Cedric Adderley, D.M.A.
Composer - Conductor - Educator
Orchestra and Chamber Orchestra
Flight! was commissioned by Colonial/UNUM Provident for the South Carolina Philharmonic, Nicholas Smith, conductor. was inspired by the artwork of the humanist/realist artist Tyrone Geter. It is an energetic, up-tempo fanfare that is structured around two principle themes. The piece derives much of its melodic and rhythmic interest from the opening trumpet motive. This motive is developed and transferred throughout the orchestra for much of the first section of the piece. The middle section employs a number of techniques for thematic development including canon, melodic inversion, augmentation, and diminution. The final section is a recapitulation of the primary theme and ends with a dramatic climax.
Jubilation: A Symphony for Orchestra - The symphony unfolds in the conventional four-movement cycle of the Classical and Romantic periods. The first movement, subtitled Ritual Celebration, offers a clearly articulated sonata form and exhibits several programmatic elements. Each of the themes is melodically structured in the style of folk melodies and tunes associated with celebratory rituals of the composer’s youth. There are two dominant themes in the movement, each with its own distinct programmatic meaning. The second movement, subtitled Solitary Reaper, is loosely structured around variations on the pitch set a-d-d-c-e-d, the first three letters of the composers last and first names. The set is transformed and continually developed revealing many intricate deviations from the original including many melodic and harmonic contrasts and irregular tempo modifications. The third movement, subtitled Jewel’s Garden, is based on two thematic elements drawn from a childhood tune. A “scherzo-like” ternary form is employed in which virtually the entire movement is derived from the same melodic or rhythmic material introduced in the first few measures. The complex rhythmic scheme conveys a feeling of perpetual motion throughout each segment. This constant driving force symbolizes the lighthearted, carefree nature of children at play. Although it is the shortest movement, it is the most challenging in many aspects. The final movement, subtitled Spiritus Mundi, features a lively rondo in which the true spirit of the symphony culminates with an interesting example of melodic counterpoint incorporating thematic material from each of the first three movements.
Were You There? is an adaptation of the Afro-American spiritual of the same name attributed to John and Frederick Work. This is an amazingly powerful orchestration for chamber orchestra and features solo flute throughout the piece. The solemn opening presents the melody that permeates the work. The intensity rises and falls with every climax and returns to a plaintive statement of the verse with solo flute, clarinet, and piano at the end. In every way, Were You There? certainly captures the essence of a true-to-form Negro spiritual.
Flourish of the Silver Cadets was composed in honor of the student musicians at Richland Northeast High School in Columbia, South Carolina. It is a lively fanfare full of flare and excitement throughout the piece. The piece opens with a triumphant brass feature and has many alternating passages of lyrical phrases and characteristic sounds of traditional fanfares.
Wind Ensemble and Concert Band
Indigo Run was commissioned by the University of Miami Wind Ensemble and the New Music Consortium under the direction of Gary Green, conductor, and Michael Robinson, consortium director. It is a musical display of the rich and vibrant hue found in the Carolina low country. It is an outgrowth of the composer’s thoughts as he was taking his morning run through the Indigo Park community on Hilton Head Island, South Carolina. While not a fully programmatic depiction of the scenery, the work attempts to recreate the essence of the landscape in sound. The composition opens with a dramatic slow introduction followed by a four-part overture. The fast sections are quick and energetic to contrast with the warm and gentle slow section. The entire piece features driving rhythms with a generous blend of agile motives and strong chords. The lyric melodies and lush harmonies are a vivid representation of the beautiful scenery that has made Hilton Head Island one of the most popular resort cities in the United States.
Adagio and Dance was commissioned by and dedicated to the 1996 Guilford County Middle School Honor Band in Greensboro, North Carolina. The slow mysterious first section is contrasted with a bright and playful dance section featuring driving rhythmic ostinatos and energetic melodic passages. The scoring allows for young bands to achieve a full and mature ensemble sound that makes the piece exciting for both listeners and performers.
Lakeside Episode was commissioned by and dedicated to the Chapin Middle School Band under the direction of David Santiago. It is a loosely programmatic work that portrays the stately character and small town elegance of the town of Chapin, South Carolina. This concert overture features lively rhythms and strong thematic material throughout the work. The middle section is scored as a chorale with sensitive lyrical passages that convey the true spirit of the town’s lakeside setting.
