copyright 1991, susan louise bailey robinson

10\

Copyright 1991, Susan Louise Bailey Robinson

ACKNOWLEDGMENTS

I thank my dissertation chairman Professor Wayne C.

Hobbs for his valuable guidance and assistance in the

writing of this dissertation. I also thank my committee

members for their support, not only in the writing of this

dissertation, but through their teaching as well: Horn

Professor Mary Jeanne van Appledorn, Professor James C.

Sudduth, Professor Richard A. Weaver, Associate Professor

Marvin L. Moon.

Special recognition and thanks are extended to the

composers themselves--Ellen Taaffe Zwilich, Joan Tower,

and Libby Larsen--and the following publishers for their

kindness in granting permission to reproduce musical

examples for this dissertation: Merion Music, Celebration

for Orchestra by Ellen Taaffe Zwilich; Associated Music

Publishers, Sequoia by Joan Tower; and E.C. Schirmer,

Symphony: Water Music by Libby Larsen.

11

CONTENTS

ACKNOWLEDGMENTS

FIGURES

11

V

CHAPTER

III

I. INTRODUCTION

II. COMPOSER BIOGRAPHIES

Ellen Taaffe Zwilich

Joan Tower

Libby Larsen

CELEBRATION FOR ORCHESTRA BY ELLEN TAAFFE ZWILICH

Background Information

Tonality and Structure

Tempo and Meter

Thematic Material

Rehearsal Guide: Structure and Unification Techniques

Rehearsal Guide: Articulation

Rehearsal Guide Tempo

Harmonic Rhythm and

Rehearsal Guide: Texture and Color

IV. SEQUOIA BY JOAN TOWER


Structure: Dynamics, Tempo

Figures

Pedal Tones

1

3

3

6

10

16

16

17

21

21

24

29

30

31

35

35

36

38

46

111

Intervallic Relationships

Rehearsal Guide

Rehearsal Guide

Rehearsal Guide

Rehearsal Guide

Tempo

Meter

Rhythm

Melody

V. SYMPHONY: WATER MUSIC BY LIBBY LARSEN


Symphonic Structure

Structure of Movement Two, "Hot, Still"

Structure of Movement Three, "Wafting"

Structure of Movement Four, "Gale"

Rehearsal Guide to Movement One, "Fresh Breeze"

Rehearsal Guide to Movement Two, "Hot, Still"

Rehearsal Guide to Movement Three, "Wafting"

Rehearsal Guide to Movement Four, "Gale"

VI. SUMMARY AND CONCLUSIONS

ENDNOTES

BIBLIOGRAPHY

APPENDICES

A. ORCHESTRAL WORKS AND DISCOGRAPHY: ELLEN TAAFFE ZWILICH

B. ORCHESTRAL WORKS AND DISCOGRAPHY: JOAN TOWER

C. ORCHESTRAL WORKS AND DISCOGRAPHY: LIBBY LARSEN

47

48

52

53

55

56

56

58

Structure of Movement One, "Fresh Breeze" 63

67

71

75

80

85

88

91

95

97

99

100

104

107

IV

FIGURES

3.1 Structure of Celebration for Orchestra 18

4.1 Structural diagram of Sequoia 38

5.1 Structure of Movement One, "Fresh Breeze" 59

5.2 Structure of Movement Two, "Hot, Still" 60

5.3 Structure of Movement Four, "Gale" 61

V

CHAPTER I

INTRODUCTION

This dissertation introduces the conductor to three

recent orchestral works which are technically within the

capability of the average college- or university-level

orchestra. Each work uses traditional notation, and is

published and recorded. The musical language may be

unfamiliar to some, but each work is set within standard

formal structures. The orchestra will benefit from the

experience of learning and preparing a new work. Also,

the audience will benefit from being exposed to a

potentially new musical experience.

While university orchestras serve as a training

experience for young musicians, the literature performed

is drawn most often from the older standard repertoire,

limiting the use of more contemporary works, including

those by women composers. A central purpose of this study

is to encourage the performance of this significant

repertoire by means of a careful conductor's analysis.

