Piano Concerto. Carl Schimmel. Department of Music Duke University. Date: Approved: Stephen Jaffe, Co Supervisor. Scott Lindroth, Co Supervisor

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1 by Carl Schimmel Department of Music Duke University Date: Approved: Stephen Jaffe, Co Supervisor Scott Lindroth, Co Supervisor Bryan Gilliam Wagner Kamakura Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2008

2 ABSTRACT by Carl Schimmel Department of Music Duke University Date: Approved: Stephen Jaffe, Co Supervisor Scott Lindroth, Co Supervisor Bryan Gilliam Wagner Kamakura Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2008

3 Copyright by Carl Schimmel 2008

4 Abstract The dissertation consists of a, written for first performance in Fall 2008 by Blair McMillen, piano, and the Raleigh Civic Symphony conducted by Randolph Foy. The three movement work is scored for piccolo, 2 flutes (1 doubling piccolo), 2 oboes, English horn, 2 clarinets in B flat, bass clarinet in B flat, 2 bassoons, 4 horns in F, trumpets in C, 2 tenor trombones, bass trombone, tuba, timpani, percussionists, strings, and piano solo. The work is approximately twenty minutes in duration. The first movement, Fantod, employs a neo Romantic idiom, featuring the soloist as both aggressive virtuoso and as a subtle residual resonance which emerges from the orchestral texture. The second movement, Lament, serves as a simple, pensive, and sorrowful aftermath to the frenzied first movement. In the third movement, Rondoburlesque, the mood of the work becomes considerably more lighthearted, and moments of the first two movements are caricatured. The Concerto s harmonic and melodic organization derives from a set theoretical design. The first movement uses the harmonic minor scale and its inversion, the second movement uses the melodic minor scale, and the last movement uses the natural minor scale (the major scale). Important and unique subsets of these scales are used to provide both contrast and interrelatedness between movements. In particular, the main melodic theme of the first movement returns at the end of the last movement. iv

5 Contents Abstract...iv Acknowledgments...vi...1 I. Fantod... II. Lament... III. Rondoburlesque...44 Biography...77 v

6 Acknowledgments I wish to thank the members of my dissertation committee for their advice during the writing of this concerto and throughout my studies at Duke University. In addition, I would like to express gratitude to pianist Blair McMillen and to conductor Dr. Randolph Foy of the Raleigh Civic Symphony for their participation in the premiere of the concerto, which is currently scheduled for November The Duke University Music Department has also been instrumental in its financial assistance of my musical endeavors. Finally, I would like to thank my wife for her love and support. vi

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9 Piccolo Transposed Score Orotund (= ca. 6) I. FANTOD lunga Carl Schimmel poco Flute 1, 2 lunga poco Oboe 1, 2 English Horn Clarinet in B 1 Clarinet in B in 2 Bass Clarinet Bassoon 1, 2 Horn in F 1, 2 Horn in F, 4 Trumpet in C 1, 2 lunga lunga lunga lunga lunga lunga lunga lunga lunga poco poco dolce poco poco poco poco poco solo poco solo poco poco poco poco poco Trumpet in C lunga poco Tenor Trombone 1, 2 Bass Trombone lunga lunga lunga poco poco poco Orotund (= ca. 6) Timpani lunga poco Percussion 1 Percussion 2 Percussion VIBRAPHONE hard mallets SUSPENDED CYMBAL bowed dampen lunga lunga CROTALES (struck) VIBRAPHONE hard mallets dampen poco poco poco Piano Solo lunga lunga poco poco Violin I Violin II Viola lunga lunga solo dolce poco poco poco Violoncello lunga poco Double Bass lunga poco

10 Picc. B Cl. 1 B Cl. 2 Hn., 4 C Tpt. 8 8 (a2) (a2) solo straight mutes solo (a2) ritard. solo ritard. 8 Perc VIBRAPHONE SUSPENDED CYMBAL dampen dampen dampen 8 Solo gli altri soli tutti 8 4

