Score
Piccolo
Flute 1 (div.)
Flute 2 (div.)
Oboe
Bassoon (div.)
Eb Clarinet
Bb Clarinet 1 (div.)
Bb Clarinet 2 (div.)
Bb Clarinet 3 (div.)
Eb Alto Clarinet
Bb Bass Clarinet (div.)
Bb Soprano Saxophone
Eb Alto Saxophone 1 (div.)
Eb Alto Saxophone 2 (div.)
Bb Tenor Saxophone (div.)
Eb Baritone Saxophone
Bb Trumpet 1 (div.)
Bb Trumpet 2 (div.)
Bb Trumpet 3 (div.)
F Horn 1/2
F Horn 3/4
Trombone 1 (div.)
Trombone 2
Trombone 3
Euphonium (div.)
Tuba (div.)
String Bass
[Percussion 1] Timpani, Crotales (optional), Glockenspiel (optional)
[Percussion 2] Wind Chime, Hi-hat Cymbal, Ribbon Crasher, Snare Drum, Rain Stick, Tam-tam
[Percussion 3] Suspended Cymbal, Tambourine, Wind Chime, Triangle
[Percussion 4] Bass Drum, Cabasa, Rain Stick
[Percussion 5] Tam-tam, Vibraphone, Claves, Mokushou, 4 Tom-toms, Ratchet, Suspended Cymbal, Crash Cymbals, Tambourine, Sleigh Bells
[Percussion 6] Chime, Spring Drum, Conga & Bongo, Marimba, Suspended Cymbal, Whip, Triangle, Cabasa
[Percussion 7] Glockenspiel, Xylophone, Marimba
Commissioned by the Iizuka Wind Orchestra of Fukuoka Prefecture, it was composed in May 2014 and premiered in June at the 56th Chikuho Band Festival, Iizuka Cosmos Common.
Following ""The Light Shaft of Orient"" in 2012 and ""Oriental Rhapsody"" in 2013, we titled the piece ""Orientalismod"" in 2014 with a coined title.
This is the third year in a row that I have been asked to write a commissioned work, and the circumstances that led me to write such a trilogy were based on a single comment from a member of the group. I was asked to write a trilogy, and the reason why I came up with the idea of writing a trilogy was due to a comment from a member of the group: ""Wouldn't it be interesting to make a trilogy of Orient as a series following The Light Shaft of Orient""! These words were the catalyst for our decision to create a trilogy.
To bring out the oriental sound, I spun the melody using F, A-flat, B-flat, C, and E-flat notes. The bass drum saxophone at the beginning of the piece is not a specific description or object, and I hope listeners will take it as they feel it.
[C] is a chorale using groups of notes, and if the players can create the flow of the music themselves, it will fill the hall with a deeper sound. The music of [E] develops quickly in a short phrase, but it will be more appealing if you can create an interesting transition from one scene to the next. From [L], please play with all your heart. It would be great if the band could play [N] to the best of their ability.
(Hiroaki Kataoka)
