Glorified (score only) David R. Gillingham

Band
Number of Players:Standard
Copyright:2010
Piccolo
Flute 1
Flute 2
Oboe 1/2
Bassoon 1/2
Bb Clarinet 1
Bb Clarinet 2
Bb Clarinet 3
Bb Bass Clarinet
Eb Contralto Clarinet
Eb Alto Saxophone 1
Eb Alto Saxophone 2
Bb Tenor Saxophone
Eb Baritone Saxophone

Bb Trumpet 1
Bb Trumpet 2
Bb Trumpet 3
F Horn 1
F Horn 2
F Horn 3
F Horn 4
Trombone 1
Trombone 2
Bass Trombone
Euphonium
T.C. Baritone
Tuba

Piano

Timpani
Percussion 1 (crotales, xylophone, brake drum)
Percussion 2 (bells, crash cymbals, temple blocks)
Percussion 3 (chimes, vibes, 5-octave marimba, hi hat)
Percussion 4(wind chimes, suspended cymbal, snare drum)
Percussion 5 (tom toms, bass drum, suspended cymbal, tam tam)
Glorified was commissioned by the Messiah College Symphonic Winds conducted by Bradley Genevro. The work is based on the hymn tune, Engelberg by Charles Sanford, better known as When in Our Music God is Glorified, words written by Fred Green. The work is constructed as a fantasy with five sections exploiting the hymn tune in various ways preceded by an introduction and ending with a coda.

The introduction utilizes the first phrase of the hymn played in diminution and augmentation starting with keyboard percussion, then joined by woodwinds and brass, and ending with the second phrase of the hymn. The first fantasy follows and features a fast melisma in the clarinets based on the hymn under which the low brass carry the hymn tune in augmentation. The entire brass section concludes with the hymn refrain. A second fantasy follows which features cascading sixteenth notes in the brass accompanying the woodwinds, piano, xylophone, and marimba on a sprightly version of the hymn tune in diminution. A short interlude follows based on the opening four notes of the hymn. The third fantasy is another version of the hymn starting with a call and response between low brass and upper woodwinds, modulating to E Major and concluding with the refrain. A second interlude follows where cascading scale patterns in the woodwinds accompany the opening four note motive of the hymn followed by the refrain played slowly and religiously. The fourth fantasy is set in a quick and playful 6/8 meter and features the percussion section (timpani, brake drum, temple blocks, chimes, snare drum, and tom-toms) playing with rhythmic and melodic motives of the hymn interspersed with quick statements by the piccolo, clarinet, bass clarinet, and brass. The fantasy ends with the refrain motive played in fanfare style leading to the fifth fantasy. The fifth fantasy remains in the quick 6/8 meter and begins with a fugato beginning in the woodwinds based on the hymn tune. After all voices have entered, the fugato subject continues, modulates to D Major and the hymn tune is played by the brass in augmentation. A rousing coda, based on verse and refrain motives, concludes the piece.