Originally written for solo marimba and percussion ensemble, Taylor has reworked The Hunt as a solo feature with wind ensemble. As the title implies, the work is a programmatic and virtuosic fantasy that expresses how the calm of nature can been overtaken by the thrill of the hunt in a wild chase.
Genre: Solo Marimba with Band | # of Players: Standard + 1
Level: 5 | Duration: 11:00
Bb Clarinet 1
Bb Clarinet 2
Bb Clarinet 3
Bb Bass Clarinet
Eb Alto Saxophone 1
Eb Alto Saxophone 2
Bb Tenor Saxophone
Eb Baritone Saxophone
Bb Trumpet 1
Bb Trumpet 2
Bb Trumpet 3
F Horn 1/2
F Horn 3/4
Percussion 1 (Bass Drum, Rain Stick)
Percussion 2 (2 Suspended Cymbals, Vibraphone, Brake Drum)
Percussion 3 (Mark Tree, Tam-Tam, Bongos, Snare Drum)
Percussion 4 (Chimes, Crotales, 4 Concert Toms)
The Hunt, composed for marimbist Brenton Dunnington, was originally written for marimba and percussion orchestra in July 2004. It has been reworked here for marimba and wind ensemble. Taylor captures two main themes throughout the free formed, rhapsodizing work. The Fantasy opens with a chorale in B-flat minor played by the solo marimbist and several other members of the ensemble. This chorale expresses Taylor’s awe-inspired feelings for nature. As the chorale hymn fades away into the distance, an ominous foreshadowing of the hunt ensues.
The second theme is the actual hunt that occurs in the wild. This fast, intense music based around the octatonic scale in many tonalities reflects the danger and carnage that exists, not just among animals, but the elements as well. Throughout this virtuoso section, there are film-like visualizations of the ‘hunter’ pursuing the unknowing ‘hunted’. After vivid interplay and a final battle into a dramatic climax, an extensive fortissimo gong hit signals an end to the hunt.
After a brief ensemble and virtuoso marimba cadenza depicting the hunt’s afterthoughts, the opening hymn is brought back, this time in E-flat minor, which again restates an emotional response to the hunt. The final coda, while similar in tempo to the hunting music, has no violent tendencies. It is a noble and majestic conclusion with a feeling of hope ending in an exciting flourish in E-flat major. This creates a musical rebirth that allows the listener to leave the piece with a similar feeling of respect and admiration of nature that Taylor possesses. It also leaves the actual result of the hunt open-ended. Did the ‘hunter’ triumph or did the ‘hunted’ escape?