Hidek, D. (2009). The Innermost Point (Master's thesis, Duquesne University). Retrieved from

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1 Duquesne University Duquesne Scholarshi Collection Electronic Theses and Dissertations Fall 2009 The Innermost Point David Hidek Follow this and additional works at: htts://dsc.duq.edu/etd Recommended Citation Hidek, D. (2009). The Innermost Point (Master's thesis, Duquesne University). Retrieved rom htts://dsc.duq.edu/etd/652 This Immediate Access is brought to you or ree and oen access by Duquesne Scholarshi Collection. It has been acceted or inclusion in Electronic Theses and Dissertations by an authorized administrator o Duquesne Scholarshi Collection. For more inormation, lease contact hillisg@duq.edu.

2 THE INNERMOST POINT A Coosition Submitted to the Mary Paert School o Music Duquesne University In artial ulillment o the requirements or the degree o Master o Music By David J. Hidek December 2009

3 Coyright by David J. Hidek 2009

4 iii THE INNERMOST POINT By David J. Hidek Aroved November 17, 2009 David Stock, M.F.A. Proessor o Music (Committee Chair) Jessica Wiskus, D.M.A. Associate Proessor o Musicianshi Chair o Music Theory (Committee Member) David Cutler, D.M. Associate Proessor o Coosition and Musicianshi Coordinator o Music Entrereneurshi Studies (Committee Member) Edward Kocher, Ph.D. Proessor o Music Dean, Mary Paert School o Music Sister Carole Riley, C.D.P., Ph.D. Proessor o Piano and Music Education Director o Graduate Studies (Committee Member)

5 iv ABSTRACT THE INNERMOST POINT By David J. Hidek December 2009 Thesis Suervised by David Stock, M.F.A. In Ranier Maria Rilke s To Music, he deicts an emotional musical exerience as when the innermost oint in us stands outside. The Innermost Point develos two themes: one rhythmically stable but melodically lacking, and the other melodious but rhythmically uzzling. Over the course o the iece each theme attains an identity in its own orchestral setting, but a harmonious balance between the two is only ound when they unction toward the same goal: The Innermost Point. The work is scored or ull syhony orchestra and is aroximately nine minutes in duration.

6 v DEDICATION and suort. THE INNERMOST POINT is dedicated to my arents, or their unwavering love

7 vi ACKNOWLEDGEMENT I d like to grateully acknowledge Proessor David Stock and Dr. David Cutler, whose wisdom and counsel has been invaluable to my growth as a cooser.

8 vii TABLE OF CONTENTS Page Abstract... iv Dedication...v Acknowledgement... vi Analysis...1 Instrumentation...16 The Innermost Point...17

9 1 The success o The Innermost Point relies on the creation o eective context or each theme; in other words, creating a musical environment in which each theme and its variations are emotionally relevant. This is accolished through the creation and release o various orms o tension, such as harmonic dissonance, textural density, rhythmic colexity, contrasting dynamics and juxtaosed musical hrases. The ollowing analysis will exlore each o these devices as they occur, in order to rovide insight into the mechanics o The Innermost Point. It is irst iortant to identiy the main coositional asects o the iece so that they may be covered and understood thoroughly. These asects include thematic material, harmonic identity and rogression, the recycling o motivic ideas (both rhythmic and melodic) and last but undoubtedly not least, orchestral texture. It should be made clear that the most crucial o these asects is thematic material, as it brings identity to work and distinguishes it rom being sily a long string o harmonies that transer among the dierent sections o the orchestra. The second most iortant asect o the iece is its harmonic scheme; should the work be reduced or iano, it would still maintain its identity, even without the orchestral textures or layers o common motives. That being said, orchestral texture is crucial to the emotional eect o the iece, as it can at times overwhelm the senses in ways that a single iano might ind diicult. As indicated by the rovided list-orm analysis (Figure 1), The Innermost Point has ew laces that are autonomous in motivic identity, and thus a subliminal bond binds the iece together over the san o nine minutes. Beore beginning the analysis, it is also iortant to gain context or the urose o The Innermost Point, as a clear understanding o the cooser s intent can at times

