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JUVENALIA

Concerto for Percussion and Wind Ensemble

Robert Honstein

2019 / 2025

FOR PERUSAL USE ONLY

Full Score

FOR PERUSAL USE ONLY

Score is transposed

Duration ~ 25 minutes

Three Movements

1. Brash and raucous

2. Contemplative

3. With abandon

Ensemble

Piccolo

2 Flutes

2 Oboes

English Horn

2 Bassoons

Contrabassoon

3 Clarinets in Bb

Bass Clarinet

Soprano Sax

Alto Sax

Tenor Sax

Baritone Sax

3 Trumpets in Bb

4 Horns in F

2 Trombones

Bass Trombone

Euphonium

Tuba

Contrabass

Piano

Percussion: 7 players

Player 1: Timpani

Player 2: Glockenspiel, Cymbal

Player 3: Vibraphone

Player 4: Xylophone, Cymbal

Player 5: Marimba

Player 6: Percussion 1

Wood slat, 4 Woodblocks, Guiro, Brake Drum, 2 metals, Triangle, China Cymbal, Crotales (2 octaves)

Player 7: Percussion 2

Bass drum, 2 toms, 5 temple blocks, Brake Drum, 2 met als, 2 glass bottles, Medium Cymabl, Tam-Tam

Percussion Solo

Drum Kit, Woodblocks, Metals, Bongo, Cymbals, Tambourine, 5 Octave Marimba, Vibraphone, Kick Drum, Crotale (G)

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JUVENALIA

In Ancient Rome, Juvenalia were coming of age festivals featuring games, theater and ritual celebrations. Ironically, these events were noted for the childish behavior of their participants, youth and elders alike. Accounts from the time suggest wild, debaucherous display was not only encouraged but required. Anyone not acting sufficiently irreverent risked expulsion or worse.

In my concerto, Juvenalia, I seized on this idea of youthful carousing. At the same time, I considered the linguistically similar notion of juvenilia. Sometimes disowned, often discarded, these early works are at best a footnote to otherwise noteworthy catalogs. Yet these raw, unpolished efforts contain portentous kernels: seemingly insignificant ideas that may grow in surprising, beautiful ways. Looking back at my own early compositional efforts, I’m convinced there are connections between my youthful creations and the music I write today. As I grow older, I listen to these first attempts and think perhaps there’s more to discover. Maybe these capricious, unrefined pieces hold secrets yet to be revealed.

Tapping into both the wild energy of Juvenalia and the elusive premonitions of juvenilia, the concerto begins with music reminiscent of my high school garage band. Playing a modified drum kit, the soloist careens through a series of loud, bombastic episodes, overflowing with youthful [energy and wild abandon. The second movement takes a step back. Moving from kit to vibraphone, the soloist leads the orchestra on a slow and spacious soliloquy. Lyrical and contemplative, the music evokes a restrained, classical sensibility. Finally, the third movement revisits the frenzied exuberance of the opening, but now with even greater urgency. A reckless, unrelenting momentum pushes the music forward as the soloist unleashes a torrent of sixteenth notes in a furious drive to the finish.

Commissioned by the Barlow Endowment for Music Composition at Brigham Young University for Colin Currie and the Albany Symphony

Wind Ensemble arrangement commissioned by Garrett Arney and a consortium of bands led by the Yale Concert Band and including Arizona State University and East Carolina University.

Orchestra version premiered Saturday, March 9, 2019, the Palace Theater, Albany, NY by Colin Currie and the Albany Symphony Orchestra, David Alan Miller, Director.

Wind Ensemble version premiered Friday, April 10, 2026, Woolsey Hall, New Haven, CT by Garrett Arney and the Yale Concert Band, Thomas Duffy, Director

FOR PERUSAL USE ONLY

PERCUSSION SETUP - SOLOIST

I.Brash and Raucous

Drum Set:

Kick Drum

JUVENILIA - 1 GARAGE BAND

Floor Tom with Splash Cymbal

INSTRUMENT LIST

Snare Drum with Splash Cymbal

Rack Tom

Drum Set:

Ride cymbal with stacked Splash Cymbal

Kick Drum

Floor Tom with Splash Cymbal

Hi-Hat with Jingles

Snare Drum with Splash Cymbal

Two Crash Cymbals (one left and one right)

Trash Stack

Rack Tom Ride cymbal with stacked Splash Cymbal

Hi-Hat with Jingles

Ribbon Crasher

Two Crash Cymbals (one left and one right)

Trash Stack Ribbon Crasher

The ride, floor tom and snare have splash cymbals placed on top of them.

SET UP NOTES

The Hi-Hat has a tambourine placed on top of it so that when open and closed with the foot pedal you will also hear a jingle sound. This is indicated by ‘Hi-Hat foot jingle’ in the drum key.

The ride, floor tom and snare have splash cymbals placed on top of them. In the drum key 'F.Tom Bell', 'Snare Bell', and 'Ride Bell' mean hit the bell of the attached splash cymbal.

The Hi-Hat has a tambourine placed on top of it so that when open and closed with the foot pedal you will also hear a jingle sound. This is indicated by ‘Hi-Hat foot jingle’ in the drum key.