Longtown Legacy was commissioned by the Blythewood Middle School Band under the direction of Brad Layton. It was composed in honor of Mrs. Jo Hecker, retired principal of Bethel-Hanberry Elementary, Summit Parkway Middle, and Blythewood Middle Schools. This overture has spirit and drive right from the opening fanfare. The rhythmic writing propels the work forward while the scoring explores many rich sonorities and textures. An expressive three-four section includes several exchanges of solo passages for first seat players to really shine. The colorful orchestration pays careful attention to all sections of the ensemble will surely show off the talents of a young band.
Palmetto Fantasy was commissioned by and dedicated to the 1996 Richland School District One Middle School Honor Band in Columbia, South Carolina under the baton of the composer. This showpiece features the harmonic coloring and authentic rhythms of the many musical styles heard throughout South Carolina, the “Palmetto State.” The sparkle and energy of the piece allows for all sections of the band to shine including many exciting and interesting percussion parts. From the Piedmont to the Midlands, the beaches, and low country, Palmetto Fantasy truly depicts the spirit and imagery of the state.
Solo Instruments and Piano
Impromptu for tuba and piano explores a variety of musical moods ranging from dark and ominous to joyful and exuberant. It is a wonderful display of melodic inventiveness and rhythmic interest utilizing creative exchanges between tuba and piano throughout the composition. After a mysterious introduction, a brisk allegro section provides an unrelenting presentation of energy and vitality that characterizes much of the piece. Syncopated rhythms and modern lyricism allow the both performers opportunities to display technical skills and provides a true balance and partnership between the parts. An extended cadenza provides a dramatic coda to a genuinely bold and exciting work.
Three Dreams is a song cycle set to the texts of poetry by Langston Hughes. Dreams, the first song in the cycle, is slow and introspective. The second song, Dream Dust, combines the texts of two poems, Dream Dust and Dream Weaver. The third song in the cycle, I Dream a World, set to the text of the poem of the same name has been set by a number of composers.
Allegro Giocoso is a wonderful display of melodic inventiveness and rhythmic interest utilizing creative exchanges between the pianos throughout the composition. A “scherzo-like” ternary form is employed with the piece deriving much of its melodic and rhythmic interest from the theme introduced in the opening measures. This theme is developed and transferred throughout both pianos with energy and vitality for much of the first section of the piece. The slow middle section provides a contrast to the pervasive imitation of the A section. With the primary melodic interest in the lower register, the extreme range of the pianos is explored. The final section is a recapitulation of the primary theme and ends with a dramatic climax. The complex rhythmic scheme conveys a feeling of perpetual motion throughout each segment and this constant driving force symbolizes the lighthearted, carefree nature of the piece as depicted by the title. Syncopated rhythms allow the both performers opportunities to display technical skills and provide a true balance and partnership between the parts. Although it is a relatively short piece, Allegro Giocoso is quite challenging in many aspects.
Joyful Noise is a spirited setting of verses extracted from the 98th and 100th Psalms. The three-part form opens and closes with a bright tempo featuring frequent meter changes to keep the momentum strong. The contrasting middle section is highlighted by flowing melodies and contains a great deal of imitative counterpoint woven into the musical fabric. Interplay between the organ, voices, brass, and percussion enhances the celebratory effect and allows for a truly "Joyful Noise unto the Lord" throughout the piece. The anthem Joyful Noise was given in honor of C. Leland Byler and in memory of Louise Escue Byler for their many years of service to Galloway United Methodist Church and the Jackson community by the Galloway Chancel Choir, Dr. Robert McBain, Director.
Homework Blues - Structured in a true 12-bar blues progression, Homework Blues is designed to introduce the concept of swing to young singers and offers an accessible approach to two-part harmony for inexperienced or small ensembles. The light-hearted text will certainly bring a smile to the faces of parents and teachers every time they hear it. It's a toe-tappin', finger-snappin' selection that makes the blues enjoyable for both listeners and performers.
Suite for Young Voices - The central theme of the suite is one of peace, friendship, and unity. The first movement, I Hear a Voice, has an uplifting melody and conveys a message of self-discovery and friendship to which young people can easily relate. The second movement, Meditation, features a mysterious and flowing melody complimented by many contemporary harmonies, yet it remains quite accessible to younger choirs. An imaginative text provides insight to the thoughts of the younger generation. The third movement, I Believe, is an upbeat song in a pop style that delivers a powerful message of unity and national brotherhood for all people. It features a delightful interplay between voices and gives each part a chance to shine. Suite for Young Voices was commissioned by the South Carolina Music Teachers Association and the Music Teachers National Association (MTNA).
Copyright 2013. Cedric Adderley. All rights reserved