David Dzubay. Symphony No. 1 (1996)

Transcription

1 David Dzubay Symphoy No. 1 (1996)

2 Symphoy No. 1 (1996) by David Dzubay I Rage, rage... II...they dace their glories ito shadow III...as filamets of memory spi... Duratio: miutes Istrumetatio: (2,+pic).(=E h).(=b-cl).(=cb) 41 timp.perc.hp.po strigs Program Note: Durig my high school years i Portlad, Orego, I was fortuate to kow three exceptioal huma beigs, all of whom taught music at Jefferso High School, ad all of whom died at youg ages: Soy Kig (jazz saxophoe), Dee Wiggis (percussio), ad Richard Thorburg (trumpet). Not oly were these me superb musicias ad teachers - they were absolutely three of the most getle, uselfish, ad kid people I have kow. This music has bee composed i memory of these three good frieds. Though the symphoy as a whole is a reflectio o the life ad death of all three me, there is a particular associatio for each (I - Dee, II - Soy, III - Richard) which is reflected i the character ad orchestratio of each movemet. The first movemet, Rage, rage..., features the percussio sectio much of the time, ofte with them playig versios of a rhythm resultig from the declaratio: "Soy Kig, Dee Wiggis, Richard Thorburg." This thematic rhythm pervades the etire symphoy. The rather agry character of the movemet hardly reflects that of Dee Wiggis, but the aggressive drummig, ofte i streams of sixteeth otes, is perhaps reflective of Dee's playig i his fuk bad, Velvet, which I played trumpet i for oe year. The movemet is framed by two presetatios of a sustaied, tutti, cotraputal sectio, the first of which is a rather fratic, shocked reactio to hearig of a death, ad the last beig a fial aguished cry of grief. Oce the music calms dow a bit, about three miutes ito the movemet, the first trumpet presets three icreasigly demadig statemets (ot urelated to Ives' famous questio), as if to ask "why!" This secod quarter of the movemet reflects a mix of emotios ad has a umber of chages i tempo ad orchestratio. The tempo doubles aroud the midpoit, ad after a brief period of calm, the movemet builds to explosios of rage leadig to the fial cry. Soy Kig was a vivacious, hilarious, ad ispiratioal ma who played saxophoe ad worked with our jazz improvisatio groups at Jefferso. Soy seemed to kow, before I did, that compositio might become a importat part of my life ad provided some early ecouragemet i that directio. The secod movemet,...they dace their glories ito shadow, is a playful scherzo which features the woodwids ad uses a umber of elemets from jazz, icludig part of the chord progressio from Charlie Parker's Doa Lee. Aother 'foud' source is a Gagliarda by Joha Herma Schei ( ), fragmets ad variatios of which are used as basic material throughout the movemet. Followig the itroductio ad biary body of the movemet (five sectios i each part), is a coda i which the Gagliarda clearly emerges before dacig off ito the shadows as the movemet eds. Schei's Padouaa from the same suite is refereced i the fial movemet by the piccolo solo ad by the cadetial patter at the climax. (Our high school brass quitet frequetly performed these Schei daces)....as filamets of memory spi... was ispired by memories of Richard Thorburg, a former secod trumpet i the Orego Symphoy whose beautifully warm toe, lyrical playig, ad getle spirit were daily ispiratios throughout high school. Mr. Thorburg practiced Tai Chi, ad the idea of balace became importat i this movemet i a umber of ways, ot the least of which is havig a slow movemet to balace the previous two. Also 'i balace,' are most of the importat evets i the movemet, each havig three presetatios: offstage trumpet calls, 'sighs,' 'swirls,' mesural caos, a melodic lamet, descedig cadeces, ad a scalar, diatoic phrase. The offstage trumpets play a fusio of earlier material ad oe of Mr. Thorburg's favorite melodies, The Last Rose of Summer, which is clearly revealed i the fial, most distat call. James DePreist provided the impetus for this Symphoy, ad it was composed for the Orego Symphoy ad Maestro DePreist, whose support ad ecouragemet over the years is greatly appreciated. The subtitle for movemet I is from "Do ot go getle ito that good ight," by Dyla Thomas. James DePreist's poems, "Somehow we ca" ad "Its lumious liks," foud i The Distat Sire, provide the subtitles for movemets II ad III. Symphoy No. 1 was commissioed for James DePreist ad the Orego Symphoy o the occasio of its Ceteial, the Louisville Orchestra, ad the Oaklad East Bay Symphoy, ad was made possible by a grat from the Meet The Composer/Reader's Digest Commissioig Program, i partership with the Natioal Edowmet for the Arts ad the Lila Wallace-Reader's Digest Fud. Premieres: Orego Symphoy, James DePreist; Oaklad East Bay Symphoy, Michael Morga; Lousiville Orchestra, Robert Fraz The cover art is by Melissa Thorburg, who kidly gave permissio to reproduce this excerpt from her "Watercolor Memorial" to Richard.

