THE TEARS OF FLOWERS
José Suñer-Oriola
Wind Orchestra
Data sheet
- Composer
- José Suñer-Oriola
- Grade
- 5
- Duration
- 22'
- Format
- A3 SCORE + A4 PARTS
- Pages
- 76
- Composed
- 2024
- Published
- 2025
Piccolo/Flute 3
Flute 1, 2
Oboe 1, 2
English Horn
Bassoon 1, 2
Contrabassoon
Eb Clarinet
Bb Clarinet 1, 2, 3
Alto Clarinet
Bass Clarinet
Contrabass Clarinet
Alto Saxophone 1, 2
Tenor Saxophone 1, 2
Baritone Saxophone
•
Horn in F 1, 2, 3, 4
Flugelhorn
Bb Trumpet 1, 2, 3, 4
Trombone 1, 2, 3
Bass Trombone (Contrabass Trombone opt.)
Euphonium in C 1, 2
Tuba in C 1, 2
•
Violoncelli
Contrabassi
•
Harp
Piano
•
Timpani (Gliss Glass)
Glockenspiel
Vibraphone
Percussion 1
(Tubular Bells, Medium suspended cymbal, Crotales, High & Medium Toms, Snare Drum)
Percussion 2
(Super Spring Drum, Waterphone, Mark tree*, Marimba, Tubular Bells*, 3 Toms, Medium susp. Cymbal*, Gliss Glass)
Percussion 3 (2 players)
(Bass Drum, Tam tam, Marimba*, Gliss Glass, Mark tree, Medium susp. Cymbal, 3 Triangles, Pair of Cymbals, Medium & Low Toms, Super Spring Drum*)
* It can be shared
A piece in a single movement conceptualised in three sections (A‒B‒A).
In its first section, the introduction presents the main theme (A) in forming the concept, followed by a subsequent thematically free development leading to an idea of a childlike nature via a play of colours.
Following a period of intensity and tempo, the main theme reappears, giving way to the second theme (B), both of which merge in a series of combinations.
The central section (relative minor of the dominant), offers a continuous, variable melodic development that transforms itself in its most intimate phase to arrive at a fresh fusion of the two themes.
The canon opening of the second theme in Allegro is the starting point for the third section, which through a series of variations on both themes will lead us to the main theme in the dominant briefly, continuing with another series of thematic variations in the melodic-rhythmic domain and concluding in the classical Coda concept.
The conceptual game is built around Lydian, Octatonic and Ionian modal usage.
Through musical representation, the piece aims to emphasise the human relationships between parents and children. It focuses on how these evolve and are fundamental to the value of coexistence, developing through their various phases, such as childhood relationships, growing through adolescence towards a maturity in continual progress until they practically attain a conceptual role reversal.