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I Conductor
I C Piccolo
5 lst C Flute
theGeorge Band,
MasonUniverstiy ZndC Flute
5
Conductor
AnthonyMaiello, I lst Oboe
I 2ndOboe
5 lst BbClarinet
'The Divine Comedy' 5 2ndBbClarinet
3 5rdBbClarinet
W.SMITH
Arrangedby ROBERT I BFBassClarinet
1 EbContrabass Clarinet
2 Bassoon
I lst EbAltoSaxophone
I 2ndEbAltoSaxophone
1 BbTenorSaxophone
1 E,bBaritone Saxophone
2 lst Bb Trumpet
2 ZndBbTrumpet
2 3rdBbTrumpet
2 lst & 2ndflornin F
2 3rd& 4th tlornin F
I lst Trombone
I 2ndTrombone
I 5rdTrombone
I Baritone
1 BaritoneT.C.
4 Tuba
2 PianoandCeleste
4 MalletPercussion
(Bells,
Vibes, Crotales)
Timpani (Vibes)
Percussion| (Triangle,
Snare Drum,BassDrum)
PercussionII (Suspended
Cymbal, Crash Cymbals)
PercussionIII
(WindChimes, Qong)

Archivo Jaime Cores

 Notes to Conductor

Theconceptof light is bestconveyed with multiplemalletsinstruments(all metallic)stagedthroughoutthe hall to givea spatlal

effect. Beginningwith the slngleBelWibesentrancein the first two bars,eachconsecutive entranceshouldbe stagedto literallysur-
round the audience.Thecrotales entrance in measure seven is on beat three. The should
crotales playonly the third beatin eachof the
followingbars(includingthe secondeighthnote beginningin bar nine. lf personnelnumberspermit,I wouldsuggestaddingtrianglesof
yarioussizesthroughoutthe hall as well. If used,the additionaltrianglesshouldbe usedto doubleeachof the malletentrancesoverand
abovethe notatedtriangleapart.

The horn cholr at bar 15 shouldbe as warmand reverentas possible. lf presenceis a concern.add the clarinetchoir as cued.
Thevocalsat bar twen$-fourshouldbalancewith the horns/clarinets,beingcarefulnot to overshadow them. Theoboesolo is usedonly
for warmthand presenceof the melodicline. Thesoloistshouldblendcomfortablywith the vocalsand horrVclarinet choir.

Thetlmpanlentranceat measurethirty-eightshouldbe verysubtle,as if it werea heartbeat,Theentiresectionfrom thirfy-eight

to bar slxtyshouldbe one contlnuousbuild with veryexpressive ebbsand flowsin the dynamicline. Thereturnof the malletsat bar sixty
shouldbe absolutebrllllant. The conductor may wish to use only thosemalletson stageat this point. At the secondstatementof the
Nuslcof the Sphera beglnnlngat bar seventy-four, the off-stagenlalletsshouldenter along with optionaloff-stagebrasspositioned
behindthe audlence.
'one
Greful attentionshouldbe givento the interpretationof the last sevenbarsto insurethe build to the briefglimpseof the
faceof Cod.' Measureeighty-fiveshouldbe drawnout as far as musicallyappropriate,buildingthroughthe timpanisolo. The last note
shouldbe veryconclusiveand a full beatin length.
'Ihc Divine Comedg'to be a musicallyrewardingexperience.Destwishesfor a great
I hopethat you and your ensemblefind
performance.

Bobert W. Smith

Program Notes
"?aradbo- is the final movementol 'The Dluíne Comedg,- a symphonyfor winds and percussionbasedupon the Dante
by the 0eorgeMasonUniversityBand(Fairfax,
Alighieriliteraryclassicof the samename. It wascommissioned VA)underthe dlrectionof
hofessorAnthonyMaiello.

In the compositionof "Paradlso,'the composerwas facedwith the samebasicproblemwhichconfrontedDantein his literary

masterpiece.Whatdescriptionof heavenwill havea universalappeal?The sensoryexperiences on which Dantebuilt his heavenwere
sights and sounds. The sights consistedof brilliant lights with variedcolors,symbolicformatlons,and combinedwith their hypnotlc
gtrations. The soundswere those of the imagination,conjuredby the reader'sown past experiences with unheardmelodies"sweeter
than thoseheardon earth." lt was Dante'shopethat scenespresentedto our imaginationthroughthe languageof poetrymay surpass
the remembered scenesof our own experiences,

ln'?aradlso,- Dantehas ascendedat an incredlblespeedfrom the top of the llountaln of Purgatoryto the flrst sphereof the
heavens.tle is enamoredwith the slght of light, growingbrighterand moreintensewith eachsphereof hisjourney. Thecomposerhas
calledupon the malletpercussionto representthosebeamsof light. Beginningwith a singletone (beam),the intensitygrowswith each
entranceuntil we are surroundedby lights of multiplecolorsand complexities,As the light engulfsthe listener,we are presentedwith
the soundsofjoy, peace,loveand hope...growing everbrighteras thejourneythroughthe spheresprogresses.

As the listenerarrlvesat the Empyrean(the regionof pure light), the "lifuslcof the Spheres,'firstintroducesin lhe Ascenslon
(Mvt.lll),is restatedin brilliantfashionby the brasssection.Thelight continuesto intensifyas the woodwindcolorsswirlaroundthe
brassfigures. The sights and soundsgrow evenbrighteras Danteseesa riverof light whichis transformedlnto a greatroseat whose
centeris the wonderfulsourceof the lights. Uponthe petalsare seatedthe'saints,clad in the whitestof robes. Angelsfly, like swarmsof
bees,up from the heart of the rose to the petals,their facesof living flame,their wingsof gold, their bodieswhite as the purestsnow.
Dantelooks to the highesttier, whereMarysits enthroned,surroundedby a thousandjoyful angels. Maryis sunoundedby heroinesof
the OldTestament:Eve,Rachel,Sarah,Rebecca, Judith,and Ruth, On Mary'soppositesidearethe malefiguresof the Christianera:John
the Baptlst,St. Francis,St. Benedict,and St, Augustine,as well as Adam,Peter,Mosesand John the Apostle.Thelowertiers of the rose
are filledwith thousandsof infants,purifiedin theirgloriousinnocence.

Witha gracioussmile from he Virginlvtary,Danteis permittedthe BeatificVision. lle lifts hisArchivo

eyestowardthe heartof the rose.
Jaime Cores
ll/ithin one blindlngIight, he recognizedthreeseparatellghts in the form of interlockingcircles(a symbolof the Trlnity). Wlthinonecir-
cle he perceived the dim imageof a humanface,a reminderthat Qod,throughChrist,lived-andstill lives-as manon earth.
 '1<
,>J ontntlsstonedbv tlrc Gcorge lllttsttn [J¡tít'ersitl' Band, Fairfar, Virginia
U- P rofe ssor Anthony M ai eI I o, C onduclor
Composedsnd Anangedby
CONDUCTOR(f)

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from "The Divine ComedY"
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