10 2 Figure 1 Phrase (Measure) Prominent Harmony [Function] (Theme or Motive) A. (1-60) [Entrance and Develoment o Theme I] a. (1-17) i. (1-6) CM [Theme I] (Percussion, Har) ii. (6-12) CM [Variation o m. 1-6] (Percussion, Har) iii. (1-14) Dm [Transitory] (Percussion, Har, Flute) iv. (15-16) DbM [Transitory] (Solo Cello) v. (17) CM [Transitory] b. (18-4) i. (18-26) Am [Re-setting o Theme I] (Cello/Percussion) ii. (27-0) Am [Variation o m ] (Solo Violin, Percussion) iii. (1-4) Dm [Transitory] (Vibrahone) c. (5-46) i. (5-6) FM [Transitory] ii. (7-8) FM [Develoment o m. 18-4] (Cello, Winds, Glock.) iii. (9-40) FM [Exansion o m. 7-8] (Cello, Winds, Glock.) iv. (41-42) BbM [Variation o m. 9-40] (Solo Violin, Flute) v. (4-44) BbM [Exansion o m ] (Winds/Viola) vi. (45-46) AbM [Variation o m. 4-44] (Cello) d. (47-60) i. (47-49) AbM [Develoment o Theme I] (Glockensiel) ii. (50-5) AbM (Horns) iii. (54) AbM [Isolation o Swell Motive] (Winds, Brass) iv. (55-57) AbM (Horns) v. (58-59) DbM [Dynamic Peak o m. 1-60] (Horns) vi. (60) DbM (Chimes) B. (61-88) [Entrance and Develoment o Theme II] a. (61-77) i. (61-6) BbM [Variation o Clar. m. 6] (Har) ii. (6-69) BbM [Theme II] (Solo Vibrahone) iii. (69-75) GbM [Variation o Theme II] (Violin I) iv. (75-77) GbM [Fragment o Theme II] (Violin I) b. (77-88) i. (77-81) EM [Maturation o Theme II] (Violins, Violas, Horns) ii. (82-84) CM [Answer to Theme II] (Violins, Violas, Horns) iii. (85-87) CM [Variation o m.82-84] (Violins, Violas, Horns) iv. (88) DM [Transitory] (Brass) C. (89-98) AbM [Maturation o Swell Motive] D. (98-149) [Coalescence o Themes I and II] a. (99-128) 1 i. (99-100) G#M [Textural Variation o m ] ii. ( ) AbM [Theme I] (Vibrahone) iii. ( ) [Variation o m ] (Violins, Winds) iv. ( ) [Variation o m ] (C. Bsn., Bsn. Tuba, Bass) v. ( ) [ Swell Motive] (Brass) b. (129-19) i. (129-12) FM [Variation o Theme II] (Violin I, Viola, Cello) ii. (12-14) BbM [Variation o m ] (Violin I, Viola, Cello) iii. (15-16) GbM [Fragments o m. 129] (Violin I, Viola, Cello) iv. (17-19) AM [Transitory] (Brass, Percussion) c. ( ) i. ( ) [Variation o Theme I] (Tiani) ii. ( ) [Variation o m. 1-6] (Tutti, Glockensiel) 1 Some delineations occur in rogressive layers, as indicated by overlaing measure numbers.

11 reveal more than any academic breakdown. The title o the iece stems rom Rainer Maria Rilke s To Music, in which he deicts an emotional musical exerience as when the innermost oint in us stands outside. The Innermost Point seeks to exeliy just that, however, in a coletely and obviously subjective manner. The work develos two themes: one rhythmically stable but melodically lacking, and the other melodious but rhythmically uzzling. Over the course o the iece each theme attains an identity in its own orchestral setting, but a harmonious balance between the two is only ound when they unction toward the same goal: The Innermost Point. It is also no mistake that the second theme, considered to be the most signiicant theme o the iece, is located directly at the center o the work. To briely look at the overall orm, The Innermost Point is ternary, with an interlude between the second and third sections. The urose o the irst section is to develo the irst theme, likewise, the second section develos the second theme exclusively. The third section amalgamates both themes into a climactic inale, distanced rom the initial two sections by an interlude. The interlude symbolizes an eihany o thematic urose, re-routing both themes toward a common end. Tonally, The Innermost Point exists in generally major keys and modes, with occasional minor harmonies eloyed at oortune times in order to maximize the eect o a change in harmonic quality. While Lydian is the most commonly utilized mode, Dorian is also eloyed to soten long assages o A minor and D minor. Many, i not all, o the vertical harmonies throughout the orchestra are extended and oten aear in clustered intervals acting as andiatonic chords. The notes in these chords are chosen with harmonic color and textural density in mind, rather than by their unction, as is done

12 4 in traditional voice leading. Additionally, there are several instances o bitonality and olytonality, usually occurring as an eect to increase or intensiy the harmonic density o a given assage. Overall, the harmonic ma o the iece eloys harmonic arallelism, though not as strictly or obviously as the early twentieth-century masters. Most o the arallelism occurs in suort o an overriding theme, and usually occurs over bar lines, rather than several times within a bar. As each section o The Innermost Point is exlored, it is iortant to note the tye o analysis used to identiy iortant chords and hrases. Because the work is constructed without regard to large-scale harmonic unction, and occurs in a generally linear sequence, a roman numeral analysis would be redundant; instead, it is more ractical to identiy the most iortant chords and harmonies, as well as the interval at which each section or hrase modulates. One will ind that intervals such as minor thirds, major seconds and minor seconds dominate the harmonic low, and, when used in combination with arallel major harmonies, roduce a detached, however rereshing sentiment in the context o the work. The irst section o the iece is sixty measures long and can be divided into our hrases: measures one through seventeen, eighteen through thirty-our, thirty-ive through orty-six and orty seven through sixty. These our hrases all stem rom the irst theme, and overall, they create a check mark shaed dynamic enveloe: ortissimo beore sharly droing to ianissimo, rogressing through mezzo orte beore ending at ortissimo. Each hrase resents its musical inormation to the listener in a new way, though through sharing the same basic harmonic characteristics, as well as the same thematic material, they are each logically related.

