EnDgame. For Orchestra SCORE Raven Music

david AVSHAlOMOV EnDgame For Orchestra SCORE 2018 Raven Music

Commissioned by the Portland, OR, Jewish Community Orchestra, Dr. Donald L. Aert, Music Director INSTRUMENTATION Piccolo Flutes 1, 2 Oboes 1, 2 English Horn in F (cued) Bb Clarinets 1, 2 (Bb Bass Clarinet otional) Bassoons 1, 2 (Contrabassoon otional) F Horns 1, 2,, 4 Bb Trumets 1, 2, Trombones 1, 2, (bass) Tuba Transosing Score Duration: 15 Har (Pianoorte grand otional; lid u, ull stick, or o) Timani (edal, 4) Percussion (min. 2 layers) STRINGS Glockensiel (2 ½ oct.), sounding 15ma (Xylohone ( ½ oct.), sounding 8va otional)) (Tubular Bells otional) Snare Drum Tom Toms (4) Tenor Drum Bass Drum Wood Block Triangle Susended Cymbal Crash Cymbals Large Tam-tam (lat ace) Violins I Violins II Violas Cellos Bass (at least one with low C extension i ossible)

ENDGAME or symhony orchestra rogram note 2018 by the comoser The creation o this iece grew out o a long-term dialogue with enterrising Portland conductor Don Aert (Honored Artist o the American Prize, 2015), who sought me out to discover works o mine with a Jewish lavor that would be suitable or erormance by his Jewish Community Orchestra. A erormance o my Elegy or strings ollowed, which led to a discussion about their commissioning me to write a new work, a substantial tone oem or overture on siritual, moral, or societal themes. The resulting music is or both those who are essimistic, even cynical, about the state o the world, and those who are still hoeul. It is an evocative, sometimes disturbing iece exressing my own waning hoes, ears and, yes, cynicism and even rage about the ossible imminent end o the world o humans, sarked by recent siking global increases in horriying events and trends due to human societal errors and actions, including (but not limited to): global scorching/climate change, melting ice cas and glaciers, rising seas, increasing catastrohic suerstorms and loods, extended droughts, olluted waterways and vast oceans scummed with loating lastic, dying coral rees, intense air ollution and holes in the ozone layer, decimation (and worse) o wildlie and habitat, requent clusters o huge wildires, deleted crolands, widening amine, revived lagues, and the resurgence o Fascism, anti-semitism and other ancient tribal hatreds, genocidal local wars, civilian gun massacres, terrorist attacks, nuclear threats, and, underlying it all, the global crumbling o the last remnants o decent, moral, balanced social and economic structures, and an imending total takeover by redatory and amoral global caital enabling totalitarian maniac dictators and universal lutocracy/kletocracy. I do not try to deict or dramatize all o these ills individually (in a 15-minute iece), but instead evoke key ones and build u the combined tension o them all at once a world in cumulative, ossibly terminal, global stress. The iece is like a tocsin, a last warning, a last cry to mobilize or the good, or tikkun olam. I raise these questions: Is this the end? Will the world o humans erish? The world o nature? Is it too late? Can we do enough to revent it, to save or heal the world? These are the issues that reoccuy me today. I walk in mountain orest a lot or solace. When I return to the City, it does not last. The music itsel is eisodic, deictive, evocative, and ull o obvious allusions and tributes to the amiliar gestures and signature textures o many great Romantic and Tonal Modern classical symhonic comosers. The musical style is wide-ranging, rom utterly traditional-tonal sweet Mahlerian died-and-went-to-heaven beatiic song, to dismal lastic decay in ure 1920 s modernist twelve-tone harmony and melody, with much music in the middle in my own

