INFERNO

Part I: Abandon All Hope

The Panther, the Lion, & the Wolf
The Styx
Part II: Upper Hell
3-Headed Hell-Hound
Minos the Bull
Dark Winds
! ! ! !
Part III: City of Dis
Furies at the Gates
City of Cofns
Part IV: Descent into the Abyss
River of Boiling Blood
Beneath the Frozen Swamp
The Abyss
Part V: Easter Morning
In 2000 composer Justin
Merritt (bn. 1975) was the
youngest-ever winner of the
ASCAP Foundation/Rudolph
Nissim Award for Janus Mask.
He is also the winner of a host
of other awards including the
2008-09 Copland Award, the
2008 Minnesota Orchestra
Composer Institute Prize for
River of Blood, and the 2006
Polyphonos Prize
He received his Bachelors
from Trinity University and
his Masters and Doctorate from Indiana
University. He studied composition with
Samuel Adler, Sven-David Sandstrm,
Claude Baker,
Timothy Kramer, Don
F r e u n d , a n d
el ect roni c and
computer music with
Jeffrey Hass. He is
currently Assistant
P r o f e s s o r o f
Composition at St.
Olaf College. He
resides in Northeld,
Minnesota with his
wife Yuedong and their children Cullen
Fang Ouxiang and Molly Fang Qinghe.
j
u
s
t
i
n
m
e
r
r
i
t
demands
an audience's
attention
Merritt's
piece was the
standout.
-Rob
Hubbard,
Pioneer Press
Instrumentation
Piccolo 1-2
Flute 1-3
Alto Flute
Oboe 1-3
English Horn
Bb Clarinet 1-3
Bass Clarinet
Contra-alto Clarinet
Contrabass Clarinet
Bassoon 1-2
Contrabassoon
Soprano Saxophone
Alto Saxophone 1-2
Tenor Saxophone
Baritone Saxophone
Horn in F 1-6
Trumpet in C 1-5
Trombone 1-2
Bass Trombone
Euphonium
Tuba
Timpani (set of 5 and set of 4)
Percussion (at least 5 players)
crotales (both octaves), glockenspiel,
vibraphone, xylophone, marimba, tubular
bells (2 sets), tambourine, temple blocks,
4 high drums, 4 low drums, 2 bass drums
(medium and large), tenor drum, snare drum,
2 suspended cymbals, China cymbal, crash
cymbals, 3 tam tams (small, medium and
large), 2 water gongs, anvil, 2 triangles,
brake drum, thunder sheet, wind machine,
chains, ratchet, exatone
Harp
Celeste/Synthesizer
Piano
commissioned by
Tim Mahr & the St. Olaf Band
Made possible by generous
funding from the Miles
Johnson Foundation.
8 1 5 t hye par kway nor t hf i e l d, mn 507- 645- 4820 i nf o@moone as t . c om www. moone as t . c om
NOTES ON THE PROGRAM
Among American libraries, the most
widely held texts (as of 2004) were The
U.S. Census, the Bible, and Mother
Goose. However, the fourth, edging out
Shakespeare, is Dantes Divine Comedy.
Referring to the Inferno (the rst third of
the Comedy), Jacques Barzun notes,
Remember that he
[Dante] wrote a pa
mphleteering poem in
which, as a wandering
exile, he damned [quite
literally] his political and
personal enemi es,
extolled friends, and put
forth dogmas by no
means all orthodox. For
example, he was
probably the rst to put
into print the idea that a
pope (actually several
popes) wound up in hell.
Dante tried to remake history and faith in
this world with his vision of the
afterworld.
Inferno begins with Dante having
wandered thoughtlessly away from the
true path. However, when he tries to
return, he is driven to the gates of hell by
a panther, a lion, & a she-wolf. In this
work (somewhat departing from Dante
but closer to more ancient accounts of
hell) we enter hell by traveling down the
Styx, a marsh-like river full of
disconsolate shades. There we hear the
moans of lost souls and the growls of the
beasts below echoing down the rock
corridors.
Part II begins with another set of threes,
the 3-headed hell-hound Cerberus. We
hear the barks and screams of animal
violence from each of his mouths. Minos,
a half bull and half man, is a sort of
Satanic St. Peter who judges the sinful
and sends the to their proper circle by
twisting his tail around his body the
corresponding number of times. The
hurricane of Dark Winds is end for those
with uncontrollable desire. Dante
expressed great compassion for these
poor souls (especially Francesca Rimini
Several
times I
wrote
"Wow!"
next to a
work
being
played...
-Peter
Jacobi,
Herald
Times
and Paolo) who suffered in death as they
suffered in life from their love. This
movement is built not from melodies but
from wildly rushing scales with each
instrument playing as fast as they
possibly can, regardless of the speed of
the rest of the ensemble.
Three furies guard the gates of the City of
Dis (City of Sin). Their wails are as much
in agony as in aggression, as they are the
daughters of the Queen of Everlasting
Lamentation. In this Inferno, the City of
Cofns has been reinterpreted as the fate
of Ideologues (rather than simply
heretics). There are centuries-old
methods for encrypting messages (and
often names) into the fabric of music.