11 Picc. B Cl. 1, A Transpontine (= ca. 80) Hn., 4 C Tpt. 17 straight mute solo solo (a2) A Transpontine (= ca. 80) (Trb. 2&) Perc BASS DRUM 17 con molto pedale

12 Picc. B Cl. 1, 2 Hn., 4 C Tpt a2 a2 a2 senza sord. senza sord Perc BASS DRUM SUSPENDED CYMBAL 9 9 dampen 6

13 Picc. 26 B Pyrexical (= ca. 112) 26 B Cl. 1, 2 26 Hn., 4 C Tpt. B Pyrexical (= ca. 112) Perc poco dolce quasi una cadenza poco

14 Picc. B Cl. 1, 2 Hn., 4 C Tpt. Perc. prefulgent

15 Picc. B Cl. 1, 2 Hn., a2 (1. solo) 9 (. solo) (2. solo) (1. solo) (a2) (1. solo) (2. solo) (2. solo) (a2) a2 C C Tpt. (2. solo) (1. solo) (a2) C Perc. 9 TAM-TAM 9 diminuendo poco a poco

16 Picc B Cl. 1, 2 solo (a2) Hn., 4 47 C Tpt Perc (loco) (loco) (loco) (loco) pizz. pizz. con sord. 4 soli sempre 10

17 Picc. 6 D B Cl. 1, 2 6 solo (a2) (a2) solo 6 Hn., 4 harmon mute solo ---- C Tpt. D 6 INVERTED CYMBAL ON TIMPANI glissando up 6 Perc. 6 6 SMALL TRIANGLE 6 (use middle pedal) sul tasto sul tasto tutti, sul tasto (to sul pont.) (to sul pont.) (to sul pont.) gradually change bow at a faster and faster pace gradually change bow at a faster and faster pace gradually change bow at a faster and faster pace 11

18 Picc. 64 E Histrionic (= ca. 144) B Cl. 1, 2 Hn., 4 C Tpt (harmon mutes) harmon mute E Histrionic (= ca. 144) 64 (ord.) CRASH CYMBALS Perc (div.) (div.) 64 tremolo begins slow and dissipates into held notes tremolo begins slow and dissipates into held notes tremolo begins slow and dissipates into held notes tremolo begins slow and dissipates into held notes sul pont. sul pont. unisoni 12

19 Picc. B Cl. 1, 2 Hn., 4 C Tpt senza sord. senza sord Perc. BASS DRUM SUSPENDED CYMBAL (div.) 72 (div.) 72 (div.) 72 1

20 Picc F B Cl. 1, 2 Hn., 4 77 C Tpt. F CRASH CYMBALS 77 BRAKE DRUM Perc. 77 BASS DRUM unisoni ( ) ( ) 6 14

21 Picc. B Cl. 1, 2 Hn., 4 C Tpt , , 2. 1., 2. (8va basso if possible) WOOD BLOCKS Perc

22 Picc. B Cl. 1, 2 Hn., 4 C Tpt poco rit. 89 poco rit. G a tempo G a tempo Perc staccatissimo con pedale

23 Picc. B Cl. 1, 2 Hn., 4 C Tpt a2 a2 a2 4.., , 1., , CRASH CYMBALS Perc unisoni 9 unisoni

24 Picc. B Cl. 1, 2 Hn., 4 C Tpt , , , 2. (a2) (a2) (a2) glissando glissando H H Ritardando poco a poco 1. solo Ritardando poco a poco CRASH CYMBALS Perc. 100 BASS DRUM

25 Picc , 2. Morient (= ca. 84) B Cl. 1, 2 1. solo 106 Hn., 4 C Tpt. 106 Morient (= ca. 84) VIBRAPHONE bowed both Perc. 106 TAM-TAM 106 soli con sord. con sord. con sord. con sord. solo con sord. solo 106 telestic 19

26 Picc. 116 I Dolorous (= ca. 2) ritardando a tempo 116 B Cl. 1, Hn., 4 C Tpt. I Dolorous (= ca. 2) ritardando a tempo Perc con molto pedale tenuto with feeling tutti, divisi senza sord. divisi divisi 116 divisi tutti, divisi senza sord. divisi tutti senza sord. tutti senza sord. unisoni unisoni unisoni unisoni 20

