Purgatorio (from The Divine Comedy): Score
From The Divine Comedy
By Robert W. Smith
Grade: 4 (Medium)
Item: 00-PR-0002030
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About the Composer: Robert W. Smith

Robert W. Smith stands among the most performed composers of concert band and orchestral music in contemporary America. His catalog exceeds 400 published works, the bulk of which appear under the Alfred Music imprint. He holds degrees from Troy State University (AL) in music education and from the University of Miami (FL) in music, and his original compositions have reached audiences across North America, Europe, Australia, and Asia.
Smith's symphonic works for band, particularly The Divine Comedy and The Odyssey, have become cornerstones of the repertoire and attracted repeated performances at all-state, honor band, and convention festivals. Beyond composition, he has conducted and taught clinics across the United States and internationally in Canada, Japan, Australia, Italy, Austria, and the United Kingdom. His music has also served high-profile contexts ranging from Olympic broadcasts to national television coverage and ceremonial events.
Why we love this
Purgatorio demonstrates Smith's gift for writing music that speaks directly to student musicians while maintaining the structural sophistication that keeps ensembles engaged across seven minutes. The movement's contemplative arc and carefully orchestrated climaxes give conductors clear interpretive pathways, and the Grade 4 scoring ensures that strong high school bands can access this symphonic statement without compromise. Few works at this level have generated the performance momentum or audience response that this movement continues to generate.
What to expect
Purgatorio unfolds as a journey through introspection and struggle, moving from quiet contemplation into moments of intense yearning before settling into quiet acceptance. The orchestration balances lush harmonic color with moments of stark, almost austere scoring that creates emotional contrast. This is music that asks something of the listener, building slowly and deliberately toward moments of profound musical statement.
Who it's for
High school and competitive college concert bands seeking a significant work that offers genuine symphonic substance at an achievable performance level. Directors programming all-state, honor band, or festival repertoire will find Purgatorio meets the musical and technical demands of accomplished ensembles without requiring elite-level players.
How to get the most out of it
- Balance the sustained harmonic foundation in the lower voices against the more active melodic material in the upper woodwinds; this transparency allows the emotional weight of Smith's writing to register fully.
- Shape phrase arcs through dynamic control rather than tempo fluctuation; the contemplative character benefits from a steady pulse that allows harmonic tension and release to drive the music forward.
- Bring out inner voices during the developmental sections so that the complexity of Smith's orchestration becomes apparent without overwhelming the primary melodic line.
- Give brass entrances the space they need during climactic moments; resist the urge to accelerate, and let the scored dynamics do the work of building intensity.
How to use it
Program this as the centerpiece of a concert exploring longer concert band works, pairing it with shorter companion pieces that either precede or follow its emotional arc. The seven-minute duration and Grade 4 difficulty position it well for the second half of a concert, where audiences are settled and ready for immersive listening. It also works effectively on festival programs or competitions where judging panels and audiences reward substantive artistic vision.
Skills your students will build
- Sustaining long musical lines and managing breath across extended phrases
- Balance and blend in multi-voice textures with competing dynamic levels
- Interpretation of harmonic progression and emotional architecture at the ensemble level
- Precision intonation during exposed passages and sustained harmonies
- Attention to inner-voice independence while maintaining ensemble cohesion