13 5 The iece begins with a G-shar major diatonic cluster, voiced by the strings with tremolo. The cluster ades to ortissimo rom almost nothing at all, and is considered to be a orm o the swell motive, the idea o ading in without a roer resolution, or the reverse, ading out without a roer attack. This motive reoccurs many times throughout the iece, on many dierent levels, and will be addressed as it occurs, articularly later in the work. Measure two introduces a divided orchestra in two units: the irst being the winds, brass and strings; and the second being the glockensiel, vibrahone and har. This division rovides two contrasting textures that alternate; the second, ound at measures two and our, seemingly sawned rom the atermath o the ierious irst. This irst texture, ound at the irst beat o measure two, dictates meter, teo, and tonality, while the second texture, which is also the irst theme and rime motive or the entire A section, aears in between breaks in the recise orchestral bursts. The ortion o the second texture that aears in measure two, as erormed by the vibrahone, is the irst theme, with the har sounding verbatim, although an eighth note later, and the glockensiel highlighting the meandering melodic line. Additionally, in this instance, a single lute echoes the glockensiel. Together, the result is a chiming, mysterious survey o C Aeolian that is neither easily memorable nor quickly orgotten. Thus, when it reaears throughout the iece, it is comortably amiliar though resh enough to remain interesting. The trio o instruments ormed by the har and ercussion aear in collaboration several times throughout the work, usually creating a similar texture.

14 6 Both the staccato bursts and the calm rogression o the ercussion are relatively based in C major, though the ormer eatures a shar ourth scale degree, qualiying it to be in the Lydian mode, while the later is wholly natural and based around the itch A, making it C Aeolian, as mentioned beore. This slight dierence in harmonic quality is enough to cause a minor detachment in the ear o the listener, adding a wrinkle to the abric o this already eculiar assage. At measure ive the iece makes one o its many short modulations, this time uward by a minor third to E-lat major, beore return to C major at measure seven or a variation o the irst six measures. The variation is slightly dierent, as the ourth measure o the attern contains rhythmic dierences, and the sixth measure modulates down by a semitone to D major. The hrase seemingly ends at measure twenty-ive with a sudden shit o another semitone to D-lat major, however, at measure twenty seven, the hrase shits once more by a semitone to C major. This large scale harmonic laning is eatured throughout the iece as a sudden, though usually welcome, change in harmonic tone. Measure eighteen marks the irst shit in overall texture, as the momentum built u over the irst seventeen measures vanishes, and is relaced by sustained strings and the ercussion and har trio. The harmonic scheme o the work shits rom C Lydian to A Dorian, which contains the same notes, but is much darker when based around the minor triad at the bottom o the scale. Beginning at measure eighteen, the trio still carries the irst theme, but only in ragments. The cellos eventually rovide stability at measure twenty with one o the many sub-themes o the work. These sub-themes aear only once and act in suort o rogressing the orchestral texture. Usually associated with the

15 7 rominent theme o the section at one oint or another, they are only a ew bars long and may be ollowed with variations, but always lead to the return o the central theme. In this case, the sub theme at thirty leads to a variation o the irst theme at measure twentyseven, accoanied by sarkling glockensiel and vibrahone. Simultaneously, the irst violins and violas are continuing the diatonic cluster motive that began the iece; however, they are now reversed as they ade away over the course o three to our beats. Following a small aux crescendo at measure thirty that seems to lead the listener out o the dream-like state brought about by measures eighteen through twenty-seven, the listener is enveloed in an even darker setting, and it haens to be one o the most harmonically colex sections o the entire work. The colications arrive when the violins, cellos and ercussion are still in A minor, just as they were beore the aux crescendo, but other accidentals are introduced in new voices. The bass enters with a D lat, which creates dissonance with the viola s D natural; however, it is easier to think o the bass as sounding a C shar, which creates a mixed third with the C natural o A Dorian. Simultaneously, the vibrahone announces the irst theme without accidentals while the glockensiel, ormerly its artner, retains the F shar that ormerly contributed to A Dorian. The har and contra bassoon underscore this dissonance with two resounding D lats beore resolving to D natural as the bass resolves to C natural, and the orchestra to C major, at measure thirty-our. It then becomes obvious that another large-scale harmonic shit is in store, this time uward to F major at measure thirty-ive. In summary, measures thirty-one through thirty-our eature a sense o bimodality due to the resence o both F natural and F shar, and bitonality due to a

