Monk by the sea. Michael markowski

Transcription

1 Monk y the sea Michael markoski

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3 Monk y the sea Michael markoski INSTRUMENTATION Piccolo Flute & Ooe & English Horn Bassoon & B Clarinet B Bass Clarinet & B Contraass Clarinet E Alto Saxohone & B Tenor Saxohone E Baritone Saxohone B Trumet F Horn Tromone Euhonium & Tua & String Bass Piano Percussion : Timani, TamTam (ith suerall mallets, shared) Percussion : Crotales, Susended China Trash Cymal, Thunder Sheet (shared) Percussion : Virahone Percussion : Thunder Sheet (shared), Marima Percussion 5: Crystal Glass (tuned to E5), Chimes, Sus. Sizzle Cym. Percussion : Crystal Glass (tuned to B), Finger Cymals, TamTam (shared), Triangle Percussion : To Crystal Glasses (tuned to C5, E), Bass Drum DURATION ca. 8:00 Photo Credit: k. Berlin / Nationalgalerie, Staatliche Museen zu Berlin / Jörg P. Anders / Art Resource, NY Coyright 05 Michael Markoski / Markoski Creative (ASCAP). All rights reserved. For more inormation, lease visit htt://.michaelmarkoski.com

4 PROGRAM NOTE By Jaco Wallace The German Romantic landscaist Casar David Friedrich comleted his revolutionary ork Der Mönch am Meer (The Monk y the Sea), in 80 ater to years o ork. The ainting, hich is one o his most ellknon today, as seen as shocking and controversial in its time. The ork lacks any traditional raming ojects in the oreground, hich gives its content a jarring lack o ersective and scoe. In the ainting, a solitary man cloaked in lack stands on a arren outcroing and meditates in oservation o a dark exanse o choy aters that recedes into a murky grey mass o clouds. The leak image is hauntingly desolate, aside rom the distant gulls soaring aove the aves and the emergence o a coalt sky aove the reaches o the clouds. Though it ailed to receive critical acclaim in Friedrich s lietime, it has since een hailed as an early examle o astract ainting and has dran arallels to 0th century orks (its segmented, lateral comosition has een notaly comared to the orks o American Exressionist Mark Rothko). In the shared ersective o oth the vieer and the monk, it takes on the shae not just o a selortrait o the artist, ut also o anyone ho sees the ainting, ho can imagine themselves in the same isolated orld. Michael Markoski s Monk y the Sea evokes a similar eeling through the astraction o sound. Insired y the ainting, Markoski certainly includes several overt oreground reerences to images included in Friedrich s ork. An oscillation in the loest register o the iano has the sensation o unstill aters, hile an inventive series o sliding artiicial harmonics on contraass mimics the cries o seagulls. The similarities, hoever, are not limited to sound eects. The lush harmonic language is one o mysterious nostalgia, more reminiscent o mid0th century neoromantic comosers like Hoard Hanson and Miklós Rózsa than o more contemorary styles. The eect is one o archetyal amiliarity: a timeless connection to the suject matter. Moreover, the cascading layers o thematic material create a murky haze that recalls oth the restless oundaries eteen sky, clouds, and sea and the uncertain sense o onder oserved y the eonymous monk. Comounding this is the amiguous tonal language, hich avoids traditional cadence throughout the iece and sequences so requently as to create a constant sense o motion. Within the context o this dramatic setting, hoever, the makeu is surrisingly simle: an insistent reetition o a theme irst resented y English horn that alls through seven stes o a diatonic scale eore gliding exressively ack u a sixth. In doing this, the melody is never comleted, ut instead cycles incessantly uon itsel. As the iece develos, this motive is more renetically hurried and overlaed through a host o voices. The music es and sells stirringly, reaching an aestricken climax eore taering aay into a quiet calm. One inal lourish o ercussion adds a lash o color a terminal rushstroke to the sonic canvas. (Please credit Jaco Wallace hen rerinting or excerting this rogram note.) Monk y the Sea as commissioned y a consortium o the Arkansas Chater o the College Band Directors National Association (CBDNA) and remiered y the 05 Arkansas Intercollegiate Band on Feruary 0, 05 in Hot Srings, Arkansas, ith Dr. Gary Hill as the guest conductor. Secial Thanks Erin Coughlin, Gary Hill, Roert Johnson, Chris Knighten, Timothy Oliver, Jaco Wallace

