As It Could Be, a chamber suite

As It Could Be, a chamber suite
by Frank A. Wallace
for flute, violin, viola, percussion, two alto voices, and seven guitars; PARTS INCLUDED with each individual edition.

Frank Wallace Composer Eight works comprise As It Could Be, a chamber suite commissioned by and dedicated to the Hartt School of Music Guitar Department and its founder/director Richard Provost on the occasion of their 50th anniversary.

Read an interview with Richard Provost here.

AICB was created to bring together a community of musicians in the performance of a single grand piece. 12-14 musicians are needed to perform the entire work. Each section is available individually by clicking on the links below. Thanks to the Augustine Foundation for their support of this project.

1) Changes Upon the Guitar, violin, viola and seven guitars
2) A Tune Beyond, violin, viola and guitar
3) A Wisp in the Dark, guitar solo
4) So to Serenade, flute and guitar
5) Tom-tom, Pouquoi?, percussion and guitar
6) The Whirling, viola and guitar
7) Cry Among the Clouds, guitar solo
8) A World Not So Round, guitar quartet

Preview: a sample PDF of the flute serenade from As It Could Be, So to Serenade
Duration: 55 minutes
Difficulty level: Advanced
Instrumentation: flute, violin, viola, percussion, two high voices (or small women’s choir), seven guitars
Written: December 2013 to February 2014 for Hartt School Guitar Dept.
Commissioned by: the Hartt School of Music Guitar Department at the University of Hartford, CT with assistance from the Augustine Foundation
World premiere: April 12, 2014 at the Hartt School, Hartford, CT

All Gyre compositions are ASCAP
Copyright ©2014 Frank A. Wallace
Cover photography and design by Nancy Knowles
All rights reserved.

1) Changes Upon the Guitar, violin, viola and seven guitars
2) A Tune Beyond, violin, viola and guitar written for Phenix Ensemble: Richard Provost, guitar; Anton Miller, violin; Rita Porfiris, viola
3) A Wisp in the Dark, guitar solo written for Richard Provost
4) So to Serenade, flute and guitar written for Pandora Duo: Christopher Ladd, guitar; Janet Arms, flute
5) Tom-tom, Pouquoi?, percussion and guitar written for Kaleidos: Yovianna Garcia, voice and guitar: Sayun Chang, voice and percussion
6) The Whirling, viola and guitar written for Alturas Duo Scott Hill, guitar; Carlos Boltes, viola
7) Cry Among the Clouds, guitar solo written for Christopher Ladd
8) A World Not So Round, guitar quartet written for New England Guitar Quartet: Nick Cutroneo; Jeremy Milligan; Daniel Hartington; Christopher Ladd

Composed as an addendum, Shadow of the Sun is intended to form the ending of a short Suite for solo guitar with the other two solos extracted from the complete work.
9) Suite Hartt

This is the debut performance of the work at Hartt School of Music, Hartford CT on April 12, 2014 [guitar solos are not included here]

As It Could Be was written for:
Phenix Ensemble: Richard Provost, guitar; Anton Miller, violin; Rita Porfiris, viola
Pandora Duo: Christopher Ladd, guitar; Janet Arms, flute
New England Guitar Quartet: Nick Cutroneo; Jeremy Milligan; Daniel Hartington; Christopher Ladd
Alturas Duo Scott Hill, guitar; Carlos Boltes, viola and charango
Kaleidos: Yovianna Garcia, voice and guitar: Sayun Chang, voice and percussion

Miller-Porfiris Duo

Richard Provost

A Tune Beyond was written for Phenix Ensemble: Richard Provost, guitar; Anton Miller, violin; Rita Porfiris, viola.

Pandora

So to Serenade, flute and guitar, was written for Pandora Duo: Christopher Ladd, guitar; Janet Arms, flute

Kaleidos

Tom-tom, Pouquoi? for percussion, voices and guitar was written for Kaleidos: Yovianna Garcia, voice and guitar: Sayun Chang, voice and percussion

Alturas Duo

The Whirling, viola and guitar, was written for Alturas Duo: Scott Hill, guitar; Carlos Boltes, viola

Hartt 50th bow

The Hartt School is the first institution in America to graduate a guitar major with a Bachelor’s Degree. Richard Provost graduated from Hartt and stayed on to start the Department himself in 1964. I am honored to have been chosen to write a major work in honor of the 50th Anniversary of that occasion. Of As It Could Be Dick writes, “We wanted this commission to leave a permanent record. Frank writes modern sounding music that has a broad appeal. His pieces are as satisfying to the audience as they are to the performing musicians. We chose Frank for this project simply because we like his music!”

As It Could Be begins with Changes Upon the Guitar, signifying past and future changes to our community as well as a reference to the ancient tradition of “change ringing” upon a set of tuned bells. Seven guitars play diatonic patterns derived from the names of the performers that create a layering of overtones that ring out from the cacophonous texture. Violin and viola join with competing melodic lines, a symbolic call to honor both this Guitar Department and it’s leader with a noble “call to worship,” as well as the changes that started 50 years ago within the guitar community that have led to this marvelous moment in time.

Eight works composed by Frank A. Wallace in winter 2014 comprise this chamber suite commissioned by and dedicated to the Hartt School of Music Guitar Department and its founder/director Richard Provost. The project was conceived at dinner following a concert of the New England Guitar Quartet at the Hartt Festival in the summer of 2013. My interest in writing chamber music melded perfectly with Dick’s desire to plan a celebration/concert for the Anniversary. The work was inspired by one of Dick’s favorite poems, The Man with the Blue Guitar by Wallace Stevens (a resident of Hartford, CT). This incredible testimony to art and its role in changing society became inspiration for the music and titles. The possibilities for chamber music with guitar, guitar orchestra and ensembles are only beginning to be fully realized. Thank you Dick (and all your colleagues) who brought the guitar out of the dark ages and into a brilliant new community of creativity and progress through your courage, hard work and vision. Thanks to the Augustine Foundation for their support of this project. Let us imagine a future as it could be: “Things as they are / Are changed upon the blue guitar.” [Stevens]

*Change ringing is the art of ringing a set of tuned bells in a series of mathematical patterns called “changes”. Change ringing differs from many other forms of campanology (such as carillon ringing) in that no attempt is made to produce a conventional melody. Wikipedia