27 Picc. 122 poco rit. a tempo J 122 B Cl. 1, 2 1. solo 1., 2. Hn., solo C Tpt. poco rit. a tempo J Perc crescendo poco a poco (non divisi) divisi divisi 21

28 Picc. 128 B Cl. 1, 2 Hn., 4 C Tpt solo 1., 2. solo a2 1., 2. 1., Perc (div.) soloist can ritardando, not in time with the orchestra 22

29 Picc. B Cl. 1, (2. solo) (2. solo) (2. solo) 1., 2. 1., (1. solo) (1. solo) Hn., 4 C Tpt. straight mutes 2. mute 1., 2. straight 1. (1. solo) (. solo) VIBRAPHONE bowed all Perc. 12 TAM-TAM (half stands only) (half stands only) (tutti, divisi) gradually drop out gradually drop out gradually drop out gradually drop out 2

30 Picc K Histrionic (= ca. 144) B Cl. 1, 2 18 Hn., 4 C Tpt. K Histrionic (= ca. 144) 18 Perc GLOCKENSPIEL dampen dampen CROTALES SLEIGH BELLS dampen 18 (loco) solo only solo only solo only solo only solo only 18 solo only tutti (div.) pizz. tutti pizz. (div.) tutti pizz. (div.) tutti (div.) pizz. tutti (div.) tutti (div.) tutti (div.) tutti (div.) sul G (touch B harmonic) arco arco arco 24

31 Picc B Cl. 1, a2 Hn., 4 C Tpt. a CRASH CYMBALS dampen Perc. 144 TAM-TAM unisoni 9 9 2

32 Picc. B Cl. 1, solo 2. solo 2. solo 1., 2. 1., 2. 1., 2. Hn., 4 10 C Tpt CRASH CYMBALS dampen dampen Perc. 10 TAM-TAM

33 Picc. Fl. 1 Fl. 2 Ob. 1 Ob. 2 B Cl. 1 B Cl. 2 Hn., 4 C Tpt L 17 (straight mutes) (straight mute) L CRASH CYMBALS Perc SUSPENDED CYMBAL BRAKE DRUM BASS DRUM divisi 27

34 Picc. Fl. 1 Fl. 2 Ob. 1 Ob. 2 B Cl. 1 B Cl. 2 Hn., solo senza sord. (mute may be removed in m. 16 if necessary) C Tpt CRASH CYMBALS Perc BRAKE DRUM BASS DRUM SUSPENDED CYMBAL

35 Picc. B Cl. 1, M Poco meno mosso (= ca. 12) accelerando , , Hn., 4 senza sord. fluttertongue C Tpt. senza sord. M Poco meno mosso (= ca. 12) accelerando fluttertongue Perc TAM-TAM 170 con molto pedale ( ) 29

36 Picc. B Cl. 1, 2 Hn., 4 C Tpt ord. ord. Histrionic (= ca. 144) Histrionic (= ca. 144) GLOCKENSPIEL all Perc. 174 BASS DRUM 174 ( ) 8:7 8: (conductor's note: durations approximate) (conductor's note: durations approximate) (conductor's note: durations approximate) (conductor's note: durations approximate) 174 (conductor's note: durations approximate) (conductor's note: durations approximate) unisoni 0