tonal-modern style. The moods range rom restul and beatiic through bustling and crass, with some emhatic hortatory outbursts. The orchestral writing is rich, with a lot o comlex ullorchestra textures and some big tutti assages, intersersed with requent lay between the several choirs o instruments. The strings have some lyrical sections o intentionally heartbreaking beauty. The musical orm roceeds like a series o cinematic scenes or vignettes, thematically linked both obviously and subtly, relecting now the dire, manic human world, now the highly-imacted natural world. The music sets u a dynamic tension, as between the inexorable destructive orces o human society, and the innate human yearning (at least or some o us) to heal and restore a eaceul, beautiul, natural world tended by humans in a just and humane society. There are some horrid shocks. The ending is deliberately ambiguous. Some may hear hoe, even triumh. Others will hear the last conlict and erhas... The End. Hence the title,. The successive eisodes, though not intended as realistically deictive or narrative, bear the ollowing suggestive titles in the score: THE HUMAN WORLD NOW THE HUMAN MACHINE AT WORK THE WARNING THE CLEARCUT FORESTS POVERTY AND INJUSTICE PITY AND KINDNESS THE PROPHECY NOSTALGIC DREAM OF A BEAUTIFUL HEALED WORLD BACK TO BUSINESS/TECHNOLOGY POISONED RIVERS RUNNING TO THE SEA THE TEXAS-SIZED ISLAND OF PLASTIC ON THE OCEAN THE TURN DETERMINATION TO HEAL THE WORLD ANSWERING THE CALL LAST WARNING

Piccolo Flute 1 Flute 2 Oboe 1 Oboe 2 English Horn Clarinet 1in Bb Clarinet 2 in Bb Bass Clarinet in Bb (otional) Bassoon 1 Bassoon 2 Contrabassoon (otional) Horn 1 in F Horn 2 in F Horn in F Horn 4 in F Trumet 1 in Bb Trumet 2 in Bb Trumet in Bb Trombone 1 Trombone 2 Bass Trombone Tuba Timani Tam-tam Glockensiel Xylohone (otional) 5 5 Piano (otional) Har Violin I Violin II Viola Violoncello Double Bass Sostenuto q = 100 THE HUMAN WORLD NOW A 5 5 5 5 5 5 5 5 5 5 TAM TAM dead center, no cheating BASS DRUM Large sot mallet L. V. div. 5 hard iber mallets (NOT lastic) hard iber mallets (NOT lastic) dam SNARE DRUM concert rimshot wood sticks dam 5 div. unis. sostenuto unis. sostenuto div. 5 5 sostenuto sostenuto 5 sostenuto m m

2 Hn. Tt. Perc. I 17 B (ot.) etc. etc. etc. etc. etc. etc. etc. etc. etc. BASS DRUM Large sot mallet ot. (edal) L. V. L. V. div. div. div. div. div. div. div. div. div. (Any bass with low C extension lay lower octave where notated) (div.) izz. izz. izz. (catch the izz. ring each time)

Hn. Tt. Perc. non stacc. non stacc. m (small notes ot. tacet or stamina) m (small notes ot. tacet or stamina) m m (small notes ot. tacet or stamina) m m (small notes ot. tacet or stamina) I, izz. C h = 84 THE HUMAN MACHINE AT WORK Vigoroso m (cue ) m m m (cue Hn. ) m m SNARE DRUM div. non stacc. long bows eroce eroce izz. izz.

4 45 m m m m m m Hn. m m m m Tt. m m m m m m Perc. I ot.

56 D m m 5 (cue Oboe 2.) Hn. Tt. m m m m m m m m m m Perc. m I

6 67 E Hn. Tt. Perc. WOOD BLOCK hard xylo. mallet senza ed. I izz. izz. izz. izz. izz.

F 80 7 Hn. Tt. m m m m m m m m m m m Perc. I izz. izz. izz. izz.

8 Hn. Tt. 91 G m m m m m m m m m m m m m m m m m m m m Perc. m wood SUSP. CYM. dome mwood snare stick, butt L. V. WOOD BLOCK m I izz. izz. izz. m izz. izz.

101 H rit. 9 Hn. Tt. rit. Perc. I

10 Hn. Tt. Perc. 11 THE WARNING I Moderato q = 80 ` ` ` ` ` elt ot. ` ` ot. TAM-TAM L. V. ` ` ` ` BASS DRUM big mallet, L. V. CRASH CYMS. Allegretto q = 110 I div. unis. izz. izz. (consecutive 5ths may be divisi here)

12 J THE CLEARCUT FORESTS Largo q = 50 m 6 6 6 6 m 11 Hn. Tt. m m m m m m m solo solo cue B. Trbn. 6 6 6 6 T.-t. (ot. 2 drums unison) m I L.V. izz. etc.