16 8 mixed third created by the D lat, beore resolving to C major and regaining harmonic momentum and rhythmic drive. Measure thirty-ive marks the beginning o a third hrase in the work, which makes obvious strides away rom the oening measures and seeks, at times, to establish an identity o its own through melodic themes in the strings and winds. However, this is ound to be iossible, as the teo and harmonic qualities bind the section to the material that both recedes and ollows it. The irst two measures o the hrase merely serve as a transition to measure thirty-seven, where the cellos enter with the irst truly melodic theme o the work, which melodically and rhythmically alludes to measure twenty. Ironically, this theme, like the one at measure twenty, is merely a assing theme, serving only to urther develo the harmonic and textural momentum o the orchestra. Because o its ineriority in the grand scale o the work, it is overlaed with cannons in the winds and glockensiel, all in a bed a tremolo strings, oscillating clarinets, vibrahone and har. The rhythmic motion intensiies at measure orty-one as the iece shits uward by a ourth to B-lat major. These next our measures are a variation o measures thirtyseven through thirty-eight, with three key dierences. First, the basses now outline the harmony with izzicato areggios. Second, the basses are echoed by the har and vibrahone. Third, the high winds are now indeendent o the theme, and roviding counter-melody. This new setting or the cellos rovides rereshing accoaniment to the amiliar melody and harmony. Like the our measures beore it, measures orty-ive and orty-six are also variations, but only in the interest o rogressing the harmonic sequence, this time down by a major second to A-lat major. As the sequence that began

17 9 at measure thirty-seven is beginning to lose its harmonic drive, the dynamic levels all and the irst theme sounds in the glockensiel at measure orty-ive, signaling the result o the eorts o the ast twenty-nine measures. Measure orty-seven marks the beginning o the end o the irst third o the iece, a large-scale swell o several layers o rhythmic and harmonic motives, all masking the glockensiel which deiantly chimes in the background. This ten-measure swell incororates several themes and motives rom the oening six measures, such as the swell motive rom measure one and the irst theme rom measure two; however, the most iortant theme o the section begins at measure ity in the horns. The hrase is slow-moving and calm, a direct contrast to the rantic activity o rest o the orchestra, slowly riening by measure ity-ive into a more noble version o the revious cello themes. The horns ush the orchestra to a climax at measure ity-eight, and begin to be swallowed by the harmonic shit to D-lat major. The chimes end the swell at measure sixty with a variation o the irst theme, which brings a sudden halt to the orchestra, ending the irst third o the work. The second section begins abrutly at measure sixty-one and introduces a assive and oen texture in B-lat major with an E natural, suggesting Lydian, just like most o the irst sixty measures o the iece. A short motive in the har, reminiscent o the clarinets in measure thirty-six, cautiously iterates over sustained violins and sot cymbal accents. The vibrahone quietly enters at measure sixty-three with what is the main melodic theme o the work, though in its initial stage, rhythmically awkward and harmonically siliied. In suort o the vibrahone are wind and string tremolos, both o which reerence the irst third o the iece. The dynamic o the orchestra increases as

18 10 the strings introduce a more conident version o the second theme at measure sixty-nine, accoanied by a harmonic shit to G-lat major. This variation, however short-lived, is a direct reerence to measures thirty-seven through orty-six, seciically, the cannons at measure thirty-seven, the izzicato bass at measure orty, the tremolo strings and the astoral sub-theme ormerly voiced by the cellos, now voiced by the violins. By measure seventy-two, it is clear that this light variation is only a teorary surge in color, as it dwindles with the end o the variation, back to the ulsing har and sustained violins. From measures seventy-ive to seventy-seven, ragments o the second theme as a cluster o basses and bass drum rumble in the background. As the second more sustained ragment sounds in the violins, the orchestra suddenly swells, launching into the center o the work, measures seventy-seven through eighty-one. It is here that the second theme matures into a more stable and exressive version in E major (Lydian) with suort rom the entire orchestra. Voiced by the violins, violas and horns, the theme is set at a slightly aster teo and contains several layers o underinning in the winds, ercussion, har and longer sustained harmonies in the low strings and brass. As the second theme ends, a melodic answer ollows, voiced again by the violins, violas and horns, with the irst trombone as well. Adding an oscillating motion in the background are the winds, with thirty-second note runs that reeat or the duration o each harmony. What is striking about this section is the modulation rom C major to E minor at measures eighty-three and eighty-six, one o the ew instances where a minor tonality is dominant. The idea o a quickly shiting harmonic rogression counters the static harmonies that occuy measures sixty-one through eighty-one, and hels to heighten the intensity o the moment without straying rom the general harmonic ace o

