Gate to Heaven (wind ensemble version) David R. Gillingham / Arr. Lasley

Concerto No. 1 for Marimba & Wind Ensemble
Solo Marimba with Wind Ensemble
Number of Players:Standard + 1
Copyright:1998
SOLO MARIMBA

Flute 1
Flute 2
Oboe 1/2
Clarinet in Bb 1
Clarinet in Bb 2
Clarinet in Bb 3
Bass Clarinet
Bassoon 1
Bassoon 2
Alto Saxophone 1/2
Tenor Saxophone
Baritone Saxophone
Trumpet in Bb 1
Trumpet in Bb 2
Trumpet in Bb 3
Horn in F 1
Horn in F 2
Trombone 1/2
Euphonium
Tuba

Contrabass

Percussion 1 (Xylophone, Bells, Brake Drum, Vibraphone (w/2 bows),
Crash Cymbals, Chimes )

Percussion 2 (Vibraphone, Marimba (w/bow), Shaker, Bells,
Chimes, Brake Drum, Temple Blocks, Suspended Cymbal)

Percussion 3 (Brake Drum, 4 Toms, Bass Drum, Crash Cymbals,
Suspended Cymbal, Tam-Tam, Hi-Hat, Triangle)
Though "Gate to Heaven" is structured as a three-movement concerto (all movements attaca) for solo marimba and wind ensemble, it has extramusical inspiration. Each movement of the work reflects the movement of the soul into the portal of heaven. The first movement, titled Remission, is indicative of death and the consequences of the soul's former life. From the onset of the first movement, the introduction captures the hard blows of death and the mysterious passage into the unknown world beyond. The ensuing presto is representative of the tribulations of the former life fluctuating between evil and ecstasy. The second movement, Reflection, is a solemn look into the past life of the soul and suggests mixed emotion about former life of the soul as a human form and its present state as energy moving through the infinite universe. The use of the human voice in this movement is depictive of the dilemma. Mournful bowed passages in the marimba toward the end of this movement are followed by a passage that builds to a rather joyous resolve, perhaps suggesting the golden light of the portal of heaven at the end of the tunnel of transition. The final solemn strains of the movement represent the soul's final reflection upon its former life. Redemption, the final movement, hopefully invokes whatever image one has of heaven. It was the composer's intention to paint a musical image of golden light shining upon a rainbow-colored landscape. The movement is comprised of two alternating themes, the first energetic and full of sparkle and the second dramatic and full of splendor. Toward the end of the movement, a fragment of the reflective theme of the second movement is heard before the movement drives to a joyous conclusion.