3 INSTRUMENTATION: Flutes (2d ad rd doublig Piccolo) 2 Oboes Eglish Hor 2 Bb Clariets Bb Bass Clariet 2 Bassoos Cotrabassoo 4 Hors i F Trumpets i C 2 Teor Tromboes Bass Tromboe Tuba Timpai, cymbal (to place o timpai) Percussio 1: Glockespiel, Small Suspeded Cymbal, Mark Tree, 2 Cowbells, Tam-tam (large), Marimba, Woodblock (large), Wood Wid Chimes, Bogos, 2 Tom-toms (higher tha perc. 2) 2: Vibraphoe (bow), Triagle, Large Suspeded Cymbal, Bell Tree, Glass Wid Chimes, Lio's Roar, 4 Tom-toms (lower tha perc. 1), Small Bass Drum : Triagle, Medium Suspeded Cymbal, Metal Wid Chimes, Wood Wid Chimes, Japaese Temple Bowls, 2 Woodblocks (small, medium), 5 Temple Blocks, Sare Drum, Large Bass Drum Harp Piao Strigs

4 Symphoy No. 1 (1996) by David Dzubay, Outlie ad Structural Elemets I. Rage, rage 15 miutes, various tempos from slow to fast to slow. i memory of percussioist Dee Wiggis = percussio featured. agry, but also a mix of emotios represeted four mai ideas: 1) chorale (cry). sustaied tutti framig the movemet. 4-part. 2) pulsed eighths (i e mior, well, startig there) ) three trumpet solos (related to Ives) 4) isistet puctuated tue (startig from row ad expadig ) form: itro (perc.) chorale 1 outbursts (trasitios) trpt solo outburst perc. soli tutti outburst flurry 1 wdblks. syc.-tue (growig ctrpt) fafare tpt. solo dev. i tutti (brief s- tue tutti) cadece s-tue flurry 2 fafare/perc tras. chorale 2 cadece (fades ) II. they dace their glories ito shadow 8 miutes, fast i memory of jazz saxophoist Soy Kig = woodwids featured; Doa Lee title from James DePreist s somehow we ca i The Distat Sire light, playful character. fast. treble register. mutig i brass ad strigs. form: itro /2 walk bs. ww flurries 2/2 walk bs.bebop /2 high tras. Bells 5/2 C sharp arp /2 walk bells hor solo - /2 walk/bop+hits of Schei 2/2 tighter bop perc. solo 4/2 sparkly cadece/ww-h soli 5/2 C sharp arp 4/2 HR cao/ww flurry/dace tue cadece Coda = Schei + bop disappearig ito C sharp arp III. as filamets of memory spi 10 miutes, slow i memory of trumpeter Richard Thorburg = off-stage trumpet trio featured, balace (see #), ad oscillatios (lip flexibilities) title from James DePreist s Its lumious liks i The Distat Sire #: mvts.,, trumpets playig off-stage calls, other major elemets preseted xs each, icludig swirls, sighs, diatoic scalar phrase, a melodic lamet, caos, descedig cadece form: sigh 1 (brass itro) sigh 2 sigh swirl 1 swirl 2 swirl cao 1 cao 2 cao call 1 (tpts.) call 2 call a call b scalar 1 scalar 2 scalar lamet 1, 2 lamet (v/vc) (+fl/b) (beg of climax) desc. cadece 1 desc. cadece 2 desc. cadece picc. Solo (Shei) Schei ext. CADENCE Heartbeat (hauptrhythmus mai rhythm) From the declaratio: "Soy Kig, Dee Wiggis, Richard Thorburg" used at may speeds; ubiquitous; ofte i cao (mesural); featured at beg/ed of mvts. Quotes Trumpet solo(s) i I: first phrase is a variatio/extesio of Ive s The Uaswered Questio solo. Joha Herma Schei, from his Bachetto musicale (1617): Gagliarda (II ed) Padouaa (III piccolo solo tutti climax) Doa Lee. (Miles Davis/Charlie Parker). Some of the chord progressio used/hited at i II. Last Rose of Summer. RT s favorite tue. The off-stage trumpet music gradually coverges o this. Toal Pla Startig poit / architecture: pitches i Dee Wiggis, Soy Kig, Richard Thorburg I mostly E ad G. e mior. II B flat ad G, also A ad A flat [012]. Cadece to G re-iterpreted to e mior. D also importat. III D, A, F, E, B flat, F, E, D, G maj. Cyclical Elemets G emphasis. (e mior but eds i G major) hauptrhythmus # row ad its extesio 2009 David Dzubay

