Avalanche

by
Michael Nunes

Ensemble: Wind Ensemble

Grade: 6

Duration: 10:30

Year of Composition: 2020

Commissioned by: University of Toronto Wind Ensemble (Gillian MacKay, director)

Premiered by: University of Toronto Wind Ensemble (Gillian MacKay, director)

Date of Premiere: February 12, 2020

Publisher: self-published

Available: Yes

How to Acquire: Composer

Links:

Web Page

Perusal Score 

Instrumentation

Piccolo
Flutes 1,2
Oboes 1,2
English Horn (cued in Oboe 2)
Bassoons 1,2
Contrabassoon
E♭ Clarinet
B♭ Clarinets 1,2,3
B♭ Bass Clarinet
B♭ Contrabass Clarinet
B♭ Soprano Sax
E♭ Alto Sax
B♭ Tenor Sax
E♭ Baritone Sax
B♭ Trumpets 1,2,3
F Horns 1,2,3,4
Trombones 1,2
Bass Trombone
Euphonium
Tubas (div.)
Double Bass
Piano
Harp
Percussion 1 (Timpani, Triangle)
Percussion 2 (Glockenspiel, Marimba)
Percussion 3 (Bass Drum)
Percussion 4 (Suspended Cymbal [Smaller], Wind Chimes, Clash Cymbals)
Percussion 5 (Suspended Cymbal [Larger], Tam-tam, Chimes)


Program Notes:

Avalanche is a programmatic piece for symphonic wind ensemble, depicting an imposing and desolate mountain covered in untrodden snow. The opening paints a picture of the mountain at a distance, surrounded by ominous clouds and chilly gusts of wind. The Lovecraftian nature of the landscape is enhanced through biting polychords and metallic percussion. The listener's perspective is altered as we begin to ascend the mountain. A single persevering theme is echoed with rising dramatic energy until the top of the mountain is reached. This remote region is depicted by a delicate and peaceful chorale; however, sharp jabs from the piano interrupt the quiet melody as snow begins to come loose. Tension builds as the avalanche forms, culminating in a climactic rendition of the main theme. The audience is swept away from the avalance back to their original vantage point and they observe the chaos from a distance. The driving percussion returns to a simmering pulse, before the opening motifs return to finish the piece.

The piece was inspired by a conversation I had with Dr. Gillian MacKay, who recommended that I write a textural work for wind ensemble--full of interesting and independent parts. As a native Albertan with a passion for snowboarding, I have many vivid memories of adventuring through the Rocky Mountains. I am still shocked and amazed by the breathtaking scale and beauty of the landscape there, and in this piece, I aimed to communicate some of these feelings to the audience.

As 2020 marks the 250th anniversary of Ludwig van Beethoven's birth, I thought it fitting to include a small homage to one of his most memorable works: the Allegretto from Symphony No. 7. Avalanche makes frequent use of the famous A minor chord in second inversion which opens the movement, starting completely out of focus and dissonant, and mutating it until it is eventually played with Beethoven's exact orchestration at the opening of the chorale section. As Avalanche ends, the bass instruments finally enter alongside the chord, giving a root to the previously unstable triad.

(Michael Nunes)