37 Picc. B Cl. 1, 2 Hn., 4 C Tpt. N Poco meno mosso (= ca. 120) Poco meno mosso (= ca. 120) N Perc SNARE DRUM

38 Picc B Cl. 1, 2 Hn., C Tpt TAM-TAM SNARE DRUM Perc. 188 BASS DRUM

39 Picc. B Cl. 1, 2 Hn., 4 C Tpt O O 19 Perc CRASH CYMBALS TAM-TAM SUSPENDED CYMBAL TAM-TAM BASS DRUM div. in

40 Picc. Ob. 1 Ob. 2 B Cl. 1 B Cl. 2 Hn., 4 C Tpt Perc TAM-TAM SUSPENDED CYMBAL BASS DRUM :4 11:6 4

41 Piccolo Flute 1, 2 Oboe 1, 2 English Horn Clarinet in B 1, 2 Bass Clarinet Bassoon 1, 2 Horn in F 1, 2 Horn in F, 4 Trumpet in C 1, 2 Trumpet in C Tenor Trombone 1, 2 Bass Trombone Timpani Percussion 1 Percussion 2 Percussion Violin I Violin II Viola Violoncello Double Bass Piano Solo Oneiric (= ca ) Oneiric (= ca ) con sord. con sord. con sord. 1. solo divisi lunga lunga II. LAMENT

42 Picc. B Cl. 1, 2 Hn., 4 C Tpt. Perc. ritardando ritardando half stands only a tempo a tempo breathe when necessary breathe when necessary senza sord. divisi A A senza sord. senza sord. 1. solo 6

43 Perc. soli gli altri soli gli altri soli gli altri senza 1 sord. senza 1 sord. senza 1 sord. senza 1 sord. senza 1 sord TAM-TAM B VIBRAPHONE bowed GLOCKENSPIEL B SMALL METAL WIND CHIMES with medium mallet motor on (medium) ritardando ritardando (senza sord.) divisi gradually enter, one at a time gradually enter, one at a time gradually enter, one at a time gradually enter, one at a time 7

44 Picc. 22 C a tempo 22 B Cl. 1, 2 1. solo a2 Hn., 4 22 breathe when necessary C Tpt C a tempo 22 Perc dolce tutti 22 tutti 22 tutti 22 tutti tutti tutti tutti dolce TAM-TAM dolce dolce con pedale gradually shift to upper A ( -- slow ) dolce 8

45 Picc. 1 ritardando a tempo D 1 1. solo 2. B Cl. 1, 2 Hn., solo C Tpt. 1 ritardando a tempo D 1 1 Perc dolce gradually shift to A, one by one 9

46 Picc. 41 E 41 (2.) (a2) poco B Cl. 1, 2 Hn., 4 C Tpt. 41 a2 41 breathe when necessary E 41 Perc TAM-TAM con molto pedale SUSPENDED CYMBAL

47 Picc. B Cl. 1, a2 ( ) ossia: continue to hold F Hn., 4 C Tpt Perc

48 Picc. B Cl. 1, 2 Hn., 4 C Tpt F F 46 molto ritardando molto ritardando a tempo a tempo GLOCKENSPIEL SMALL METAL WIND CHIMES Perc. 46 TAM-TAM

49 Picc. B Cl. 1, 2 Hn., 4 C Tpt. Perc. dolcissimo dolcissimo dolcissimo dolcissimo solo motor on (slow) VIBRAPHONE G G release pedal very gradually Quiescent (= ca. 6) Quiescent (= ca. 6) divisi divisi con sord. con sord. con sord. con sord. 4 soli soli n H H breathe when necessary breathe when necessary n n n una corda n n n n bowed motor on (medium) motor should gradually ritardando to the slowest speed and stop when note is nearly inaudible 4

50 Piccolo Flute 1, 2 Oboe 1, 2 English Horn Clarinet in B 1, 2 Bass Clarinet Bassoon 1, 2 Horn in F 1, 2 Horn in F, 4 Trumpet in C 1, 2 Trumpet in C Tenor Trombone 1, 2 Bass Trombone Timpani Percussion 1 Percussion 2 Percussion Violin I Violin II Viola Violoncello Double Bass Piano Solo As Fast As Possible (= ca. 176) As Fast As Possible (= ca. 176) CROTALES dampen III. RONDOBURLESQUE 44

51 Picc. 12 A B Cl. 1, 2 Hn., 4 C Tpt A harmon mute (stem in) to the fore harmon mute (stem out) to the fore a XYLOPHONE dampen Perc use middle pedal

