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Morton Gould

Publisher: G. Schirmer

Housewarming (1982)
G Schirmer Inc
Sub Category
Large Orchestra
Year Composed
8 Minutes
Programme Note
Morton Gould Housewarming (1982)


Composer Note:

The title describes the intention of the piece. It is in three short movements, which can be done together or separately.

The first section, "Tunings," starts with the oboe sounding the traditional "A" and from this the various sections of the orchestra engage in figurations. These figurations are over a hymn-like pattern, evoking the feeling of benediction.

The second section, "Fanfarades," is a bright and sparkling overture on fanfare motifs and uses the orchestra in virtuoso fashion.

The third section, "Acclamations," starts with a spiritual-like theme that changes to a rhythmic and pulsating statement. This movement has, along with the orchestral percussion, optional handclapping by the audience, which can serve the purpose of both acclaiming the hall and tuning it at the same time. (Handclaps are a common device for testing a hall.) However, with or without the audience participation, this movement is a jubilant and affirmative mood.

This work was commissioned by the Baltimore Symphony Orchestra, Sergiu Commissiona, Musical Director, for the opening of the Joseph Meyerhoff Symphony Hall, September 16, 1982. It was completed April 6, 1982 and is scored for full symphony orchestra with above mentioned optional audience handclaps.

— Morton Gould

  • Ensemble
    Louisville Orchestra
    Lawrence Leighton Smith
    Albany Records:
Mr. Gould's Housewarming, actually, turned out to be more spectacular than Dukas's Sorcerer's Apprentice. Composed in 1982 for the Baltimore Symphony Orchestra's first concert in its new hall, Housewarming is both celebratory and functional, and its three movements cover a great deal of ground in nine minutes. Every section of the orchestra is given ample material in which to shine, and Mr. Gould, with his ear for dazzling display, lavished particular attention on the winds, percussion and double basses.
Alan Kozinn, The New York Times,21/10/1990
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