ChansonnierSCORE_10-18-18_new

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Three chansons by JOSQUIN DESPREZ (c.1455-1521) transcribed and elaborated by PETER VAN ZANDT LANE Chansonnier (20<strong>18</strong>) for Jaclyn Hartenberger and the University of Georgia Wind Symphony I. Mille regretz II. Fama malum III. Nymphes des bois APPROXIMATE DURATION: 9’ 30’’ FULL SCORE (TRANSPOSING) INSTRUMENTATION: 2 Flutes 2 Oboes 3 B∫ Clarinets Bass Clarinet* 2 Bassoons 2 Alto Saxophone Tenor Saxophone Baritone Saxophone 3 B∫ Trumpets 4 Horns in F 2 Trombones Bass Trombone Euphonium Tuba String Bass Timpani 3 Percussionists: Perc 1: Crotales (bowed), vibraphone, med/large suspended cymbal, medium triangle, large floor tom Perc 2: Vibraphone (shared), Mark trees, small triangle, small suspended crash, med tam tam, tambourine, concert bass drum (shared) Perc 3: Chimes, concert bass drum, kick drum (on side with sticks, or a large tom), small triangle. * Instrumental doubling recommended, with specific forces and balance at the discretion of the conductor. cover photo: floor of the Basilica at Saint-Quentin in northern France, where Josquin studied counterpoint.
PERFORMANCE NOTES: In Nymphes des bois, most of the ensemble is asked to sing a 16-bar section of the original chanson. Players with the SATB excerpt in their parts should choose the appropriate voice part (without octave transpositions). The director should help balance the four parts by limiting the number of instrumentalists who sing each part so that they are fairly even across all four parts. A visit from a french speaker to help with diction may be helpful; otherwise, there are ample recordings of this motet (as well as the others) to help the players get a sense of the pronunciation and vocal style of this repertoire. Soloists during this section may sing up until their entrances if desired. At the directors discretion, there may also be other creative ways to realize the sung part in the third chanson; for example, having choir members seated amongst the audience or antiphonally placed around the stage. This work may be performed in whole or in part. Nymphes des bois contains references to the other works in my setting, and therefore should only be played as the full set. Either Mille regretz and Fama Malum, however, may be performed on their own. PROGRAM NOTES: Chansonnier is a song book, usually a collection of secular songs, which became popular in the 15th century as a means of disseminating compositions both before and after the advent of the printing press. My hope with these three transcriptions of chansons attributed to Franco-Flemish Renaissance composer Josquin Desprez is to bring the coloristic possibilities of the wind symphony to one of my favorite compositional idioms: the 15thcentury chanson. It is also my hope to expose wind players to a rich compositional language that –without these kinds of transcriptions– they may not be exposed to as performers. While I have liberally dramatized these chansons with <strong>new</strong> textures, percussion, contrasting instrumental combinations, and occasionally some added lines, I have left Josquin’s 4- and 5-part counterpoint completely in tact. The three chansons were chosen for contrast and variety: Mille regretz (one of his most popular), Fama malum (which begged to be set for an energetic brass section), and Nymphes des bois (composed in memoriam for Josquin’s mentor, Johannes Ockeghem). A eulogy of sorts concludes the final chanson, which I have left in its original form, underneath some freely-composed melodic references to the first two chansons, as a way of binding the chansonnier together.
Page 1: C h a n s o n n i e r f o r w i n d
Page 5 and 6: 2 1 Fl. 2 1 Ob. 2 9 A ° &b b ∑
Page 7 and 8: 4 1 Fl. 2 1 Ob. 2 1 Cl. 2 3 B. Cl.
Page 13 and 14: 10 1 E 72 ° &b b ˙ œ Œ Œ ∑
Page 23 and 24: 20 1 146 ° & ∑ ∑ ∑ ∑ ∑
Page 27 and 28: 24 1 Fl. 2 1 Ob. 2 1 Cl. 2 170 ° &
Page 29: 26 1 Fl. 2 1 Ob. 2 1 Cl. 2 3 B. Cl.

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