5 Symphoy No. 1 (1996), by David Dzubay hauptrhythmus - mai rhythm ("heartbeat" of the work): x 1/2 x1 x1 1/2 x2 x2 2/ x x4 x5 x5 1/ x6 x7 x8 x9 x10 x12 ã "Soy Kig, Dee Wiggis, Richard Thorburg" ã a c ã ã J J Œ Œ ã J Œ J Œ J J J ã.. Œ. Œ.... J J ã Œ Œ Œ Œ ã.. Œ Œ. J Œ Œ J ã J J Œ Œ Œ J Œ J J ã... Œ Œ Œ... Œ Œ Œ.... ã... Œ Œ Œ.. Œ Œ Œ.... J J ã w Ó Ó w Ó Ó w w w w ã... Ó Ó w. Ó Ó w w w w J J ã w Ó Ó Œ w Œ Ó Ó w w w w ã. w.. Ó Ó Ó w... Ó Ó Ó w. w. w. w. Some of the more clear examples: Movemet 1 1-8: x7, x6, x5, x4 - percussio. mesural cao arrivig together : x7, a (10-11), b (14-16), c (19-22) - segmeted, percussio. 27-5: x5, with c stretched out to x6 - percussio. 8-47: x i basses, x 1.5 i trbs, x2 i high istrs. movig to mid., x1.5 i high. staccato couterpoit. 49: x1 - percussio (aloe, fff, most clear statemet). 51-4: x.5 with c codesed to x.25 - segmeted, i percussio : x2 i teor istrumets, x4 i basses. mesural cao startig together. ote: head motive rhythm at m (recap.) is similar to a. Movemet : x8 - harp, vibraphoe, strigs at the opeig. (elisios of a/b/c) : cao i strigs hors : x12 - basses at the ed. Movemet : x4 - brass at opeig, leadig to : x7, x8, x10, x10 2/. brass, bss., bcl., percussio. mesural cao startig together : isistet bass: x4ab, x4ab, xab, xab, x2abc leadig to climactic cadece. 82-ed: x, x5, x6 1/, x7, x9, i percussio, harp, piao. mesural cao arrivig together David Dzubay...x1 ad a couple others used.

6 Symphoy No. 1 (1996), by David Dzubay melodic harmoic ideas mai focal pitchs: (...some others as well) I. D-E-E w-i-g-g-i--s II. S-o---y k-i--g b III. R-i-C-H-A-R-D T-H-o-R--B-U-R-G A becomes "scalar diatoic phrase" i III (78-797) row (9-99, ,...) # # # N extesio # N N # # # [012] (2 M2s) I start of chorale w w w b w retrograde ed of I, basses III 'lamet' fafare thirds (m. 50-) # # # # (begis Chorale) # # b Cs tue/arpeggio/chord (chromatic descet) I. m.4 HRx1.5 high istr. (pitch classes) # chorale (cry) a # # # # # # # # # (Ef) A II (below); (low to high; ot show); (below, i cao) #. N.. # #. #. # # {octaves # # # b # # # b # # [012] N # # # # # [012] # N - all 4 lies doubled a octave lower - m. 10-5; returs as 'recap.' at m (a up M2, b at same t.) palidrome 2009 David Dzubay

7 Sym. 1, melodic/harmoic ideas, page 2 driftig lie (I m. 6-69, III ,...) # # # # # a a a # aother versio # # # # # trumpet solo (I) three phrases questioig, each more isistet 1. (m ) F Ives, The Uaswered Questio. 5 j # # # 2. (m ) r # #.. # f #. J r J b.. (m ) j b ƒ j # #. w hor solo (mvt. 2) m variatio: hors ad woodwids (m ) # # # m.7 # A m.47 # # # # # # III opeig (tromboes,tuba, hors=black) # # # # a # # a # b b b # b b b A b (oct.) b A m.145 # # # # # # # III "scalar diatoic phrase" (78-797) j II - opeig b b ww # b w other... b b b b ww w w b # # # w w ww w # # w w b # # # b b b # # # # # # #

8 Pa 10 douaa Outr. Gagliarda

9 Doa Lee

10 The Last Rose of Summer (Martha) 1 Sir Joh Steveso ( ) Thomas Moore ( ) 4 Adate Voice ad Piao 4 4 Tis the Adate last leave soo rose thee, may of thou I sum loe fol mer, oe, low Left To Whe bloom pie fried ig o a the ships de loe; stem; cay, All her Sice the Ad from 5 cresc. love love love s ly ly shi com are ig pa ios sleep ig, cir cle Are Go The fad sleep gems ed ad thou with drop a goe. them; way! No Thus Whe flow kid true cresc. er ly of I hearts her lie 10 ki scat wither dred, ter ed No Thy Ad rose leaves fod bud is o er the oes are igh, bed flow To flect Where thy mates Oh! re who back of would her the i Public Domai

11 blush gard hab es, e it Or Lie This give scet bleak sigh less for world a sigh. ad dead. I ll So ot loe Oh! 18 who would i hab it This bleak world a loe Mutopia-2004/0/16-44 This music is part of the Mutopia project: It has bee typeset ad placed i the public domai by Sta Saderso. Urestricted modificatio ad redistributio is permitted ad ecouraged copy this music ad share it!