____ DAVID MASLANKAINSTRUMENTATION @-F Horne = = Tampere - a Trombones Hinet= =e = 3 Bb Clarinets 2 Buphoniums Sacer 7 = 7 = ‘Bb Contrabass Clarinet Double Bass Contrabassoon ~~ Piano Bp Tenor Saxophone = Tinpant, pepart = = = “Percussion T Percussion Percussion Percussion @ =kyloptiom irae = tye Suep ‘GIOGKEREDICT * ‘Bass Draw required) assis eee __ Sima. Wood_Biock a BORE: at Sm., Ned. Toms (2 Bongos Anvit Saori . i Susp — aise: (cello or £88 BOW) can cam 7 = 7 = WSee m.d25: Vibe played similtaneously ‘Crotaies by Parc. 1, and (Bow required — eched-onge= ‘sm. to ge = = share. : ;Tom_set i+ Nee=— TOM Tenor Drum) Snare Drum ‘Piano and Double Bass should be together, near bass winds if possible. 3 foll-size pips oF electric organ vith pedais is necded, Tho 7re” dynanic for Organ dicate lune that bal: with but d toverpower the wind, ‘Score in G: Picc., DB, Cbsn., and Glock retain their respective octave transpositions. Duration: ca 27° ‘Syuphony No-d was commlasloned bys University of Texas at austin wind Bnsenbre Jerry F. Sunkin, conductor eepnen F> Austin state University Bands Kevin L. Sedatole, Acting Director Wichigan State University Bands John L. whitwell, Director —____ and Is dedicated to these conductors and ensonbies = \d_gratitude.“The sources that give rise to a piece of music are many and deep. It is possible to describe the technical aspects of a work — its construction principles, its orchestration —but nearly impossible to write of its soul nature except through hints and suggestions.” “The roots of Symphony No. 4are many. The central driving forceisthespontaneous rise of the impulse to shout for the joy of life. I feel it is the powerful voice of the Earth that comes to me from my adopted western Montana, and the high plains and mountains of central Idaho. My personal experience of the voice is one of being helpless and torn open by the power of the thing that wants to be expressed — the welling-up shout that cannot be denied. I am set aquiver and am forced to shout and sing. The response in the voice of the Earth is the answering shout of thanksgiving, and the shout of praise.” “Out of this, the hymn tune “Old Hundred,” several other hymn tunes (the Bach chorales “Only Trust in god to Guide You” and “Christ Who Makes Us Holy”), and original melodies which are hymrelike in nature, form the backbone of Symphony No. 4.” “To explain the presence of these hymns, at least in part, and to hintat the lifeof the Symphony, I must say something about my long-time fascination with Abraham Lincoln. From Carl Sandburg’s monumental Abraham Lincoln, 1 offer two quotes. The first is a description of Lincoln in death by his close friend David R. Locke: “Isaw him, or what was mortal of him, in his coffin. The face had an expression of absolute content, or relief, at throwing off a burden such as few men have been called onto bear—a burden which few men could haveborne. Ihaveseenthesame expression on his living face only a few times, when after a great calamity he had come to great victory. It was the look of a worn man suddenly relieved. Wilkes Booth did Abraham Lincoln the greatest service man could possible do for him — he gave him peace’ “The second, referring to the passage through the country from Washington D.C. to Springfield, Ilinois of the coffin bearing Lincoln's body:” ‘To the rotunda of Ohio’s capitol, on a mound of green moss dotted with white flowers, rested the coffin on April 28, while 8,000 persons passed by each hour from 9:30 in the morning till four in the aftemoon. In the changing red-gold of a rolling prairie sunset, to the slow exultation of brasses rendering “Old Hundred,” and the muffled boom of minute guns, the coffin was carried out of the rotunda and taken to the funeral train.” “For me, Lincoln's life and death are as critical today as they were more than a century ago. He remains a model for this age. Lincoln maintained in his person the tremendous struggle of opposites raging in the country in his time. He was inwardly open to the boiling chaos, out of which he forged the framework of a new unifying idea. It wore him down and killed him, as it wore and killed the hundreds of thousands of soldiers in the civil war, asithas continued to wear and kill by the millions up to the present day. Confirmed in the world by Lincoln was the unshakable idea of the unity of the human race, and by extension the unity of all life, and by further extension, the unity ofall life with all matter, with all energy, and with the silent and seemingly empty and unfathomable mystery of our origins.” ee sutofchaosand the fierce joining of opposite comes new life and hope. From this impulse I used “Old Hundred,” known as the Doxology —a hymn of praise to God; Praise God {from Whom all Blessings Flow; Gloria in excelsis Deo — the mid-sixteenth century setting of Psalm 100. Psalm 100 reads in part: Makea joyful noise unto the Lord, all ye lands. Serve the Lord with gladness; come before his presence with singing ... Enter into his gates with thanksgiving and irtto his courts with praise: be thankful unto him, and bless his name. Thave used Christian Symbols because they are my cultural heritage, but I have tried to move through them to a depth of universal humanness, to an awareness that is not defined by religious label. My impulse through this music is to speak to the fundamental human issues of transformation and re-birth in this chaotic time.”SYMPHONY NO.4 de nB-132,0% biz ca dd = freely David Mastanka ft ee 4 Gi 6 2 “(300 Aifey | ©1999 bavia mastankarp ooh Crala renk if Tale aon) oof (isle ar bup) sateHick 1 Bx a2 a4 ori cade 42 ibn Eutd ml 7B43, 44 oe ” 46. 4s. mn Bee. wee 3 ote ne abet CBA. Sind AbAD nie BSe a2 a a4Pee. Fane Br 2 tbe. chat Bx. 42 a4 an Toy a2 B7tm. Ea AMxat The, Ex. Bbw baht That,1 OBPee. ened 42 opt zbet wert 3Fee. 42 Fold Eu he Thats oe 33. (accel. al Plt? wo rare PLP ae were »Pre: 42 4 3 Beatd) PINE att That | 08 oq. accel - rot. 122. 108 WA CPEs. Graal erase: graa=Bem td Asx Ab? 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