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Battlestar is an exciting space fantasy. Very inventive is the depiction of weightlessness. On many occasions, the composer replaces the tonic (keynote) of the chord by the second, so C-EG becomes D-E-G! The foundation isappears and the chords floatâ€¦ The first sixteen bars represent the shuttle’s launch, lots of fire (> dissonance) and noise (> rhythm)! These discords are the basis of the motives in the middle part, "Spacebirds". During the flight, the energy of percussion, horns and trombones are defining (and a joy to play), while the treble plays a space theme. All of this is alternated with lyrical woodwind and baritone themes that depict the joyful feelings of the astronauts. Then the engines blast again and the energy returns, this time with added virtuoso pieces by the woodwinds. In the slower, middle part "Spacebirds" depicts the silence in space. The birds are imaginary. The composer refers to the many bleeps, radio signals and especially the thoughts in the spacemen’s minds. "Battlestar" ends the same way it started, as if it were the end credits of a movie. Conductor’s notes: 1. don’t forget to tell the program notes to the musicians, they don’t have the score and they are fixed on the notes. Explanation will benefit performance, especially the mood of the piece. 2. play some tongue staccatos when beginning. Make a slight crescendo on the sixteenth notes; the breath support you acquire will benefit tempo; 3. bars 3, 6 and 7 should not sound nervously! Advice: play these bars half the suggested tempo during the first few rehearsals (just playing) and only increase tempo later. This peace of mind will remain present during the piece; 4. teamwork from bar 19: remind yourself that the second beat of this measure determines the tempo. - accompaniment (bass, trombones, horns and percussion): play the second count a bit ahead of the time; - theme: don’t take the initiative for the second beat. Don’t speeds up the shuttle even more by flying off, but take your seat and let the shuttle ride. - trombones and horns: don’t consider the rests as breaks, but interpret the entire rhythm of the accompaniment; 5. woodwinds and baritones: think of your volume during the virtuoso parts, don’t force, more phrases than notes, metric feel; 6. brass: don’t play full force, even in ff, hold back the tones slightly after blowing the note; 7. take care of your pick-up measures! Play onwards to the heavy part, unless otherwise indicated. Never play a pick-up measure stronger than the following heavy measure part, even if you have just breathed. Think of the fact that you grew and were also born after a ‘pick-up’-period of 9 months. This will enrich your further musical life (phrasing). Good luck, the composer P.S. Send the composer a card after successfully performing his compositionâ€¦