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Being a conductor in many areas of the country where Native Americans were an important part of its history, I've always
had a a deep appreciation and fascination with their music and traditions. I really dislike tokenism for the sake of
political correctness, so when I decided to pair a work with Dvorak's "New World" Symphony on a specific Cape Cod
Symphony Orchestra concert, I wanted it to be a faithful and respectful tribute to the spirit and tradition of the Native
American community.
I researched many different performers on the Internet, and felt that Joseph FireCrow would
be able to best represent many kinds of performing arts, including indigenous flute and drums, story telling, and singing.
When I told him about my desire to present an authentic Native American experience that was natural and illuminating for my
audiences, he suggested Jim Cockey as the composer. After I spoke to Jim, I realized that he was as interested as I
was in creating a truthful a work. I was immediately impressed because Jim's first step before writing a single note
was to go on a spiritual journey to learn more about the subject he was to portray in the music.
The end
result was something that was a success on every level... musically, visually and spiritually. The orchestra performed
the "Gift of the Elk" easily and quickly because everything was very idiomatic for them. I took the beautiful
photographs that were given to us, and choreographed them into a slide show that brought the narration of the story to life.
Although it took a tremendous amount of time and effort by the entire creative team, the result was an overwhelmed audience
that still speaks today of that innovative and moving experience.
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History of the Project
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Jung-Ho Pak, conductor of the Cape Cod Symphony Orchestra, conceived and initiated the creation of The Gift of The Elk.
It was his suggestion that the work be centered around a story.
Joseph FireCrow, an award winning
Northern Cheyenne singer, drummer, flute maker and player, suggested that the story be of how the Native American flute came
to the Northern Cheyenne people. This story has been and will always be a part of the Northern Cheyenne people.
The Northern Cheyenne elders graciously granted permission for the use of the story, and they also blessed the project.
Joseph FireCrow and composer Jim Cockey spent a week together shaping the overall structure of the work. Jung-Ho
contributed feedback and ideas via email and phone. The concept of including a Welcome Song emerged from Jung-Ho's desire
to make the performance hall more comfortable for indigenous attendees. The song itself was taught to Joe by his mother.
The words of welcome are traditional.
After writing the first draft of the work, Jim and Joe met again and reviewed
the score. Revisions were incorporated and the final version was then submitted to Jung-Ho Pak. Jung-Ho
suggested that the short closing movement not be an exact replica of the opening movement. Jim agreed that more
was needed and expanded the length and orchestration of the closing movement.
Obtaining the ceremonial drum
for performance was problematic, since they are sacred and invaluable. Though a substitute drum could have been used,
Jim was able to procure a ceremonial drum in his home state of Idaho and have it shipped to Cape Cod. It was a
two-headed drum, one side made of buffalo and the other made of elk. The opening sixteenth notes heard in the composition
are of the ceremonial drum.
With the addition of photography the composition became a multi-media event.
Photographer Glenn Oakley and Jim selected the photographs and Jung-Ho Pak choreographed the images. There were many
edits and phone calls during this process, true to the collaborative nature of the entire project.
The immediate
and enthusiastic audience response, the many emotional one-on-one personal testimonies of the audience members, and the number
of CD's sold after the concert all confirmed that The Gift of the Elk was a popular and cross-cultural success.
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Instrumentation, Technical Requirements, and Fees
Instrumentation
2 Fl (Fl 1 on Pic), 2 Ob, 2 Clt in b flat, 2 Bsn 4 Hn in f, 2 Tpt in b flat, 2 Tbn, Tuba Timpani, Harp, Piano,
Strings
Percussion (4 players); Triangle, Marc Tree, Rain Stick, Wood Block, Suspended Cymbal, Large Tam-tam, Tambourine,
Tenor Drum, Snare Drum, 2 Congas, Bass Drum, Large Ceremonial Drum, Glockenspiel, Marimba
Native American Flute
Soloist (Speaker, Singer, Flautist, Drummer): 3 Native American Flutes: "Ultra-high" A Flute, F-sharp Flute,
G Flute Hand Drum, Shaker
Notes: A full score is available for review from jimcockey@gmail.com. Regarding the Large Ceremonial Drum: Another
orchestral drum may be used as a substitute (a conga, for example) or a drum from another cultural tradition (for example,
a Japanese taiko.) A powwow drum may be used.
The three Native American flutes should be tuned to
concert pitch. For the premier, two of the three flutes used were built especially for that performance.
The
notation in this piece for the Native American flute is purposely nearly void of ornamentation. This allows the greatest
flexibility to enable the player to add their own, personal style to the basic melodies.
Technical Requirements: Amplification is required for the soloist, especially
for the voice and flute, and to a lesser extent for the drum and shaker. The photography is available in an iMovie document.
A computer operator is required for the performance. A guide score is provided when the photographs are rented.
Fees:
Rental of Music only (Full Score and Parts) : $300 USD per performance.
Rental of Music and Photographs: $400 USD per performance. Includes extra full score with photo cues.
The Gift of the Elk is licensed through BMI.
Contact information:
Jim Cockey (rental
of music and photographs): jimcockey@gmail.com, mobile phone: 208-315-2127
Joseph FireCrow (scheduling and
soloist fees): josephfirecrow.com
Glenn Oakley (technical questions regarding projection of photgraphs):
glennoakley.com
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