This dissertation is also timely in reflecting a current

rising interest in music by women composers. An

illustration of this is the establishment of the National

Women Composers Resource Center by the Bay Area Women's

Philharmonic.

The dissertation includes a guide for rehearsal

preparation and performance for each of three works. Each

work is a recent composition by an American woman- These

works are Celebration for Orchestra by Ellen Taaffe

Zwilich, Sequoia by Joan Tower, and Symphony: Water Music

by Libby Larsen. A biographical sketch of each composer

is given in Chapter Two. Included in Chapter Three through

Chapter Five is a formal analysis which includes a

discussion of structure with regard to orchestration,

tonality, meter, tempo, melody, and motivic development

for each work. The emphasis given each of these elements

varies with each work, depending on its relative

importance. Chapter Five is outlined differently from

Chapters Three and Four because Symphony: Water Music

differs in formal structure from the other two works.

Celebration for Orchestra and Sequoia each possess a one-

movement design which lends itself to an organization

which is outlined according to specific musical elements.

Symphony: Water Music is in a multi-movement design, and

therefore. Chapter Five is organized into a discussion of

the elements of music, first, as they relate to the work

as a whole, and then as they are important within each of

the four movements. Musical examples are used to

illustrate the discussion. The appendices contain a works

list, discography, and publication information concerning

Ellen Taaffe Zwilich, Joan Tower, and Libby Larsen.

CHAPTER II

COMPOSER BIOGRAPHIES

Ellen Taaffe Zwilich

Ellen Taaffe Zwilich is respected by both critics and

peers. As a composer, she has been recognized through

commissions from major orchestras in the United States,

including the New York Philharmonic, the Chicago Symphony

Orchestra, the Boston Symphony Orchestra, and the

Cleveland Orchestra.

Zwilich was born in Miami, Florida, on April 30,

1939. She studied at Florida State University and then at

the Juilliard School, where she was a student of Roger

Sessions and Elliott Carter. She became the first woman

to graduate from the Juilliard School with a doctoral

degree in composition. Zwilich also studied violin with

Richard Burgin at Florida State University and with Ivan

Galamian at the Juilliard School. As a violinist, she

performed with the American Symphony Orchestra under the

baton of Leopold Stokowski.

Zwilich's reputation as a composer has become

widespread since the early 1980's and she has been the

recipient of many prestigious awards including the

Elizabeth Sprague Coolidge Chamber Music Prize, the

Guggenheim Fellowship in Composition, the Ernst von

Dohnanyi Citation, the American Academy and Institute of

Arts and Letters, the Arturo Toscanini Music Critics

Award, and an honorary doctorate from Oberlin College.

Most recently Zwilich served as composer-in-residence at

the American Academy in Rome during the spring of 1990 and

received the 1991 Alfred I. Dupont Award in January 1991.

Also, her Symphony No. 2 (Cello Symphony) has been

nominated for a 1991 Gram.my Award. Perhaps of greatest

importance, however, is the 1983 Pulitzer Prize in Music

for her Symphony No. 1 (Three Movements for Orchestra).

This award, of which she is the only female recipient,

resulted in a new level of prominence as a composer. In

addition, a performance of an earlier work. Symposium for

Orchestra, by the New York Philharmonic under Pierre

Boulez, ignited interest not only in new commissions, but 1

also in older works. Appendix A contains a list of

Zwilich's orchestral compositions.

Since that time, Zwilich has been in great demand as

a composer and has received numerous commissions from

major orchestra and chamber ensembles. Those offering

repeat commissions include the Boston Musica Viva, the

Chamber Music Society of Lincoln Center, the Chicago

Symphony Orchestra, and the New York Philharmonic.

Currently, she has commissions outstanding for a concerto

for violin, cello and orchestra from the Louisville

Orchestra, and for Symphony No. 3 for the 150th

anniversary of the New York Philharmonic.