52 Picc. Fl. 1 Fl. 2 B Cl. 1, 2 Hn., 4 C Tpt straight mute solo 1. solo (a2) a2 (straight mutes) 1. solo straight mute solo B B Perc BASS DRUM TAM-TAM SUSPENDED CYMBAL XYLOPHONE dampen! molto secco solo 46

53 Picc. 1 1 B Cl. 1, 2 Hn., 4 1 C Tpt Perc :6 7:6 8:6 8:6 7:6 7:6 7:6 solo solo pizz. pizz. pizz. 1 47

54 Picc. 7 7 B Cl. 1, 2 Hn., 4 7 (straight mutes) C Tpt. (straight mute) Perc :8 9:8 7:6 7:6 7:6 7 solo solo sul A sul A (touch C harmonic) 48

55 Picc. B Cl. 1, C 4 Hn., 4 C Tpt. staccatissimo 4 C Perc SNARE DRUM CRASH CYMBALS secco WHIP BASS DRUM secco solo solo arco glissando divisi arco arco 4 49

56 Picc. 0 D B Cl. 1, 2 0 solo FLUTE 2 TAKE PICCOLO 1., 2. 0 Hn., 4 C Tpt. 0 D 0 0 POP GUN Perc

57 Picc. 1, 2 Fl. 1 B Cl. 1, 2 Hn., 4 C Tpt (straight mutes) (straight mute) E 1., 2. solo WHIP E XYLOPHONE Perc (both staves) (both staves) loco (top staff only) BRAKE DRUM 1

58 Picc. 1, 2 Fl staccatissimo staccatissimo G. P. G. P. G. P. F B Cl. 1, 2 Hn., 4 6 staccatissimo staccatissimo staccatissimo staccatissimo staccatissimo staccatissimo staccatissimo G. P. G. P. G. P. G. P. G. P. G. P. G. P. C Tpt. staccatissimo staccatissimo G. P. G. P. G. P. G. P. Perc XYLOPHONE BRAKE DRUM G. P. G. P. F GLOCKENSPIEL G. P. G. P G. P. G. P. solo G. P. G. P. G. P. G. P. G. P. glissandi simile 2

59 Picc. 1, 2 7 Fl. 1 7 B Cl. 1, 2 Hn., 4 7 C Tpt Perc. 7 7 accented notes should ring (above the range of the damper) 7 (solo) 7 7 7

60 Picc. 1, 2 Fl. 1 B Cl. 1, 2 Hn., G senza sord. C Tpt. senza sord. 79 G Perc GLOCKENSPIEL SUSPENDED CYMBAL XYLOPHONE

61 Picc. 8 8 FLUTE 2 TAKE FLUTE H dolce B Cl. 1, 2 Hn., 4 C Tpt H solo Perc. 8 BASS DRUM 8 TAM-TAM SUSPENDED CYMBAL dampen! 8 L.H tutti 8

62 Picc. 97 I 97 staccatissimo non vibr. non dim. B Cl. 1, 2 1., 2. non dim. Hn., 4 C Tpt. 97 straight mutes 97 I Perc :6 8:

63 Picc J B Cl. 1, 2 Hn., 4 C Tpt (a2) (a2) straight mute J (a2) (a2) Perc :6 8:

64 Picc. B Cl. 1, Hn., 4 C Tpt. 116 a XYLOPHONE 116 Perc. 116 (both staves) (both staves) (both staves)

65 Picc. B Cl. 1, 2 Hn., 4 C Tpt. Perc K K 12 TAM-TAM 12 tenuto 12 div. in 12 div. in dampen solo 1., 2. solo 1., 2. glissando BASS DRUM dampen solo glissando 9

