Performances
Sheet Music
Scores
| Publisher. Info.
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Nicholas Murray Bullivant
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| Copyright
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| Purchase
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General Information
| Work Title
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The Torridon Giants
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| Alternative. Title
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suite for chamber orchestra
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| Composer
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Bullivant, Nicholas Murray
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| Opus/Catalogue NumberOp./Cat. No.
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Op. 35a
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| I-Catalogue NumberI-Cat. No.
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None [force assignment]
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| Key
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C major
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| Movements/SectionsMov'ts/Sec's
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4 movements
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| Year/Date of CompositionY/D of Comp.
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2020-22
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| First Publication.
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2025
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| Average DurationAvg. Duration
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30 minutes
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| Composer Time PeriodComp. Period
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Modern
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| Piece Style
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Classical
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| Instrumentation
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Chamber Orchestra: Double wind plus Contra-bassoon, 3 horns, 2 trumpets, timps, side drum and strings
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| External Links
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https://soundcloud.com/nic56/torridon-giants
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| Extra Information
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C major tonality starts and finishes the piece, much of which is quite dark and in various minor keys.
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Navigation etc.
The Torridon Giants
In the minds of many Scottish mountaineers, the Torridon Giants are the four rocky mountains in Glen Torridon, each of which presents a tremendous challenge to climb and rewards with dramatic views and memorable experiences.
In a celebration of this, and continuing my series of pieces of music about mountains, I have written a piece for a small orchestra to represent each: Beinn Eighe (mountain of the Cry); Beinn Dearg (Red mountain); Beinn Alligin (Treasure mountain) and Liathach (the Grey One), which I consider the Queen of Mountains. They are all heavily sculpted by ice, rendering their crests into narrow, rocky ridges.
They are all individual, though. The Cry is heard right at the start, and the tragic events leading to the cry described. Beinn Dearg is all about ancient red Torridonian Sandstone. Beinn Alligin has three pinnacles known as the Horns of Alligin, giving the inspiration for the piece in the first place. Liathach presides over all, a rocky ridge with steep, rocky sides, almost reminiscent of Baroque architecture. The music includes a version of a toccata and fugue. Many of the features of the preceding movements are reprised before the end.
The orchestration, originally for a wind group which could be assembled for Dvorak’s Wind Serenade, has been expanded to add flutes, trumpets, timps and upper strings. The piece is approaching a symphony in size and character.
