Labyrinth (for Concert Band)

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Publication #: SSP-17556

Labyrinth
(for Concert Band)

Listen to MP3s:

1) The Journey Begins

2) Meandering Paths

3) Ritual Dance

View PDFs of the score:
Mvt. 1     Mvt. 2     Mvt. 3
 

 

 

"Labyrinth" (for Concert Band) by Mark Wolfram, is inspired by both the fact and lore associated with mazes and puzzles of all kinds.  Labyrinths have existed since prehistoric times. Some labyrinths are "unicursal", meaning that they have a single path leading to a center, often embodying a journey - both a physical journey of walking the path - and a lifelong spiritual journey; a hard path to God, with the entrance being birth and the center being God.  Complex labyrinths are known as "multicursal" - with choices of path and direction - they are branching puzzles, using misdirection and several dead ends on the way to the center.

A meander (or meandrous) is a decorative border constructed from a continuous line, shaped into a repeated motif.  The word "meander" used as a verb recalls a twisting and turning path.  It has been said that a meander is the figure of a labyrinth in linear form.

Prehistoric labyrinths are believed to have served as traps for malevolent spirits - or as defined paths for early man's ritual dances.

One of the most famous examples of a labyrinth is from Greek mythology, where King Minos of Crete commissioned the legendary artificer Daedalus to build a labyrinth at Knossos to hold the Minotaur (a mythical creature who was half man and half bull), who was eventually killed by Theseus.  Daedalus made the labyrinth so complex that he himself could barely escape it after he built it.  Theseus (the slayer of the Minotuar) was aided by Ariadne, who provided him with a skein of thread, (called a "clew") so he could find his way out again.  That "clew" evolved into our modern-day word "clue" - meaning a hint to help solve a puzzle.

The first movement of this work, entitled "The Journey Begins," opens with strong contrary motion ensemble figures based on fourth-fifth structure chords and whole-tone scales. The jaunty rhythmic underpinnings keep the piece moving forward. The opening figures are restated, followed by harmonically tight staccato phrases with rapid dynamic shifts, and then some of the fourth-fifth structure material is reprised. A final restatement of the opening ensemble figure completes the movement.

The slower second movement, "Meandering Paths," starts with woodwinds playing eighth-note figures - establishing a harmonic and rhythmic foundation for the movement. The Tuba introduces the melody, followed by a flute/English horn/E-flat clarinet melodic line against trumpet and French horn dynamic timbre shifts. As the melodic figure and accompaniment shift from instrument to instrument around the ensemble, the movement builds to a dramatic climax, quickly subsiding and returning to the opening motifs with a slightly fuller scoring. The movement ends with a restatement of the melody and accompaniment in a warm, reassuring tone.

The third movement, "Ritual Dance," is a bright, full-voiced tour-de-force using the accompaniment figure from Movement 2 as the germ for new melodic material. Interwoven throughout the movement are several themes from previous movements in slightly altered forms. Contrasting quartal and bitonal sections set up the coda: a return to the opening melodic figures - a brief moment of introspective material - and then a satisfying, full-voiced flourish of a finish.

"Labyrinth" (for Concert Band) is a GRADE 5 concert band composition which highlights angular melodies, several step-out solos, colorful sonorities, time signature changes, while combining several composition styles in an exciting blend which is both intellectually satisfying and aesthetically pleasing. Either the opening movement or final movement can be used as a stand-alone encore piece, as they're both real audience pleasers! The work has a duration of approximately 8:45.

A complete set of full-sized parts and a bound, transposed full score are included. Available only through this website from Sound Studio Publications. The instrumentation/parts distribution for each set is as follows:

4 - Flute 1
4 - Flute 2
1 - Piccolo
1 - Oboe 1
1 - Oboe 2
1 - English Horn
1 - Bassoon 1
1 - Bassoon 2
1 - E-flat Clarinet
4 - B-flat Clarinet 1
4 - B-flat Clarinet 2
4 - B-flat Clarinet 3
2 - B-flat Bass Clarinet
 

1 - E-flat Contra Alto Clarinet
1 - B-flat Contrabass Clarinet
2 - E-flat Alto Saxophone 1
2 - E-flat Alto Saxophone 2
1 - B-flat Tenor Saxophone
1 - E-flat Baritone Saxophone
1 - String Bass
3 - B-flat Trumpet 1
3 - B-flat Trumpet 2
3 - B-flat Trumpet 3
1 - French Horn in F 1
1 - French Horn in F 2
1 - French Horn in F 3
1 - French Horn in F 4

2 - Trombone 1
2 - Trombone 2
2 - Bass Trombone
2 - Euphoniums T.C.
2 - Euphoniums B.C.
4 - Tubas
1 - Timpani
1 - Mallet 1 (Orchestra Bells)
2 - Mallets 2 (Xylophone & Tubular Bells
)
1 - Percussion 1 (Snare Drum)
1 - Percussion 2 (Bass Drum)
1 - Percussion 3 (Piatti & Triangle)
 
 

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