The Symphony of Souls

By Robert W. Smith

 The Symphony of Souls is a full symphony in smaller proportions.  The piece was commissioned to commemorate the Battle of Bad Axe, the historic last Indian-American battle fought east of the Mississippi River.

After realizing the futility of fighting the US troops, Chief Black Hawk’s British Band of Sauk attempted to escape across the Mississippi River in western Wisconsin.  While building rafts to prepare for the crossing, the US troops arrived on a steamboat named “Warrior”.  At this point the last battle began, resulting in the deaths of nearly 150 Black Hawk’s followers.

You can learn more about the Battle of Bad Axe by clicking on http://en.wikipedia.org/wiki/Battle_of_Bad_Axe.

“Foreshadows” – Movement 1

The flute solo should be performed with a “breathy” sound to emulate a Native American wooden flute.  The solo should be as free and expressive as possible.  Special emphasis should be given to the pitch bends for authenticity.

The percussion rattles can be any number of instrumental combinations.  It is suggested to layer several types of rattles to create a unique timbre.  Options could include various shakers, sleigh bells, gourds, hoof rattles, etc. for an authentic affect.

“Warriors” – Movement 2

The opening accents should be sharp and extremely focused.  Emphasize the balance between the various dissonant seconds for maximum effect.

The machine-like quarter notes should be very pointed to emulate the sound of the steamboat engine.  In contrast, the melodic line at measure 7 should flow with care given to the dynamic shaping.  Balance between the melody & countermelody at measure 15 is crucial.

The accelerando beginning at measure 33 should build to the point of almost frantic leading to the percussion sforzando in the last measure.  That percussion roll should be very strong with a long decrescendo at the transition to the next movement.

“Carnage” – Movement 3

carnage - the slaughter of a great number of people, as in battle; butchery; massacre.

We may want to stage the toms away from the snare/bass to create the battling effect used throughout.

The vocals here should be chant-like.  Instrumental reinforcement is provided in the bari sax part.

The violent section at measure 14 should be just that – violent!  The flute effect is an overblown, shrill random note sequence that creates a very uncomfortable “scream”. 

At measure 18, each player with the 4-note set should improvise an intense rhythmic figure; this creates the sound of growing chaos as each section joins the fray.  The more complex and disjunct, the better.

At the beginning of measure 27, we might need to adjust the dynamic level to preserve the shape of the crescendo leading to sforzando.  The decrescendo should be lengthy with care given to the balance of the sustain against the metallic percussion effect.  The bowed metal, probably a music stand, needs to give the effect of wailing or distant crying.

“Elegy” – Movement 4

elegy - a mournful, melancholy, or plaintive poem, esp. a funeral song or a lament for the dead.

The timpani should be a “heartbeat” throughout.  The crying effect in the bowed metal should be maintained through this movement.

The clarinet solo should be as expressive and free as possible.  Percussion should play in context of the soloist.

The hymn beginning in measure 9 should be as rich and warm as possible.  We should work towards shaping each phrase with dynamics.  The voices must blend with the instruments.

The whispering effect should be random, yet emulate the sounds of hundreds of ghosts sharing their story with the world.  The clarinet solo should be clearly audible as it returns amid the whispers.

The heartbeat in the timpani begins to slow over the last 5 bars.  The final breath should be carefully performed for the desired effect.  Please extend the final exhale allowing it to dissipate in the distance.  The last beat of the heart in the timpani should be timed with the release of the breath.

About the composer

Robert W. Smith (b. 1958) is one of the most popular and prolific composers of concert band and orchestral literature in America today.  He has over 600 publications in print with the majority composed and arranged with his longtime association with Warner Bros. Publications and the Belwin catalog.

His credits include many pieces have been programmed by many military, university, high school, and middle school bands throughout the world.  Our 8^th grade band performed his world acclaimed “The Great Locomotive Chase” a few years ago.  His music has been used in many television shows and motion pictures.

He has also performed throughout the world as a conductor.  He is the principle conductor of the American Symphonic Winds and the American Festival Philharmonic Orchestra, professional recording ensembles in Washington DC.