66 Picc. B Cl. 1, L Hn., 4 C Tpt L harmon mute (stem in) DUCK CALL Perc :6 7:6 8:6 7: pizz. pizz. 60

67 Picc M B Cl. 1, 2 Hn., a2 a2 C Tpt. 141 stem out senza sord. senza sord. if possible M CRASH CYMBALS Perc

68 Picc B Cl. 1, 2 Hn., C Tpt Perc arco arco

69 Picc. Fl. 1 Fl N Ob Ob Clar.in B 1 12 Clar. in B Hn., 4 C Tpt. 12 N Perc SUSPENDED CYMBAL (both staves) (both staves)

70 Picc. Fl. 1 Fl. 2 Ob. 1 Ob. 2 Clar.in B 1 Clar. in B 2 Hn., solo a2 O C Tpt. 17 O Perc

71 Picc. B Cl. 1, Hn., 4 C Tpt Perc :6 8:6 6

72 Picc P bell up! bell up! accelerando if intrepid B Cl. 1, 2 Hn., 4 C Tpt P a2 accelerando if intrepid Perc. 167 BRAKE DRUM

73 Picc. Fl. 1 Fl Faster Than Possible (optional) B Cl. 1, Hn., 4 C Tpt. 172 Faster Than Possible (optional) Perc BASS DRUM secco XYLOPHONE pizz. 2 soli 67

74 Picc. Fl. 1 Fl q B Cl. 1, Hn., 4 C Tpt. 177 q 177 XYLOPHONE Perc RATCHET at the frog tutti at the frog at the frog 177 arco 68

75 Picc. Fl. 1 Fl B Cl. 1, Hn., 4 C Tpt Perc

76 Picc. Fl. 1 Fl solo crescendo poco a poco crescendo poco a poco crescendo poco a poco B Cl. 1, 2 Hn., solo solo C Tpt Perc

77 Picc. Fl. 1 Fl r 1., 2. breathe when necessary B Cl. 1, 2 crescendo poco a poco breathe when necessary Hn., 4 C Tpt. 194 crescendo poco a poco crescendo poco a poco crescendo poco a poco crescendo poco a poco breathe when necessary r 194 Perc crescendo poco a poco 71

78 Picc. Fl. 1 Fl B Cl. 1, 2 solo crescendo poco a poco breathe when necessary crescendo poco a poco crescendo poco a poco breathe when necessary 199 Hn., 4 a2 C Tpt Perc

79 Picc. Fl. 1 Fl. 2 B Cl. 1, 2 Hn., 4 C Tpt , 2. s s 204 Perc TAM-TAM 7

80 Picc. B Cl. 1, Hn., a2 C Tpt Perc L.H. L.H. L.H. 21:16 21: SUSPENDED CYMBAL

81 Picc. B Cl. 1, t 216 Hn., 4 C Tpt. 216 t Perc. 216 (dampen all instruments) div. in

82 Picc. B Cl. 1, a2 Hn., 4 C Tpt. 222 a2 a secco 222 Perc div. in Glissando SUSPENDED CYMBAL L.H. div. in Glissando dampen! 76

83 Biography Carl Schimmel was born in 197 in Pensacola, Florida. He received his B.A. in Mathematics and Music from Case Western Reserve University in Cleveland, Ohio, on a full merit scholarship, and his M.M. in Music Composition from the Yale School of Music, where he studied under Ezra Laderman, Martin Bresnick, Evan Ziporyn, and Ned Rorem on a C.P. Richardson Merit Scholarship. As a doctoral student at Duke University, he studied under Anthony Kelley, Sydney Hodkinson, Scott Lindroth, and Stephen Jaffe. He has been awarded residencies at the MacDowell Colony, Yaddo, and the Atlantic Center for the Arts, and has twice attended the Aspen School of Music, which awarded him a Fellowship in 200. Winner of the 1999 Bearns Prize, he has received honors and awards from the Yale School of Music, Duke University, the Seoul International Composition Competition, the Left Coast Chamber Ensemble Composition Competition, the National Federation of Music Clubs, the New York Youth Symphony First Music Awards, NACWPI, SCI, ASCAP, and others. His works have been performed throughout the United States, from Alaska to Rhode Island, as well as in Canada, Japan, Korea, and the Netherlands. He has taught at the Yale School of Music, Duke University, Northern Illinois University, and Grinnell College in Grinnell, Iowa, where he currently resides. More information and excerpts of his music are available at 77

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