5 COMMISSIONED BY Arkansas State University Arkansas State University Beee Arkansas Tech University Harding University Henderson State University Hendrix College Ouachita Batist College Southern Arkansas University University o Arkansas University o Arkansas at Fort Smith University o Arkansas at Little Rock University o Arkansas at Monticello University o Arkansas at Pine Blu University o Central Arkansas

6 PERFORMANCE NOTES The dynamic markings layed y muted instruments are intended to e heard dynamics and not layed dynamics. The String Bass should e amliied, esecially i your instrumentation is larger than a traditional oneonaart ind ensemle or i you are erorming in an extra large concert hall. I ossile, you might also exeriment ith adding a sutle rever and/or delay to enhance the seagull eect. I ossile, amliying the Crystal Glasses ill also hel this eect e etter heard in addition to creating a cool, otherorldly timre. It ill e helul to exaggerate the eaks in the avelike crescendo/decrescendo sells that are the textural asis or the irst coule o minutes o the music. Be sure to note that these sells overla and eak on dierent eats in order to create an ominous undercurrent or the melody. The iano art is integral to the overall texture o the iece ut may e layed ith a little reedom and ruato. Strict time need not e so strict so long as the harmonic atterns change hen they are notated to. The eginning o the iece may e layed una corda (ith the sot edal) until the ensemle s texture thickens and tutte le corde ( all the strings, or release the sot edal) ecomes aroriate. The inal note may e stretched in accordance ith the ritard in measure 9. The rightness o the susended China Cymal should dominate the texture at the end o the inal crescendo.

7 Transosed Score Piccolo Flute Flute Ooe q = ca. 0 Commissioned y the Arkansas Chater o the CBDNA or the 05 Intercollegiate Honor Band (no tongue) n n MICHAEL MARKOWSKI (no tongue) m English Horn Bassoon B Clarinet B Clarinet B Clarinet & (no tongue) n m n (no tongue) n m n B Bass Clarinet B Contraass Clarinet Alto Saxohone & Tenor Saxohone Baritone Saxohone B Trumets B Trumets & Horn Horn Tromone Tromone Euhonium Tuas String Bass Piano Percussion Percussion { sim. (8v throughout, unless indicated.) arco Percussion Percussion Percussion 5 Percussion / / Percussion Rev. //05 Coyright 05 Michael Markoski / Markoski Creative. All rights reserved. For more inormation, lease visit htt://.michaelmarkoski.com

8 & Fl. Fl. m O. Bsn. Solo Cl. Cl. Cl. B. Cl. m m Alto Sax. & Tt. Tt. & 5 8 CUP MUTE Hn. Hn. Tn. Tn. Euh. { Perc. Perc. Perc. Perc. Perc. 5 Perc. / / Perc. Rev. //05

9 Fl. O. Bsn. Cl. Cl. B. Cl. Alto Sax. Tt. Tt. & & & j J j Æ J j & & m m m 9 0 m m n n & j j J & j j j J m Hn. Hn. Tn. Tn. Euh. Perc. Perc. seagull eect* & O { & Sounds:,,,,, *Seagull Eect: Finger a 5th artiicial harmonic aove the highest closed note on the G string. Slide don the string (don in itch) keeing the 5th interval constant. Deending on the overall alance o the ensemle, the String Bass could/should e amliied to ensure that this eect is clearly heard. (attern changes) sim. Perc. Perc. Perc. 5 Perc. & / / Perc. Rev. //05

10 Fl. O. Bsn. & a m m Cl. Cl. j Cl. n j J Cl. j n J B. Cl. m m Alto Sax. & j J m Tt. Tt. & MUTE OUT 5 m Hn. Hn. m m Tn. Tn. Euh. m m Perc. Perc. { CROTALES l.r. ith lastic mallets (ith medium yarn mallets, medium motor) (also 8v) & m VIBRAPHONE Rev. //05 m (Still 8v...)

