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The Night Watch III by Joseph Blaha

The TCU Percussion Orchestra, conducted by Brian A. West, performs "The Night Watch III. The Night Watch" by Joseph Blaha on 10-22-2023. Published by the OU Percussion Press, distributed by C. Alan Publications (www.C-AlanPublications.com). Posted with permission. THE NIGHT WATCH (2000) – Joseph Blaha Several factors came together to inspire the writing of The Night Watch. Among them, of course, was the biennial competition in honor of my mentor and friend, Michael Hennagin. But, for whatever reason, I was thinking of not entering the contest. It was upon the urging of my colleague, Al Wojtera, director of the Radford University Percussion Ensemble, that I considered participating. In the last ten years of his life, Michael Hennagin had become enormously interested in the percussion ensemble. Certainly, his close relationship with Richard Gipson and the inspiration generated by the excellent musicianship of the University of Oklahoma Percussion Orchestra brought about the composition of the internationally known Duo Chopinesque and The Phantom Dances. (When I first began teaching at Radford University, I was treated a bit like a celebrity because I had studied with the composer of Duo Chopinesque. A year later the Radford ensemble gave an expert reading of The Phantom Dances.) Because of the relative newness of the percussion ensemble in western culture and its inherent ability to explore new sonic possibilities and textures, Hennagin actively promoted the writing of music for the percussion ensemble to his students. His genius in writing for this ensemble, or, for that matter, any other instrument, was his ability to engage the listener to hear music in the smallest sound. And, of course, when his music was loud, it was an explosion. His sudden death in 1993 robbed us of observing any further manner in which he might have accomplished these effects. So, death, particularly Michael Hennagin’s death, came to play a major part in the writing of The Night Watch. For three reasons I chose as a source of inspiration Rembrandt’s painting of the same name: my wife, Sara, and I were about to celebrate the twentieth anniversary of our first trip to Holland (Rembrandt’s homeland); the composition of Rembrandt’s work provided ample interplay of shadow and light with the subject being the relative serenity of the central characters in the midst of hyperactivity; and, there just happens to be a drummer barely in the painting on the right side of the canvas. The writing of this work seemed to flow effortlessly from start to finish. Some technical discussion might be warranted as to how the tonalities of E and D flat might emerge as representations of light and shadow. And there could be some question about the appearance of G major. Perhaps what follows will be explanation enough. I. Death’s Gathering The bells ring and the drum sounds the warning, But Death is upon us too quickly. Death in majesty, Who, with every deft and graceful swing of the scythe, Will bestow its raiment upon one and all, And cause us to play the lamentable dirge. Death’s gathering. II. The Conflicted Youth Quick! Hide here Run there Feel the cold breath that is upon you, And the heart beats wildly. Death will catch you, youth, Whose belief is doubt. And the heart beats no more. III. The Night Watch There will be a quiet moment, There will be a lonely moment, It will be the last moment When Death comes, Naked, And brings the Truth that sears the soul. IV. The Unencumbered Youth Why do you not hide, youth? Death wants you. Why do you not run? Death will have you. Are you not afraid? Death will fight for you, youth. What have you learned -Joseph Blaha The Night Watch was premiered by the University of Oklahoma Percussion Orchestra, Dr. Richard C. Gipson, Conductor, on February 19, 2001 in Norman, OK. It is featured on Dr. Gipson’s Albany Records compact disc recording of the same name (AlbanyTroy 567).