19 11 the work. The sequence that began at eighty-two takes a surrising turn at measure eighty-eight, as the orchestra halts abrutly and the brass introduces a D-major diatonic cluster, which lacks the shar ourth scale degree that deines so many o the revious clusters. Simultaneously, tremolo strings begin to swell with an A-lat cluster that lacks a third, but includes a major sixth and seventh, suggesting a major quality. The A-lat cluster adds the shar ourth that the D-major cluster lacks, as well as a latted second and third, which ultimately orms a chromatic cluster. It seems then that the strings have their own agenda, which becomes obvious in the ollowing measures. The lack o lowregister suort by the low brass renders the D-major cluster unable to suort its own weight, and it succumbs to a D-lat major cluster that includes both a natural ourth and a sharened ourth scale degree. With this downward shit, the strings add a third to their cluster, suggesting the Lydian mode but lacking a sixth scale degree. This harmonically conusing assage is an unresolved ending to the second third o the work, and it becomes clear that some sort o re-ordering is in store. Measure eighty-nine begins what is essentially an interlude between the second ortion o the iece and the third and inal ortion. It is here that the swell motive dominates the texture, moving between combinations o strings, winds and muted brass. The lexible teo o seventy-eight to eighty-our beats er minute relies on the conductor to abandon the established ulse o the work in avor o seemingly slowmoving, broad strokes o orchestral color. Each swell is corised o a cluster o notes that relects the harmonic identity o the work: major keys with minor key accents, as well as both the Lydian and Dorian mode. While at irst the rogression is diicult to identiy, due to the sot dissonances o the clusters along with the sharly changing

20 12 timbre o the instrument grous, the chord sequence can be broken down in the ollowing way, assuming that the string cluster at measure eighty-nine serves as tonic: I - b III- b vii - b II - I - b VII - iv - I - V/III - I (C major). Fittingly, C major ends the sequence at measure ninety-eight, and immediately the strings deart to G-shar major to begin the third and inal section o the work. The inal section o the iece combines several motives and textural ideas rom revious sections and introduces them individually to create a layered, large-scale swell that corises most o the inal section. As might be exected, this borrowing o material leads to several key areas occurring simultaneously, which will be identiied as they occur. Again, this olytonality and bimodality serves to create harmonic density and conusion, rather than two clear tonalities sounding at once. The tremolo violins that begin the third section at measure ninety-nine are most closely linked to the material rom measure seventy-two, and the basses conirm that relationshi with a cluster that links to measure seventy-our. This dense texture is encouraged by daened tiani, which sets a clouded sonic backdro. The vibrahone introduces a curious variation o the irst theme at measure 101, with the material rom measures two and our occurring at the same time, erormed by both ercussionists. This attern reeats every ive and hal beats, making the 6/4 meter diicult to ollow, and also ilies A minor over the G-shar major strings. The next signiicant allusion comes with the violins at measure 104, reminiscent o the string igures at measure ortyeight. The dierence lies in the surts o activity, and most iortantly, that the new material is derived directly rom the irst theme. This same material later sounds in the clarinets, lutes and iccolo as the section s dynamic builds, all suggesting A minor.

21 1 More borrowed material aears in the contrabassoon at measure 105, which is later doubled by the bassoons and basses, and is directly lited rom the cello igures which began at measure eighteen. The resence o an F shar also ilies Dorian in site o the F naturals in the strings. Directly aterwards, at measure 106, the second violins and violas glissando to an A natural, which alludes to the string material at measure sixtythree. Later at measure 11, they begin to take on a tune o their own, borrowed rom the horns at measure ity. At measure 109, a solo oboe in A Dorian borrows rom measure seventy-eight while the tiani crescendos and diminuendos, much like measure thirtyone. As the violins and violas end their lyrical hrase at measure 117, the cellos enter, laying every other sixteenth o the violins. The result is a mid to low register extension o the violin material, making it more audible in the multilying layers o color. One measure ater this entrance, the horns and truets recall the swell motive, much like the truets and trombones at measure ity-two. Their alternating o swells, both in A minor, along with irregular reetitions, allow or a seemingly indeendent layer o dynamic, contrasting material. At the same time, the second violins and violas begin to slowly diminish their rhythmic values, eventually reaching sixteenth notes by the climax at measure 129. Not long beore that, at measure 122, the horns and truets begin to swell at more requent intervals, while the strings become more rantic and with longer iterations o the irst theme. Eventually by measure 127, the orchestra is boiling with activity and the strings, low brass and double-reeds begin a syncoated ascent toward F- major Lydian, which inally arrives at the urging o the glockensiel at measure 129. The climax o the iece, measure 129, sees the insistent reetition o the irst theme bloom into a ully orchestrated second theme, this time lacking the drawn out

