"The Cry: An Andalusian Fantasy" by Nathan Daughtrey
Performed by The University of Oklahoma Percussion Ensemble
Under the direction of Dr. Lance Drege
Mallet Selection for this Piece:
|Gifford Howarth Signature Keyboard
Very soft. Huge sounding low-end mallets. Great for cello suites or general use bass mallets. Produces a full overtone-rich bass sound.
L = 17 5/8" [enlarge photo]
|Ney Rosauro Signature Keyboard
Hard. A heavier mallet that provides more articulation and is ideal for large halls.
L = 15 3/4" [enlarge photo]
|Orchestral Series Keyboard
Medium rubber. Dark sound with clarity.
Head = 1 1/8" | L = 14 1/4" [enlarge photo]
About the piece:
The Cry: An Andalusian Fantasy
Copyright © 2010 C. Alan Publications (www.c-alanpublications.com)
Based on a colorful poem by Federico García Lorca with vivid imagery and a wonderful arc, The Cry was commissioned by the OU Percussion Press and the University of Oklahoma Percussion Orchestra, directed by Dr. Lance Drege. The work divides into 5 primary sections:
La Guitarra ("The Guitar")
El Grito ("The Cry")
Un Silencio Ondulado ("A Rolling Silence")
Tierra de Luz, Cielo de Tierra ("Earth of Light, Sky of Earth")
Federico García Lorca was extremely interested in the Spanish gypsy music known as Cante Jondo (or "Deep Song"), which is the purist and most natural precursor to Flamenco music. It is filled with passionate melismatic singing and sparse guitar playing. Great care has been taken to differentiate between the more popular Flamenco form and Cante Jondo, always emphasizing that the latter is the purer and more serious of the two forms.
It is this struggle that is at the heart of "The Cry." The virtuosic melismatic singing is emulated throughout the ensemble in long flourishes that are full of twists and turns. The antiphonal castanet players help bring in the flamenco elements to the piece, as well as the sounds of flamenco dancers tapping, stomping and clapping in rhythm. Most important in composing this piece was that the beautiful words of García Lorca and the form of his poem are represented.
Performance Discussion with Nathan Daughtrey
About the composer:
Percussionist, composer, & educator Nathan Daughtrey (b. 1975) is a musical chameleon who uses his wide-ranging talents to adapt comfortably to a variety of environments. As a performing artist and clinician for Yamaha percussion, Vic Firth sticks and mallets, and Zildjian cymbals, he has performed and given masterclasses and clinics throughout the United States and across three continents. Nathan has recorded two solo marimba albums to date – "Spiral Passages" and "The Yuletide Marimba" – as well as several chamber music albums, including a recent collaboration with euphoniumist Brian Meixner titled "Praxis."
With over 60 publications for percussion ensemble, concert band, orchestra, chamber ensembles, and soloists as well as an ever-growing number of commissions, Nathan balances his performing with composing, and to great acclaim. He is the only composer in the history of the Percussive Arts Society International Composition Contest to procure both 2nd and 3rd place in the same year with his percussion ensemble works "Limerick Daydreams" and "Adaptation," respectively. Nathan's compositions appear regularly on performances at PASIC, the Midwest Band and Orchestra Clinic, the Bands of America National Percussion Festival, and in concert halls and other performance venues around the world. His works have also been recorded on several albums by respected performers, including the FSU Percussion Ensemble, the Showa Wind Symphony conducted by Ray Cramer, the RoseWind Duo, and Mississippi State University. Additionally, three of his compositions for wind ensemble have been featured in three volumes of "Teaching Music Through Performance in Band."
As an educator, Nathan served as a Visiting Lecturer of Percussion for three years at the University of North Carolina at Greensboro, where he taught applied percussion and conducted the Percussion Ensemble. He also served as a sabbatical replacement at the University of Oklahoma, where he taught undergraduate and graduate percussion students and conducted the world-renowned OU Percussion Orchestra. Dr. Daughtrey is currently a Visiting Lecturer of Percussion and Music Composition at High Point University (NC), where he teaches applied lessons, directs the percussion ensemble and works in collaboration with the School of Communication and Department of Dance.
Nathan remains active within the Percussive Arts Society serving as a member of the Composition Contest Committee, organizing the PASIC Fun Runs on behalf of the Health and Wellness Committee, and editing the keyboard percussion articles for Percussive Notes.
About the performers:
An associate professor in the School of Music at the University of Oklahoma, Lance Drege directs the percussion program, teaches applied percussion, conducts the OU Percussion Orchestra, and teaches other percussion related courses. He is presently completing his twenty-fourth year on the faculty at OU. From 1997-2002, Dr. Drege also served as Assistant to the Director for the School of Music. Prior to coming to OU, Drege taught public school instrumental music in Hobart, OK and Elk City, OK. Drege has been a member of the percussion section of the Oklahoma City Philharmonic from 1989-1999 and has held the Principal Timpanist chair since that time. A staff member of the Classical Music Festival in Eisenstadt, Austria, Drege plays principal tympani in the festival orchestra in addition to his administrative duties. He has twice served as the Oklahoma State Chapter President for the Percussive Arts Society, is a past recipient of the Presidential Distinguished Educator Award.