Using these methods and some of my
own devising, I have consigned a few
dozen friends, enemies, and persons of
note to their rightful ends. Not a few
living political gures have a spot
reserved for them in the City of Cofns.
A River of Boiling Blood torments the
violent and the bloodthirsty. An army of
demonic archers forbids them from
escaping or easing their torture. This
movement begins with one of the more
memorable lines from the Comedy, And
he [the chief demon] made a trumpet of
his rear end. Canto XXI, line 138.
The bottommost
circles of hell are not
re but ice, beginning
with the frozen
swamp Cocytus. This
swamp is not
completely frozen but
rather thick, icy
sludge, queasily
undulating, with
occasional bubbles
from the sighs of the
submerged ghouls
murkily breaking the
surface. Departing
again from Dante, I portray the center of
hell not as a massive three-headed worm
but as the complete absence of God. This
nal canto of the Inferno begins with a
mocking quotation from a Latin hymn
the
highlight of
the year
came Nov. 9
with Justin
Merritt's
Five
Preludes for
piano
-Peter
Schimpf,
Bloomington
Independent
8 1 5 t hye par kway nor t hf i e l d, mn 507- 645- 4820 i nf o@moone as t . c om www. moone as t . c om
Vexilla Regis. The original hymn,
composed to celebrate the arrival of a
fragment of the true cross to Poitiers,
France, begins, The banners of the king
come forth. The mystery of the cross
shines out. In Dantes rendering it
becomes, The banners come forth of the
King of Hell.
The music for Vexilla Regis occurs in
different guises throughout the work, but
the original tune isnt heard until the very
end of Easter Sunday. This nal section
begins with a depiction of the waves of
Lethe, the River of Forgetfulness, which
ows from the summit of the mountain
of Purgatory to feed the four rivers of the
Inferno. The Inferno ends with Dante
emerging from hell to once again behold
the stars.
-notes by the composer
PERFORMANCE NOTES
Stage setup As halls and ensembles may
vary widely, no precise stage setup is
given. However, several important
points must be observed.
1) The 9 timpani must be
arranged along the back of the
ensemble (on low risers if
possible.) They should be
accessible to 2 players as 1 set
of 5 and 1 set of 4 timpani or as
4 players each with two
instruments.
2) The piano should be played
stick up and must not be
buried in the percussion
section. If necessary, either (or
both) the piano and the harp
may be lightly amplied in a
manner similar to the
synthesizer. If amplication is
used, it must be through
onstage speakers and never
through the house P.A.
3) The alto ute soloist in Parts IV
and V must be visible to the
audience within the ensemble.
The player should memorize
the solo and play facing the
audience without being
blocked by a stand. If
necessary, the player may
quietly move into position
during the preceding hymn.
Synthesizer setup: The synthesizer used in
this piece must be a large modern model
capable of easily switching between
patches and dynamic shifts using a oor
pedal. Also, the synthesizer must have
its own amplication located in direct
contact with the player. Under no
circumstances should the synthesizer use
the house P.A. system. At all times, the
volume of must be set so that there is an
even blend of the electronic sounds with
the rest of the ensemble. It should never
dominate the sound or stick out either
timbrally or dynamically. The dynamic
indications given should be reproduced
at approximately the same level as could
8 1 5 t hye par kway nor t hf i e l d, mn 507- 645- 4820 i nf o@moone as t . c om www. moone as t . c om
be expected from a piano. Pitch must be
carefully controllable by a pitch bend
wheel, joystick or other analog input. In
addition, the interval size of glissandi
must be easily adjusted. Finally, the
synthesizer player should be placed near
the back of the ensemble and never in a
prominent visual location.
Synthesizer patches: Since concert bands
will own a variety of different models of
synthesizer, I do not give specic patches
for specic models. Instead, I have
provided a description of the sounds
required and leave it to the taste of the
conductor and performer to choose or
design specic patches that are
appropriate. Great care must be taken
both in the selection of synthesizer
patches and in the amplication of the
instrument. It is suggested that, since a
number of different timbres are required,
that these sounds be saved in an easily
accessible bank with appropriate names.
The required timbres are:
! Ghostly Voices This patch should
be a vocal emulation patch. It should
sound otherworldly but not overly
synthetic. It must be audible to the
voices from the ensemble but blend with
the overall sound.
! Metallic Hum A mysterious and
unfocused drone. It should be felt, rather
than ! heard, almost like a broken
electrical connection.
! Metallic Clink A short (but not
clipped) sound similar to striking a piece
of metal with a hammer. It should be
voiced and at pitch (not sounding an
octave higher or over-emphasizing the
rst partial.
! Radiation This patch is somewhat
more focused and electronic sounding.
It must be well balanced between the
upper and lower registers. A very slight
vibrato phasing would be appropriate
(though not necessary).