22 14 notes and long auses in avor o a decisive and driving teo, much like the irst theme during the irst ew bars o the iece. The second theme is now most clearly eatured in the irst violins, doubled by hal o the second violins and all o the cellos, while the rest o the strings combine with the high winds to carry on the everish sixteenth igures ormerly maintained by the irst violins. Simultaneously, the horns and truets attack in bursts with diatonic clusters while the low brass, basses and tiani rovide the root and other undamental itches o each chord. The harmonic rogression in this section, like measures eighty-two through eighty-our, rominently eatures a minor quality or eect, being that most o the harmonies are major in quality. The minor chord in ocus is D minor with a shar sixth, ilying the Dorian mode, though it is the modulation rom F major to D Dorian that is eective, not sily the resence o the chord. The minor quality quickly gives way to B-lat major at measure 1, beore modulating downward by a major second to A-lat major, then again by a major second to G-lat major at 15, beore alling to E major at 16. Just as the climax begins to lose its momentum, the truets interrut at measure 17 with layered runs over a surrising A-major chord in the horns, beore resolving to a C major Lydian chord at measure 19, announcing that the end o the work is aroaching. The inal nine measures o the iece are a driving variation on the irst six measures o the iece, eaturing a thunderous imitation o the irst theme by the tiani. Just as the vibrahone at measure 101 reeated its hrase beore the measure was colete, the tiani reeats every ive eighth notes, making it diicult to identiy or ollow the meter. Fragments o the irst theme are srinkled throughout the glockensiel, which is interruted by the orchestral bursts that shaed measures one through twelve.

23 15 The horns, truets, and trombones resurrect the swell theme one last time at measures 144 and 145, just as the orchestra shits uward by a minor third, mirroring measure ive. At measure 146 the harmony shits uward again, this time by a major third, and rhythmically reerences measures ive and six. The tiani maintains the ulse, however, and the momentum carries until another uward shit by a minor third signals the boiling oint. The iece concludes in C major, eaturing a tri-tone and a natural ith, relecting a combination o the work s modal character and the degree o its harmonic density. As a whole, The Innermost Point is an exercise in exression. Each ortion o the work attets to sow certain thematic seeds that hoeully blossom at the climax o the iece and instill a sense o ulillment as the inal note sounds.

24 16 Instrumentation Flutes (rd doubling Piccolo) 2 Oboes English Horn 2 Clarinets in Bb Bass Clarinet 2 Bassoons Contrabassoon 4 Horns in F Truets Trombones (rd doubling Bass Trombone) Tuba Tiani Percussion (Two layers) * Har Strings *Percussion I: Glockensiel, Bass Drum, Chimes, Crotales (shared), Vibrahone (shared) Percussion II: Vibrahone (shared), Crotales (shared), Susended Cymbals (three sizes), Tam Tam. Duration: ca. 9 minutes

25 Piccolo The Innermost Point Full Score (Transosed) q = 118 (Focused) 17 David Hidek I II Flutes III decay quickly Oboes I II English Horn I Clarinets in Bb II Bass Clarinet in Bb Bassoons I II Contrabassoon I III Horns in F IV II I Truets in C II III I II Trombones a 2 div. III a 2 Bass Trombone Tuba Tiani Percussion I Glockensiel Percussion II Vibrahone hard yarn mallets m m Har MMMOMMMM echoing the vibrahone m m I Violins II q = 118 (Focused) div. div. Violas I non div. div. div. Cellos II div. non div. Basses Coyright 2009 by David Hidek

26 18 12 molto rit. q = 80 A Fl. m sub. m Muta in Picc. Ob. I. a 2 sub. m Eng. Hn. sub. m Cl. I. a 2 sub. m B. Cl. sub. m Bsn. Cbsn. Hn. sub. sub. C Tt. al sord. al sord. Tbn. sub. al sord. B. Tbn. sub. Tba. sub. Ti. rit. roll slightly, daen immediately daen immediately Eb > F Perc. I (Glockensiel) molto rubato (a cascading eect) Bass Drum rit. roll sub. Perc. II (Vibrahone) Crotales gently Large Sus. Cym. m H. Vln. I Vln. II 12 molto rit. q = 80 sub. [Db Eb Ab] [D E A ] m sub. A m m Vla. sub. m Solo C. Solo m molto vibrato sub. m Vc. I div. Vc. II sub. B. sub.

27 19 Fl. 20 Ob. Eng. Hn. Cl. B. Cl. Bsn. Hn. C Tt. Tbn. B. Tbn. Tba. Ti. m Perc. I (Glockensiel) Perc. II (Crotales) Vibrahone (hard yarn mallets) m Large Sus. Cym. H. m Solo Vln. Vln. I 20 m m Vln. II Vla. m m Solo C. Vc. I unis. iù vibrato m ord. m Vc. II iù vibrato m ord. m B. m

28 Fl. 0 B Animated (q = 80) m 20 Ob. I. a 2 m Eng. Hn. m Cl. a 2 oscillating in the background B. Cl. oscillating in the background Bsn. Cbsn. m Hn. C Tt. Tbn. B. Tbn. Tba. Ti. m rit. roll Perc. I (Glockensiel) m m Perc. II (Vibrahone) m Large Sus. Cym. H. Solo Vln. Vln. I 0 gliss. cogli altri [Db] [D ] m B Animated (q = 80) sub. n m m Vln. II m Vla. unis. div. Vc. I non div. m Vc. II non div. m div. B. izz. arco m

29 21 Picc. 7 Fl. a 2 Ob. I. m sz Eng. Hn. m sz Cl. m I. B. Cl. m Bsn. m m sz Cbsn. m Hn. I. m C Tt. Tbn. B. Tbn. Tba. Ti. D > Db C > Bb A > Ab Perc. I (Glockensiel) Perc. II Vibrahone Crotales (hard yarn mallets) Med. Sus. Cym. H. m m m Bb Vln. I 7 (div.) m m m m Vln. II m m Vla. m Vc. I m Vc. II m B. izz.