12 19 K THE POVERTY AND INJUSTICE 6 6 m 6 6 6 6 6 6 6 m 6 Hn. m m (cue Hn. I) m Tt. m m m (lay) etc. m T.-t. m m esressivo m I m 6 6 m m m

147 L Piu Mosso q = 66 1 Hn. Tt. T.-t. I m esressivo m esressivo (ot. div., one note) esressivo esressivo m m

14 161 M q = q PITY AND KINDNESS solo cue Eng. Hrn. solo solo THE PROPHECY N Adagio q = 72 solo cue solo cue Eng. Hrn. solo cue solo solo Hn. Tt. T.-t. I izz. izz. izz. izz. izz. cue m

176 THE PROPHECY, FULL O 15 (ossibile) solo cue Eng. Hrn. Hn. Tt. T.-t. I Tam-tam

16 190 P Hn. (ot.) Tt. T.-t. hand sto I sordino m

NOSTALGIC DREAM OF A BEAUTIFUL HEALED WORLD Q Moderato Riten.A Temo 204 q = 80 Poco Piu Mosso q = 86 17 Hn. Tt. T.-t. I sordino esr. div. sordino esr. sordino esr. sordino esr. div. (sordino) sordino esr. (sordino) div. div. Join in gently (sordino) esr.

18 218 rit. R Meno Mosso q = 72 S Hn. Tt. rit. T.-t. I 2 soli TRIANGLE dolcissimo gli altri dolcissimo (div., IIB cue Vla I) hervortretend hervortretend hervortretend tutti div. div. izz. izz.

T Vivo q = 12 BACK TO BUSINESS/TECHNOLOGY 27 19 Hn. Tt. m m m m m m m m m m m m m m m m m m m m m m m m m m m m T.-t. I via sordino via sordino via sordino via sordino via sordino tutti tutti SNARE DRUM m m m m m cue Xylo. via sordino via sordino tutte (ot.--conductor's choice) via sordino (tutti) m izz. m izz.

20 247 POISONED RIVERS RUNNING TO THE SEA U Hn. Tt. m m m m m m m m m m m m m m m m m m m m T.-t. I m m m senza ed. (CONDUCTOR: Vn. I may omit bottom obeat small-note 8ths.) izz. (CONDUCTOR: Vn. II may omit small notes.) izz. izz.

254 21 Hn. Tt. T.-t. I izz. izz.

22 260 V W Hn. Tt. T.-t. I

2 268 Hn. Tt. T.-t. m m I izz. izz. `

24 X 27 mute in Hn. mute in mute in Tt. mute in mute in mute in mute in mute in mute in m I ` (one, solo) (cue KBsn.)

279 m rit. Molto Meno Mosso q = 72 molto rit. 25 m m m m m m m m m m m Hn. Tt. rit. molto rit. I m

26 282 Y Lento q = 60 THE TEXAS-SIZED ISLAND OF PLASTIC ON THE OCEAN Hn. Tt. T.-t. I BASS DRUM (Cue Eng. Hrn.) solo solo m etc. una corda L..V L. V. (Violins Ia, b, c may be soli) sord. senza vibrato sord ḋiv. senza vibrato sord. TAM-TAM gliss. mute mute mute mute mute mute mute mute mute (Cue ) (Cue Eng. Hrn.) (Cue Eng. Hrn.) m 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 change bows individually and inaudibly as needed. change bows individually and inaudibly as needed. senza vibrato change bows individually and inaudibly as needed. sord. div. sord. sord ḋiv. senza vibrato senza vibrato change bows individually and inaudibly as needed. senza vibrato sord. div. senza vibrato Tuttisord. div. senza vibrato change bows individually and inaudibly as needed. change bows individually and inaudibly as needed. change bows individually and inaudibly as needed. change bows individually and inaudibly as needed. m

288 27 (dro a note to catch breath as needed) (dro a note to catch breath as needed) Hn. Tt. T.-t. etc. 5 5 5 5 5 5 5 5 5 5 5 5 I

28 291 Z Hn. mute o mute o mute o mute o Tt. mute o mute o mute o mute o mute o T.-t. 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 I

295 THE TURN AA Moderato q = 92 accel. 29 Hn. Tt. gliss. L. V. senza sord. senza sord. 4 TOM-TOMS muled accel. T.-t. L. V. hard small elt L. V. 5 5 5 5 5 5 5 5 L. V. L. V. I gliss. via sord. via sord. senza sord. tutti tutti via sord. senza sord. via sord. via sord. via sord. via sord. via sord. via sord. tutti senza sord. tutti senza sord. via sord.