11 & Fl. O. Bsn. m Cl. m Cl. m m Cl. Cl. B. Cl. m m Alto Sax. & & Tt J dim. Tt. Hn. Hn. Tn. m Tn. Euh. Perc. { & Perc. Rev. //05 5

12 & Fl. O. Bsn. Cl. Cl. B. Cl. m & Alto Sax. Tt. & m & Tt. Hn. Hn. Tn. Tn. m Euh. seagull eect & O { Perc. Perc. / THUNDER SHEET æ gently rolled ith ooy mallets (Vies) m æ Perc. 5 Perc. CRYSTAL GLASS (layed along rim o glass ith inger) Rev. //05

13 Fl. O. Bsn. & 8 Just a little aster... Cl. Cl. Cl. Cl. B. Cl. Alto Sax. Tt. Tt. & &. & & 5 8 CUP MUTE m Hn. Hn. Tn. & Tn. Euh. { Perc. () () () (5) Perc. / æ æ æ æ Perc. 5 CRYSTAL GLASS (layed along rim o glass ith inger) Perc. Rev. //05

14 Fl. j O. Bsn. Cl. Cl. j Cl. Cl. j B. Cl. Alto Sax. & & Tt. Tt. Hn. Hn. Tn. & 9 0 CUP MUTE Tn. Euh. { Perc. (Vies) () () (8) Perc. Perc. 5 / (Thunder Sheet) æ æ æ æ & (Crystal Glass) m Perc. (Crystal Glass) Rev. //05 8

15 Fl. O. Bsn. Cl. Cl. Cl. Cl. B. Cl. Alto Sax. Tt. Tt. Hn. Hn. Tn. Tn. Euh. Perc. Perc. Perc. Perc. Perc. 5 Perc. Perc. & J dim. & { m m m oed (0) () TAMTAM scraed ith suerall mallet & j j & & & & TIMPANI (Crotales) J (9) / æ / j m m æ æ Rev. //05 9

16 Fl. Pushing orard... & < < n # n n # n n n n Pull ack... O. Bsn. Cl. Cl. n # # m # # n n n n n n n j J B. Cl. Alto Sax. m & < # # n j n j Tt. Tt. & 5 8 MUTE OUT (cu mute) n Hn. n # Hn. Tn. Tn. Euh. < n n # n # # n m j J m j m J m Perc. / CHINA "TRASH" CYMB. æ J yarn mallets Perc. (Vies) () () (Vies) () (5) Perc. / Rev. //05 0

17 Fl. 9 & a O. Bsn. Cl. Cl. B. Cl. Alto Sax. Tt. Tt. ẇ m a & & & 9 0 Hn. Hn. Tn. Tn. Tn. Euh. Perc. Perc. Perc. { m m CROTALES / / m n m (mallets) loco,, HARMON MUTE (no stem) n n m m, HARMON MUTE (no stem) m & () Rev. //05 MARIMBA (layed ith sot yarn mallets) n

18 Fl. O. Bsn. & sz sz j oco accel. n n n j n n n n n n n n Cl. a n # n # Cl. B. Cl. n sz sz n n # Alto Sax. Tt. Tt. & # sz & sz sz sz 5 CUP MUTE # n n # (cu mute) j. # n j # # n # j n # j Tt. # n j n # Hn. Hn. Tn. Tn. Tn. Euh. n sz sz m MUTE OUT m m sz stagger reathing stagger reathing n, n n sz MUTE OUT n a arco Perc. Perc. { n sz Rev. //05

19 Fl. 8 A little aster (q = ca. ) & rit.. J O. J J Bsn. J m J Cl.. J j n m Cl. n j J j J m B. Cl. m j j J Alto Sax. m j & j j J m m j n J Tt. Tt. & MUTE OUT J m MUTE OUT j J m Hn. j j m Hn. j m j n Tn. j J m Tn. j J m Euh. J j m j j m Perc. Perc. J J m (Timani) æ æ m (Vies) æ m æ Perc. 5 CHIMES Rev. //05

20 5 A Temo (q = ca. 0) & Fl. O. Bsn. j J Cl. Cl. B. Cl. j & Alto Sax. & j Tt. Tt. & Hn. Hn. Tn. j J m Tn. Euh. ẇ Perc. Perc. æ (Timani) dim. (Vies) æ æ æ æ æ Perc. CRYSTAL GLASS (layed along rim o glass ith inger) Perc. (Crystal Glass) Rev. //05

