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For When We Arrive

String Orchestra and Percussion (optional piano)

ca. 7'

Grade 4

Keyboard percussion, bowed crotales, and fresh harmonic writing create a colorful orchestral sound world filled with warmth, beauty, and expressive depth.

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Style
Patient • Cinematic • Expressive

AT A GLANCE


Selected Performances & Recognition
Budapest Scoring Orchestra
Falun Conservatory of Music (Sweden)
Colorado State University

What Makes It Unique
The work achieves its emotional impact through color, pacing, and expressive playing rather than technical display, making it rewarding for both performers and audiences.

Musical Influences
Aaron Copland – Appalachian Spring
Ralph Vaughan Williams – Fantasia on a Theme by Thomas Tallis
Henryk Górecki – Symphony No. 3 ("Symphony of Sorrowful Songs")
Thomas Newman

Why I Wrote This Piece
Written as an invitation for ensembles and conductors to slow down, listen deeply, and embrace patience through music.
LISTEN
00:00 / 07:01

Budapest Scoring Orchestra
Peter Illényi conducting

SCORE PREVIEW
Instrumentation
Divisi String Orchestra and Percussion

Violin I (Violin Ia)
Violin II (Violin Ib)
Violin III (Violin IIa)
Violin IV (Violin IIb)
Viola I
Viola II
Cello I
Cello II
Contrabass with divisi
Piano

Notes
• Piano part included for absence of percussion

Percussion I
Vibraphone
Large Triangle

Percussion II
Marimba
Large Suspended Cymbal
Crotales (B and C only)

VIDEOS

Budapest Scoring Orchestra, Peter Illényi conducting

Scrolling Score

PDF & Print editions available

PROGRAM NOTE

The idea for this music came from a piece I wrote a few years prior entitled There and Back. That work is a musical palindrome, with several themes that return in reverse order after a slower middle section. While writing, I felt as though there was something more to be said about the central "There" (the “slow” section) of There and Back. The melody from this section gave birth to For When We Arrive.


So often, we begin moving toward a place, event, or goal, but when we arrive, things often look different than we imagined. What if the place we ended up wasn't what we originally envisioned, but we still found beauty in it?


In the beginning of For When We Arrive, the music repeatedly almost reaches a satisfying arrival. However, with each swell, we fall short of our anticipated destination. At measure 45, we seem to give up and restart, trying our luck in a new key.


Suddenly, the music gains much-needed momentum, supporting a new melody. Perhaps this new melody, which we had never seen before, is the true destination.


At measure 66, we receive a taste of resolution as we reflect on where we've been. There is a sense of relief that we are on the right path and an anticipation of more to come.


The music finally reaches a satisfying arrival at measure 78. While the piece had been building around earlier material the entire time, we now realize that the melody we had been waiting for all along was one we had to discover along the way.


For When We Arrive demonstrates the beauty that can come from being open to new, opportunities and ideas. Questioning, and even sometimes altogether abandoning our plans, convictions, or beliefs can often lead to the discovery of something wonderful.


Those familiar with my pieces Refractions and Light Descending will find that these works borrow the eighth note motif from the final measures of For When We Arrive. I find that this suits the story of the music well, with a distinct connection between There and Back (one of my first ever commissions) a development through For When We Arrive, and the unexpected inspiration for two new works that propelled me into a new era of composing.

Questions about the piece?

Feel free to reach out if there's anything I can do to help as you explore this piece.

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