0 0 Hn. Tt. senza sord. T.-t. last solo 1a join as soon as mute o I

BB Vivo q. = 150 DETERMINATION TO HEAL THE WORLD 1 1 sostenuto sostenuto sostenuto sostenuto Hn. senza sord. senza sord. senza sord. senza sord. Tt. T.-t. wood snare sticks m SNARE DRUM I senza sord. izz. sostenuto long bows bowed as it comes sostenuto long bows sostenuto long bows

2 24 CC Hn. Tt. T.-t. I bowed as it comes

DD 40 Hn. Tt. T.-t. I

4 56 EE ANSWERING THE CALL Hn. Tt. senza sord. senza sord. The Melody L. V. T.-t. TENOR DRUM (or Small Tom-Tom, muled) m small hard elt I

74 5 Hn. Tt. T.-t. I

6 9 FF GG Hn. Tt. soli 2 soli 2 soli 2 2 soli 2 2 2 2 Perc. SNARE DRUM 4 4 L. 4 I

7 411 Hn. Tt. (small notes ot.) Perc. I

8 42 HH Hn. Tt. soli soli soli soli Perc. I izz. izz. izz. izz. izz. (cue Xylo.)

45 9 Hn. Tt. Perc. I

40 Hn. Tt. Perc. I 447 (ot.) (ot.) II

Hn. Tt. 460 JJ 41 Perc. I edal every note

42 Hn. Tt. Perc. Tub. B. (ot.) q. = 80 KK 475 q. = 80 ot. (ot. alternate) I rit. L..V L. V. rit. semre LAST WARNING roaring rit. rit. BASS DRUM TAM-TAM B. D. A Temo (ot. here) SUSP. CYM hard cord L. V. hard mallets (ot. div.) (ot. div.) TUBULAR BELLS (ot.) (ot. div.)

rit. 492 4 Hn. Tt. Perc. Tub. B. (ot.) I (ot. 2 drums unison) rit. hand sto hand sto Tam Tam hand sto Cym hand sto

DAVID AVSHALOMOV Orchestral Works Siege [8], ull orchestra [15], ull orchestra, commissioned by Portland, OR Jewish Community Orchestra, Dr. Donald Aert, Music Director Gems, Suite o Miniatures [12 total], ull orchestra Elegy [8] string orchestra Diamond Variations on an original theme [12], string orchestra with (ot.) har. Co-commissioned by Emily Ray, Mission Chamber Orchestra, San Jose CA; Tracey Rush, Dubuque Community String Orchestra, Iowa Pangs o Love [1] Romantic variations on a Rachmanino melody, string orchestra, commissioned by the San Jose Chamber Orchestra, Barbara Day Turner, Music Director Passacaglia Para el Niño Muerto ['15], chamber orchestra Trotzky s Train [40], iano with string orchestra Secial Judges Citation, American Prize 2012 Arietta [2] lute and strings (ot. 2nd lute) Last Run to the Mountains [2] strings Concertino or Oboe [15] strings and har Songs o Lie/Songs o Death [2] (Emily Dickinson) bass/baritone voice, ull orchestra Two Aocalytic Songs [16] (Shelley/Yeats) bass/baritone voice, ull orchestra Ouverture: Augustus the Strong [2] baroque orchestra Intrada: Le Grand Condé [10] baroque orchestra Concerto con Timani [12] (baroque style) with strings and harsichord (under nom de guerre, G. F. Salomon ) Perormance materials and comlete list o works available through Raven Music davshalomov@earthlink.net - www.davshalomov.com (10) 480-9525