21 Fl. & 5 O. Bsn. J J J J J J n n Cl. Cl. Solo j j Cl. B. Cl. & Alto Sax. & Tt. Tt. & 0 5 & 5 Hn. Hn. Tn. ẇ m m Tn. Euh. Perc. Perc. Perc. { æ æ & (Marima) æ æ m (8v) (Vies) æ æ æ 5 Perc. Perc. Rev. //05 5

22 g Picc. Fl. Fl. O. 5 8 accel. & J Bsn. Cl. Cl. Cl. Cl. B. Cl. Alto Sax. Tt. Tt. Tt. Hn. Hn. Tn. Tn. Euh. Perc. Perc. Perc. Perc. Perc. 5 Perc. Perc. & Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j & { 5 5 / One Player & dim. dim. & dim. dim izz. dim. dim. dim. scrae / metal (Crotales) ith yarn m FINGER CYMBALS cresc. cresc. tutti tutti cresc. m cresc. cresc. cresc. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j & CUP MUTE CUP MUTE m cresc. J j (Marima) / / j dim. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j TAMTAM j SIZZLE CYMBAL J j (Vies) (Crystal Glass) j + dim j j j æ æ æ J Rev. //05 j j j æ cresc. æ

23 Fl. Fl. O. Bsn. Cl. & 9 9 Cl. Cl. Cl. B. Cl. Alto Sax. Tt. Tt. & CUP MUTE cresc. & & Tt. Hn. Hn. Tn. Tn. Euh. Perc. Perc. { (Vies) arco TIMPANI æ æ Perc. Perc. 5 Perc. Perc. / / & / (Crystal Glass) æ THUNDER SHEET CHIMES TAMTAM scrae scrae / metal Rev. //05

24 Fl. (q = ca. 80) & j j j j j j O. Bsn. Cl. Cl. B. Cl. Alto Sax. Tt. Tt. Hn. Hn. Tn. Tn. Euh. Perc. Perc. Perc. Perc. Perc. 5 Perc. & & MUTE OUT { j j 5 loco (Crotales) j j & # &. n / j j æ (Thunder Sheet) (Chimes) (TamTam) / Rev. //05 8 æ j j j æ æ n

25 Fl. O. & n n 80 n n n Bsn. Cl. Cl. Cl. B. Cl. Alto Sax. Alto Sax. Tt. Tt. Hn. Hn. Tn. Tn. Euh. Perc. Perc. & n n & < <n { / n n n & n n <# n n ẇ & J & MUTE OUT n n j j < n n n n n n n n n <n n & (Thunder Sheet) æ æ n ẇ æ æ (Timani) æ n n Rev. //05 9

26 Fl. O. Bsn. Cl. Cl. B. Cl. Alto Sax. Alto Sax. Tt. Tt. Hn. Hn. Tn. Tn. Euh. Perc. Perc. Perc. Perc. Perc. < & < < & { / æ <n cresc (Crotales) & < & < <n j j e e ej (Timani) æ æ æ æ / (Thunder Sheet) < (Vies) æ æ BASS DRUM Rev. //05 0 J cresc. cresc. æ

27 Fl. O. Bsn. Cl. Cl. B. Cl. & < Alto Sax. Alto Sax. & & & Tt. Tt. Hn. Hn. Tn. Tn. Tn. Euh. Perc. Perc. Perc. & { sz < sz j ells u! j ells u! sz sz æ æ æ Perc. Perc. 5 Perc. / æ æ / æ (Bass Drum) æ Rev. //05

28 Fl. O. Bsn. Cl. Cl. B. Cl. Alto Sax. Alto Sax. Tt. Tt. Hn. Hn. Tn. Tn. Euh. Perc. Perc. Perc. Perc. Perc. 5 Perc. Perc. & & & dim. { n n j / 89 cresc. (Thunder Sheet) n (Chimes) dim. Pushing orard (ells don) (ells don) n n a cresc. cresc. cresc. n & & n n n (Crotales) (Vies) n / TRIANGLE / æ Rev. //05 æ n æ æ

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