Printed set (Score & Parts)
[Part 1] Flute, Oboe, Bb Clarinet, Bb Soprano Saxophone, Bb Trumpet, Eb Alto Saxophone, Eb Clarinet
[Part 2] Flute, Oboe, Bb Clarinet, Bb Soprano Saxophone, Bb Trumpet, Eb Alto Saxophone
[Part 3] Flute, Oboe, Bb Tenor Saxophone, Bb Clarinet, Bb Trumpet, Eb Alto Clarinet, Eb Alto Saxophone, Eb Baritone Saxophone, English Horn, F Horn, Bassoon, Trombone, Euphonium
The original version of this piece was composed as a trumpet trio for a 2024 student recital in the Dept. of Music Performance and Composition at Kobe College, where I am an associate professor.
Having published flexible ensemble works annually for many years, I eventually became interested in developing a flexible format that would work effectively with a small number of high-pitched instruments. With this in mind, I composed this piece around a trumpet trio, aiming to create musical material that could also be enjoyed and performed effectively by other instruments. The result of that endeavor is this flexible version.
The title refers to the Scrovegni Chapel, a small church located in Padua, Italy, built in the early 14th century. Constructed on the site of an ancient Roman amphitheater, the chapel's simple Romanesque-Gothic exterior and its breathtaking interior grandeur and beauty remain vividly etched in my memory. This piece expresses my personal impressions in the form of three short movements, almost like a musical essay.
I encourage performers to research the chapel and its historical background online to help expand their imagination and bring out an expressive, character-rich performance.
Performance Notes:
1. Choose instrument combinations with consideration for their inherent volume levels.
2. Assign parts so that Part 1 plays the highest range and Part 3 the lowest, according to the instruments' ranges.
3. Based on note 2, flute and oboe players may choose pitches that allow for easier octave execution.
4. While combinations of instruments from the same family will produce the most cohesive sound (as intended in the original version), performers may choose other groupings as long as the above considerations are observed.
(Satoshi Yagisawa)