30 22 Picc. 41 Fl. m a 2 m Ob. I. m Eng. Hn. m Cl. a 2 B. Cl. Bsn. Cbsn. Hn. C Tt. Tbn. B. Tbn. Tba. Ti. m Perc. I (Glockensiel) m Perc. II H. (Med. Sus. Cym.) m echoing the bass Vibrahone (hard yarn mallets) Solo Vln. 41 Solo m Vln. I m sub. m Vln. II sub. m Vla. unis. Solo C. m Vc. I Vc. II B. m

31 Picc. 45 C m 2 Fl. m Ob. m Eng. Hn. m Cl. sub. B. Cl. sub. Bsn. sere sim. Hn. (I.) m II. m C Tt. Tbn. B. Tbn. Tba. Ti. m cresc. Perc. I (Glockensiel) m Perc. II (Vibrahone) Large Sus. Cym. m sub. m m H. MMLOMMLL [Eb] Vln. I 45 C m m m unis., non legato Vln. II m m sere sim. Vla. sere sim. Vc. I sere sim. non div. sere sim. Vc. II sere sim. non div. sere sim. B.

32 24 Picc. 51 sere sim. Fl. sere sim. Ob. sere sim. Eng. Hn. sere sim. Cl. B. Cl. Bsn. Hn. con sord. m m sere sim. C Tt. con sord. m m sere sim. Tbn. con sord. sere sim. m m B. Tbn. Tba. Ti. Perc. I (Glockensiel) Vln. I 51 div. Vln. II sere sim. Vla. sere sim. Vc. I non legato Vc. II sere sim. non legato B. arco

33 25 Picc. 55 Fl. Ob. Eng. Hn. Cl. B. Cl. Bsn. a 2 molto esressivo Hn. a 2 molto esressivo senza sord. C Tt. senza sord. Tbn. senza sord. B. Tbn. Tba. Ti. Perc. I (Glockensiel) Perc. II Large Sus. Cym H. gliss. Vln. I 55 Vln. II Vla. Vc. I Vc. II B.

34 26 Picc. 58 Fl. Ob. Eng. Hn. Cl. B. Cl. Bsn. m Hn. m m C Tt. m Tbn. B. Tbn. Tba. Ti. Perc. II (Large Sus. Cym) m m Med Sus. Cym. H. MMLOMMLM Vln. I 58 Vln. II Vla. Vc. I Vc. II B.

35 27 Picc. 60 D q = 70 (Calm) Muta in Fl. III Fl. Ob. Eng. Hn. Cl. I. B. Cl. Bsn. I. div. sz Hn. div. sz m C Tt. m Tbn. B. Tbn. Tba. Ti. daen immediately Db > Eb Bb > C Ab > E Perc. I Perc. II Chimes Vibrahone (hard yarn mallets) Solo m (Med Sus. Cym.) daen immediately scrae with scrae triangle beater m Small Sus. Cym. Medium Sus. Cym. with sot mallets H. rubato; always sustained m Vln. I 60 D q = 70 (Calm) Vln. II () Vla. sul tasto Vc. I sul tasto Vc. II sul tasto B.

36 28 Fl. 66 m oco rit. Ob. I. m m m Eng. Hn. Cl. m m B. Cl. Bsn. (I.) I. m Hn. I. m C Tt. Tbn. B. Tbn. Tba. Ti. (Vibrahone) Perc. I Bass Drum Perc. II (Med. Sus. Cym.) Large Sus. Cym. m m Tam Tam H. [Db Ab] m Vln. I 66 arco oco rit. Vln. II morendo rogressively ord. Vla. ord. m m m Vc. I ord., non div. m m m Vc. II ord., non div. izz. m arco B. izz. m arco div. a 4

37 Fl. 75 E q = 74 (Passionate) a 2 m 29 Ob. (I.) m m Eng. Hn. m m Cl. B. Cl. Bsn. (I.) Hn. (I.) m C Tt. Tbn. B. Tbn. Tba. Ti. m Perc. I (Bass Drum) Crotales m Perc. II (Tam Tam) Large Sus. Cym. m m H. [Cb Fb] MMMOMMLM 75 E q = 74 (Passionate) Vln. I Vln. II ord. n div. m (no trill) Vla. Vc. I non div. m Vc. II div. m B. unis.