! Rumbling Sounds Like Radiation
this patch is subtly synthetic. However,
its pitch should be largely unfocused.
The timbre should be active and layered
but should not distract but rather blend
with the prevailing texture. If a new
patch is designed, great ! creativity can
be employed. Remember, though, that
the dynamic level will be quite ! l o w
and at no point will this sound be
solotistic.
! Otherworldly Whine Once again,
this pitch can be more fantastical and
creatively ! designed. It should stand
out. The effect should not be of a cheesy
synthetic patch but rather of a
mysterious, but nevertheless acoustic,
sound from the back of the ensemble.
Great care must be take to adjust the
pitch bend wheel (or other such
apparatus) for create the correct amount
of glissando.
! Landscape A very warm, rich, fat
pad. It should have a very slow attack
and decay. ! The overall impression
should be last and somewhat indistinct.
A slight phasing or ! ot he r t i mbr a l
modulation is possible, but under no
circumstances should it sound
electronic or clash with the even blend
of the ensemble.
All quotations in the score with Canto
and line numbers are from the Divine
Comedy of Dante Alighieri. The English
version is a retranslation by the composer
based heavily on the 1867 version by
Henry Wadsworth Longfellow. All
Biblical quotations (marked with book,
chapter, and verse) are from the King
James Version of the Bible. Quotations in
the score without citation are the
composers. The illustrations at the
beginning of each section are from
Gustave Dor woodcuts specically for
the Comedy. The illustrations found in
the score are reproductions of various
medieval woodcuts.
8 1 5 t hye par kway nor t hf i e l d, mn 507- 645- 4820 i nf o@moone as t . c om www. moone as t . c om
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(opvright 2005 c, Justin Merritt AS(AP,
Published bv JMKrause
All rights resered
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1he number in triangle indicates the number o ree beats per measure. Lach large beat group is
indicated bv a dotted barline. 1he time in seconds is gien or the complete measure. All times are
approximate and should be adjusted or ensemble and space. Lach musician should plav independentlv.
Plav note or length o line.
I cannot quite remember how I entered there
As I was distracted at the moment
\hen I had abandoned the true wav
Cavto . ]0]2
But just when the ascent back began
A panther light and exceedinglv swit
And coered with spotted skin appeared
(anto I. 31-3
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I/J%5/,&-&;0=&(
A ision o a ierce lion struck me.
le seemed as though we were charging toward me
Lnraged with raenous hunger
So it seemed een the air was araid o him.
(anto I. 45-8
\our
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deil. as a
roaring lion.
walked about.
seeking whom
he mav
deour.
1 Peter 5:8
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And a she-wol. illed with hunger
(anto I. 49
(oming on against me bv degrees
1hev thrust me back where een the sun is silent.
(anto I. 59-60
Plav pattern erv ast or the length o the line.
this is a sample only
to purchase the complete score or parts and
for other compositions by justinmerritt please visit:
www.mooneast.com
or send emails to
info@mooneast.com
8 1 5 t hye par kway nor t hf i e l d, mn 507- 645- 4820 i nf o@moone as t . c om www. moone as t . c om
other compositions by justinmerritt
! ........................................................................... ....................... Janus Mask! ! winds in 2s
! ............................................................................................. River of Blood! winds in 2s
......................................................................................................... Dervish! winds in 2s
! .............................................................................................. Lachryme! string orchestra
! ........................................................................................................ Monster! winds in 3s
.......................................................................................................... Corde natus! SATB
! ....................................................................................................... Lamentations! SATB
...................................................................................................... Hay Das! SMsATBrB
................................................................................................................. Nativity! SATB
................................................................................................. Adoro Te Devote! SATB
.................................................................................... Fire Sermon! SSATB & orchestra
............................................................................................. Standard Deviation! violin
................................................................................................. Bar for Hans Sachs! ute
....................................................................................................... Veloce! violin & piano
................................................................................................................ Coupling! organ
................................................................................................... Drum Break! percussion
.......................................................... A Gauze of Misted Silver! string quartet & harp
.................................................................................................. Ravening! string quartet
.................................................................................................... Invocation! 8 solo brass
............ The Day Florestan Murdered Magister Raro! clarinet, violin, cello, & piano
................................................................................................. Trio! violin, cello, & piano
.............................................................................................................. 5 Preludes! piano
.................................................................................. Chaconne: Mercy Endures! piano
.......................................................................................................... Rococo Suite! piano
.................................................................................................. Sierpinski Gasket! piano
........................................................................................................... Windchimes! piano
................................................................................................... Hive! 4 pianos, 16 hands
..................................................................................................... Dissonance! song cycle
........................................................................................ Steps Into Stillness! song cycle
................................................................................................ Dhammapada! song cycle
........................................... London Thoroughfare, 2AM! tenor, horn, violin, & piano
! May Evening in Central Park...........................................................baritone & piano
8 1 5 t hye par kway nor t hf i e l d, mn 507- 645- 4820 i nf o@moone as t . c om www. moone as t . c om
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