downloaded from altavista web search engine on march 22 1996 OrchestraList Database - Armer - 18 May 95 379w


The Great Instrument of the GEGGERETS, for narrator and orchestra

Instrumentation: Flute 1/Flute 2, picc, 2 Oboes, Clarinet 1 (Bflat)/Clarinet 2, Bass Clar (Bflat) Bassoon 1/Bassoon 2, Contra, 2 Horns in F, 2 Trumpets in C, 1 Trombone, 1 Tuba Percussion 1: Harmonica, Slapstick, 3 Timp, BD, 2 bongos, 3 tom-toms, Xylo, Rachet, *Crash Cym, Marimba, Orch Bells, *Bicycle Wheel Percussion 2: Sand blocks, Harmonica, Cowbell, 4 Temple Blocks, Triangle, 2 sus. cymb., sizzle cymb, Renaissance drum+tamb, gym whistle, rachet, 3 wood blocks, *crash cymb, snare drum, Castanets, *Bicycle wheel Piano, Vln 1 (5 desks), Vln 2 (4 desks), Vla (3 desks), Cello (3 desks), 3 Bass NOTE: * = Played at various times by perc 1 or 2. the wheel must include the pedal mechanism so the player may turn the wheel by cranking the pedal by hand. A piece of stiff leather is placed against the wheel spokes at the beginning of the piece, later a loop of unbound guitar string resonates against the turning wheel spokes.

Length: 17 min Difficulty: Medium difficult - good college or civic orchestra level Piano part is not easy. Harmonicas should be in C. Comments: This piece is very good for young audiences. Story is simple: On the Island of Gegge the Geggerets, small, seven legged and agile, have only one musical is, in fact, the island on which they live. If they ever stop playing it, the island will sink into the sea. NOTE: The orchestra must act! Stand, sit, pantomime playing, freeze action (at fermatas) and generally be very extroverted. Source: Material is with MMB Music, Inc, St. Louis. They have a good performance tape also. History: This is part III of a series "The Uses of Music in Uttermost Parts" I found it through the Women's Philharmonic in San Francisco, and one can contact the composer through them. As I understand it, the Women's Philharmonic will premiere the last part of this large work in spring of 1995, and then make a CD of the whole thing. Contributor: Ed Forner