38 0 Fl. 82 a Ob. a 2 Eng. Hn. Cl. B. Cl. Bsn. a 2 a 2 Hn. a 2 m m m m m C Tt. m m m m m Tbn. B. Tbn. Tba. Ti. C > Ab Perc. I (Crotales) Perc. II (Large Sus. Cym.) m m 82 Vln. I Vln. II Vla. Vc. I non div. Vc. II non div. B.

39 1 Picc. Fl. F G 87 q = (Flexible Teo) q = 10 (Stirring) I. & II. a 2 Ob. Eng. Hn. Cl. B. Cl. Bsn. Hn. a 2 a 2 div. al sord. con sord. via sord. div. al sord. con sord. via sord. C Tt. m m al sord. al sord. con sord. via sord. via sord. con sord. via sord. via sord. al sord. con sord. via sord. Tbn. al sord. con sord. via sord. B. Tbn. al sord. con sord. via sord. Tba. Ti. daen immediately F > A (daen with cloth) Ab > A Eb > C E > F# (daen with cloth) (daened) Perc. I (Crotales) Glockensiel Perc. II Vln. I 87 (Large Sus. Cym.) daen immediately m Tam Tam F q = (Flexible Teo) m G m q = 10 (Stirring) rogressively sul tasto rogressively sul tasto Vln. II div. non div. div. m rogressively sul tasto Vla. non div. div. rogressively sul tasto m Vc. I non div. rogressively sul tasto Vc. II non div. rogressively sul tasto B. div. a 2

40 2 Fl. 101 Ob. Eng. Hn. Cl. B. Cl. Bsn. I. m Cbsn. m m Hn. C Tt. Tbn. B. Tbn. Tba. Ti. (daened) remove daening rom both drums F# > F Perc. I Vibrahone share with Perc. II ad lib. Perc. II Vibrahone share with Perc. I ad lib. H. Vln. I m 101 sul tasto unis., ord., non legato m.d.l.t. m ord. sul tasto unis., ord., non legato m Vln. II sul tasto div. a 2 ord., non-synchronized bowing throughout Vla. sul tasto ord.; non-synchronized bowing throughout Solo C. sul tasto Vc. I sul tasto non div. Vc. II sul tasto non div. B. n

41 Picc. 109 Fl. a 2 Ob. I. m Eng. Hn. Cl. I. B. Cl. Bsn. m m m Cbsn. m m Hn. C Tt. Tbn. B. Tbn. Tba. Ti. (without daening) Perc. I (Vibrahone) Perc. II (Vibrahone) H. Vln. I 109 ord., non legato m Vln. II Vla. Vc. I Vc. II B. izz. m

42 4 Picc. 115 Fl. Ob. Eng. Hn. Cl. B. Cl. m Bsn. Cbsn. Hn. senza sord. senza sord. senza sord. C Tt. senza sord. Tbn. B. Tbn. Tba. m Ti. (daen) A > E Perc. I (Vibrahone) Perc. II (Vibrahone) H. Vln. I 115 Vln. II non div. m sub. m sub. Vla. non div. sub. m sub. Vc. I ord. Vc. II ord. B.

43 5 Picc. 121 cresc. Fl. cresc. Ob. Eng. Hn. Cl. cresc. B. Cl. cresc. Bsn. a 2 Cbsn. Hn. m C Tt. m Tbn. senza sord. a 2 B. Tbn. senza sord. Tba. Ti. m E > Eb m Perc. I (Vibrahone) (Vibrahone) Perc. II Tam Tam Vln. I 121 Vln. II m cresc. Vla. m cresc. Vc. I Vc. II B.

44 Picc. 127 H Brilliant (q = 10) 6 m Fl. 6 m Ob. m Eng. Hn m Cl. B. Cl m Bsn. Cbsn. Hn. m C Tt. m Tbn. div. m B. Tbn. senza sord. m Tba. Ti. senza sord. m m sz Perc. I Perc. II Vln. I (Tam Tam) Glockensiel 127 H Brilliant (q = 10) Med. Sus. Cymbal sz sz non legato Vln. II 6 m sim. div. a Vla. sim. non legato m Vc. I div. Vc. II div. B. arco m

45 7 Picc Fl Ob Eng. Hn Cl B. Cl. Bsn. Cbsn. Hn. m m m m m m C Tt. m m Tbn. I. m m m m m m B. Tbn. m m m m m m Tba. m m m m m m Ti. Eb > E C > D F > G Perc. I (Glockensiel) Perc. II (Med. Sus. Cymbal) sub. Tam Tam 1 Vln. I Vln. II Vla Solo C. Vc. I Vc. II B.

46 Picc. q = 154 (Focused) I 18 8 Fl. Ob. Eng. Hn. Cl. B. Cl. Bsn. Cbsn. Hn. C Tt. Tbn. a 2 B. Tbn. Tba. Ti. daen Perc. I (Glockensiel) m daen Perc. II (Tam Tam) Med. Sus. Cym. m Vln. I 18 q = 154 (Focused) I Vln. II (no trill) Vla. div. Vc. I Vc. II B.