Endurance

ABOUT THE COMPOSITION

This work is a musical reflection upon the Infinite endurance of the human spirit, the religious spirit, and the spirit of the earth. Initial Inspiration for the piece came from a book of the same title by Alfred Lansing documenting the amazing story of the ill-fated expedition of the Antarctic explorer Sir Ernest Shackleton in 1914–1916. His ship, the "Endurance," became ice-bound and eventually sank, stranding Shackleton and his crew of 27. They experienced over 15 months of life exposed to the unrelenting, dangerous Antarctic weather, and, miraculously survived to tell it. The strength of character exhibited by these men in enduring incredible hardships is truly awe-inspiring. Since reading this fascinating account, the story has been in the back of my mind whenever I find myself challenged by what seems to be insurmountable problems. It helps me put things into a proper perspective.

I have also been moved by recent expressions of religious spirit around the world, finding solace in the realization that this spirit has and forever will endure in many forms. Finally, as we continue to pollute our planet, I can't help but get the sense that it, too, will endure, going through some sort of forced evolution in spite of our maltreatment. All three spirts—human, religious, earth—also seem intertwined to me. In pondering them, I find hope and peace.

"Endurance" was commissioned by the American Bandmasters Association in conjunction with the awarding of Its 36th Biennial ABA/Ostwald Composition Award for my 1990 work "The Soaring Hawk." "Endurance" was premiered by the United States lnterservice Band, Ed Lisk, Conductor, at the58th Annual Convention of the American Bandmasters Association in Constitution Hall, Washington D.C. on March 7, 1992.
—Timothy Mahr

CONDUCTOR'S NOTES
1. n=niente (to nothing)
2. The tempo becomes twice as fast at measure 12, and then twice as slow at measure 22, going back to the original tempo. This same temporal transition occurs at measure 26 (twice as fast) and measure 35 (twice as slow) and measure 37 (twice as fast) returning via a ritardando to the original tempo at measure 47.
3. The quarter note gets the beat at measure 225.
4. The sostenuto pedal on the piano remains depressed for long periods of time In this piece creating the desired resonating blur.

INSTRUMENTATION
1 – Piccolo
3 – 1st Flute
3 – 2nd Flute
2 – 1st and 2nd Oboes
1 – Eb Clarinet
3 – 1st Bb Clarinet
3 – 2nd Bb Clarinet
3 – 3rd Bb Clarinet
1 – Eb Alto Clarinet
1 – Bb Bass Clarinet
1 – Eb Contra Alto Clarinet
1 – Bb Contrabass Clarinet
2 – 1st and 2nd Bassoons
2 – 1st Eb Alto Saxophone
1 – 2nd Eb Alto Saxophone
1 – Bb TenorSaxophone
1 – Eb Baritone Saxophone
1 – 1st Bb Cornet
1 – 2nd Bb Cornet
1 – 3rd Bb Cornet
2 – 1st and 2nd Bb Trumpets
2 – 1st and 2nd F Horns
2 – 3rd and 4th F Horns
2 – 1st Trombone
1 – 2nd Trombone
1 – 3rd Trombone
1 – Baritone T.C.
1 – Euphonium
3 – Tuba
1 – String Bass
1 – Piano
2 – Percussion I: Triangle, Timpani
2 – Percussion II: Orchestra Bells, Tam-Tam, Chimes, Maracas
2 – Percussion Ill: Vibraphone, Crash Cymbals, Hi-Hat
2 – Percussion IV: Suspended Cymbal, Low Tom-Tom, Bass Drum
2 – Percussion V: Snare Drum, Wind Chimes (Mark Tree)