarinet player. The first movement especially always gave me the chills. Shades of John Williams's Hymn to the Fallen there. Great video as always, Anthony.
this was the first maslanka piece I ever played... once in a high school honor band, and again with my university's wind symphony (two completely different performances in terms of quality lol)
This is easily my favorite modern wind band piece, no doubt about it. Playing the first movement has brought me to tears on multiple occasions (particularly the swell to the section in E major... such a shimmery and underused key. I play saxophone so getting to go ham on the glisses was so fun)
thank you so much for your continued work in score analysis. as an aspiring music educator and conductor, these videos are so fascinating and helpful
Wow the timing on this - playing it this spring in community band!
serendipitous i suppose
I've heard this piece before, but the score and your analysis tells me i'm woefully out of practice listening to concert works. This will definitely help me along. Thank you for posting; subbed!
I just played this piece in the NDSU Wind Symphony and just fell in love with it!! Thank you so much!!
You're very welcome!
Hi Owen 😛
also played this with NDSU. Thank you for this analysis!!
boooo North Dakota boooo
@@fashionablystupid haters gonna hate lol
I was just thinking I would love to see you cover this piece. Played it as a sophomore in high school (xylo+vibes). Thanks for putting out great content!
Glad you enjoy the videos, and thanks for commenting
I just played the same part for a band clinic yesterday and I pretty much died
Great analysis! This was also my introduction to Maslanka's music, this was easily one of the most enjoyable pieces to perform. His orchestration was brilliant and really knew how to utilize the entire band in all its glory.
just played this piece for NC all state and it is truly life changing
been watching this channel for 4/5 years now. Love seeing you cover all ranges of wind pieces. played bass tbone on this for ilmea all state 3 years ago, was a blast! Love the work you do. always find myself returning to your channel!
LOVE IT! Thank you for doing these! I learn so many great new scores!
beat 2, four from the end (the Db) always gives me chills
Just played this with the Rutgers Symphonic Winds!
Cool who conducted?
Hi, Zach! XD
The first piece I ever played in a college ensemble. That was a great night :)
what college?
@@AnthonyOTooleMusic Cleveland State University Wind Ensemble, with our wonderful conductor Birch Browning.
@@expilectakunai oh great, I've met Birch at a Midwest Clinic before nice guy and great conductor
YES! Thank you!
youre welcome!
played this in my high school wind ensemble!
Instrument?
@@AnthonyOTooleMusic Trumpet 2
Me too. Back in 2018. Was my first year in wind ensemble after being in symphonic band the previous year. I will never forget this song!
Nicely done! Very insightful. Thank you.
What I love about Maslanka is that his harmonic language is so consistent yet every piece is distinct. At times this piece could be mistaken for Requiem (it’s the lingering Cm to Bb movement)
Playing timpani this quarter at WWU!
This is so exciting!!!
you a big Maslanka fan?
I am and am gonna introduce Maslanka to my wind ensemble next season. I'm gonna be playing his 8th symphony with a group in the South Bay, so I'm excited for that.
@@1george08 awesome, SWE?
Yeah :)
THANK YOU
My pleasure, consider contributing to the patreon is you like this kinda stuff and wanna see more
Oh my fuck yes
Could you Maslanka's Hymn for World Peace next? I'm absolutely crazy about his music, specifically that one. I love your analysis.
Maybe in the future, I can’t do two Maslanka’s in a row. Consider becoming a patreon supporter if you wanna influence the works I feature
Please consider doing “We ever see of stars” by N. Jennings White! Such a beautiful work with a cacophony of percussion.
Please do The Frozen Cathedral or Wine-Dark Sea by John Mackey!
donate to the patreon
Yes!!!
Awesome analysis! Could you do Lauds by Ron Nelson?
His music is often a mix of Warren Benson and Alan Hovhannes.
Great observation! Interesting that although Maslanka really a percussionist, percussion really informed his compositional style throughout his career. Perhaps his work with Leigh Stevens influenced this.
have you covered the seeker or first light by maslanka? i think those are good pieces to dissect as well :)
I'm surprised people don't call Maslanka a neo-Renaissance/Baroque composer, he's literally written an entire mass, nearly every piece he writes is bound to have some type of hymn or chorale-texture built into it, Liberation has Gregorian chant with very little alteration, and many of his works are guaranteed to be ternary in form.
Though he's claimed that he considers himself Romantic stylistically (definitely has the grandeur and energy and expanded harmony) and given his religious statements it's easy to see why this isn't the case.
Still though, you mention the overlap at around 5:52 and 14:55 (and the canon at 11:05), which could be seen as stretto or call and response (found in countless places in this symphony), authentic and plagal cadences everywhere, very strong tonal center, pedal drones, all techniques of the Renaissance and Baroque eras.
11:51- 12:01 just came back from learning about interval cycles this could be considered cyclic if I'm correct?
You make a lot of good points, I personally think a lot of band compositions and their composers rely too heavily on thematic borrowing such as utilizing hymn tunes and chants. In my own compositions I rarely if ever quote other materials. But the bulk of the more popular band compositions tend to just be a very elaborate arrangement of a hymn or something to that effect. I'm not personally a fan of Maslanka's music since he typically does this in every piece. I also would hesitate to agree that his music is in a Romantic style, and tend to side with you first statement that he leans on a lot of Renaissance techniques.
@@AnthonyOTooleMusic Every piece? Not true at all. A lot of his music is twentieth-century in style - it's not Romantic, but calling it Renaissance or Baroque is going the wrong direction! Take a listen to his marimba music - Arcadia II, the concerto with wind band, Variations on Lost Love, My Lady White, and A Solemn Music.
Does anyone know the instrumentation for this symphony?
flute 1-2, clarinet 1-3, oboe 1-2, bassoon, bass clarinet, contra-alto clarinet, alto sax 1-2, tenor and bari sax, horn 1-4, trumpet 1-2, trombone 1-3, euph, tuba, double bass, piano, timpani, and there's 4 perc parts with instruments i don't remember
7:05 makes me want to die ( in the best way) ... '_'
Can you do this with Roman numerals…
do you mean Roman Numeral Analysis (RNA)? My intent is for these to be as accessible as possible and RNA requires a certain prerequisite knowledge that I can't assume all viewers have. Also a lot of modern works are awkward to put into RNA with a lot of substitutions, static modulations in quick succession, etc etc you'd have to know all the notation and short hand for those not just basics.
@@AnthonyOTooleMusic but it’s interesting for people who have taken at least a year or multiple years of theory.
@@Trenton.D I think roman numerals are almost always less effective at communicating harmony than lead sheet notation. Especially with music like this that rapidly cycles through tonal centers or even doesn't sit in 7 note key like much of the second movement
Poor low instruments in 1st mov 🙀🙀
"promosm"