Trash stack is two cymbals placed on top of each other, one being kind of junky, so that it makes a trashy sound when struck.

Trash stack is two cymbals placed on top of each other, one being kind of junky, so that when you hit them together it makes a trashy sound.

Ribbon crasher is a speciﬁc type of cymbal - I will try and get a make/model for that.

Key:

DRUM KEY

S = Hit with drumstick shaft

Hi-Hat note with an accent = hit with drumstick shaft

S = Hit with drumstick shaft

Hi-Hate note with no accent = hit with drumstick tip

Hi-Hat note with an accent = hit with drumstick shaft

All Hi-Hate notes are closed unless otherwise indicated

Hi-Hat note with no accent = hit with drumstick tip

All Hi-Hatr notes are closed unless otherwise indicated

F.Tom Bell

Snare Bell = hit bell of the attached splash cymbal.

Ride Bell

II.Contemplative

Vibraphone

Single Crotale (G)

III.With Abandon

Woodblocks (High, Medium)

Metals (High, Medium, Low)

Bongo

Splash Cymbal

Crash Cymbal

Chopper Cymbal

Kick Drum (on foot pedal)

Tambourine (on foot pedal)

5 Octave Marimba

Instrument list:

PERCUSSION SETUP - SOLOIST

(continued)

FOR PERUSAL USE ONLY

Woodblocks (high, medium)

Metals (high, medium, low)

Bongo

Splash Cymbal

Crash Cymbal

Chopper Cymbal

Kick Drum (on foot pedal)

Tambourine (on foot pedal)

Metals should be trashy, unpitched sounds. The Kick Drum and Tambourine should be on foot pedals situated to the left and right of the soloist. All other instruments - Woodblocks, Metals, Bongo, Cymbals - should be placed as close as possible to the Marimba so as to facilitate easy movement between “normal” Marimba playing and striking of the various objects.

The metals should be trashy, unpitched sounds. The Kick Drum and Tambourine should be on foot pedals situated to the left and right of the soloist. Other instruments should be placed as close as possible to the Marimba so as to facilitate easy movement between "normal" marimba playing and striking the various objects.

Notation for objects follow this Key:

Key:

Additionally, there are two square noteheads used in the bass cleff to indicate the Kick Drum and a foot pedal Tambourine. They are placed on the "B" and "A" below the Marimba low C and are played with the feet.

Additionally, empty square noteheads indicate foot pedal instruments: Kick Drum and Tambourine. They are placed on the ‘B’ and “A” below the Marimba low C.

PERCUSSION SETUP - ENSEMBLE

Percussion 1 (player 6)

Wood slat

4 Woodblocks, graduated pitch

Guiro

Brake Drum

2 metals (high and low)

Triangle Suspended China Cymbal

Crotales, two octaves

FOR PERUSAL USE ONLY

If possible select metals that are higher than the Brake Drum’s pitch. The metals don’t need to ring like a bell, but should have a strong metallic attack. Crotales should be shared with the Chimes player, if possible.

Section L and M is strictly in time even though many parts are improvising an ambient texture. Boxed material and improvised textures should all serve to create a droning texture filled with subtle timbral shifting. The improvising players can ad lib. at will as indicated in the score.

PERCUSSION SETUP - ENSEMBLE

(continued)

FOR PERUSAL USE ONLY

Percussion 2 (player 7)

Bass Drum

2 Toms (High and Low)

5 Temple Blocks, graduated pitch

Brake Drum

2 metals (high and low)

2 glass bottles (high and low)

Medium Suspended Cymbal

Tam-Tam

If possible select metals that are higher than the Brake Drum’s pitch. The metals don’t need to ring like a bell, but should have a strong metallic attack.

I. Brash and raucous

FOR PERUSAL USE ONLY

1˚

f stuttering,likeaCDskipping

stuttering,likeaCDskipping

f f f f stuttering,likeaCDskipping

f f stuttering,likeaCDskipping

f stuttering,likeaCDskipping

stuttering,likeaCDskipping

f stuttering,likeaCDskipping

stuttering,likeaCDskipping

1˚

f stuttering,likeaCDskipping

f f stuttering,likeaCDskipping

f stuttering,likeaCDskipping

stuttering,likeaCDskipping

f stuttering,likeaCDskipping

FOR PERUSAL USE ONLY

cymbalscrapes,shimmers,bowedcymbals,etc.The Orchestraisin4/4andkeepingtimebutyoushouldplayfreely,outoftime.

improviseambienttexturetogoalongwithdrone:cymbalscrapes,shimmers,bowedcymbals,etc. Leaveplentyofspace,overalltexturenottoodense.Alwaysbackground. improviseambienttexturetogoalongwithdrone:cymbalscrapes,shimmers,bowedcymbals,etc. Leaveplentyofspace,overalltexturenottoodense.Alwaysbackground.

improviseambienttexturetogoalongwithdrone:cymbalscrapes,shimmers,bowedcymbals,etc. Leaveplentyofspace,overalltexturenottoodense.Alwaysbackground.

FOR PERUSAL USE ONLY

expressive,legato

moving

cresc.pocoapoco,sempresostenuto