Zwilich's works have also been performed by many

American orchestras. These include The American Composers

Orchestra, the Los Angeles Philharmonic, the National

Symphony Orchestra, the St. Paul Chamber Orchestra, the

New York Philharmonic, and the orchestras of Philadelphia,

San Francisco, Detroit, Indianapolis, Seattle, Louisville,

Atlanta, Chicago, Boston and Cleveland. Recent

performances include the premiere on January 17, 1991 of

Concerto for Oboe and Orchestra by the Cleveland

Orchestra, which also commissioned the work. This

performance was repeated in Carnegie Hall on February 23,

1991. The Juilliard Orchestra presented Concerto Grosso

1985 at the Juilliard Festival on February 22, 1991. Most

of her works are published and many of them are recorded.

Zwilich's musical style, while utilizing twentieth-

century techniques, derives its tonal and musical language 2

from older, more traditional idioms. This marriage

creates music which is accessible to the general audience. 3

Critic Richard Dyer has written in the Boston Globe:

Like many composers of her generation, Zwilich has sought to reestablish connections with the past and with the general musical public that were less important to some of the avant-garde and academic composers that preceded her. But there is nothing opportunistic about her effort. The kind of music she writes may be "accessible." It may have melody, form you can follow, and connections to tonality. But Zwilich writes in full knowledge of what has happened in music's history, and has assimilated it as a means of expressing her own individual personality.

Tim Page echos this assessment in his more 4

comprehensive study in the New York Times Magazine. He

describes Zwilich's

. . . exquisitely honed works in a variety of mediums from string trio to symphony. She writes in an idiosyncratic style that, without ostentation or gimmickry, is always recognizably hers. . . Mrs. Zwilich's compositions reflect a concision and craft that appeal to both professional musicians and the general audience. Her music is complex, yet should prove accessible to those willing to listen closely. It is directly emotive, yet devoid of vulgarity, and characterized by a taut chromatic intensity that stretches the limits of tonality while rarely venturing outside them.

About herself Zwilich says: "I need to feel that

everything is an event and each new piece is an 5

exploration." She elaborates on her feeling about music 6

in an 1988 interview:

It seems to me that there is something very deep about music, in the same category as falling in love or a religious experience. People do things they feel to be deeply enriching, because they are totally pulled along, because they want to. I have other preoccupations that go back many years, but music for me is different. I remember my musical toys when I was a child. I can't remember life without music at the center of it.

Joan Tower

Born in New Rochelle, New York on September 6, 1938,

Tower soon moved with her father, a mining engineer, to

South America where she was raised. From a young age

Tower became musically active by playing piano and

percussion. She also absorbed the South American native 7

culture and music in which she was immersed.

Upon returning to the United States at age 18, Tower

attended Bennington College and Columbia University where

she earned a doctorate in composition. In 1969 Tower

founded the Da Capo Chamber Players, an ensemble in which

she played piano for fifteen years. This ensemble proved

important to her career. In 1973 the Da Capo Chamber

Players won the prestigious Naumburg Award for chamber

music. They also commissioned and premiered many

important works from Tower. These include Platinum

Spirals for solo violin, Hexachords for solo flute. Wings

for solo clarinet, and Petroushskates and Amazon I which

are both for flute, violin, clarinet, cello, and piano.

At this time Tower was composing only chamber works.

Other important commissions in this genre include Clocks

for solo guitar and commissioned by Sharon Isbin,

Fantasy . . . Harbor Lights for clarinet and piano and

commissioned by Richard Stoltzman, and the wind quintet

version of Island Prelude which was commissioned by

Quintessence in versions for string quartet, and for

string orchestra, both with oboe soloist.

Perhaps most important about her time with the Da

Capo Chamber Players was the opportunity to observe the

instrumentalists and note their individual needs and

concerns as players, both from a musical and a technical

point of view. This keen observation allowed her to 8

gradually develop and hone her compositional skills.

8

This experience was of great benefit when she began

composing for larger ensembles. As composer-in-

residence with the St. Louis Symphony she continued to

closely monitor the personal reactions of the

instrumentalists to various pieces and to observe how

their instruments responded to musical and technical 9

demands. As a result. Tower has become a skillful

composer whose music is dramatic, idiomatic, and popular

with both the players and audience. A list of orchestral

works appears in Appendix B.

Sequoia is Tower's first work for full symphonic

orchestra. It was commissioned by the Jerome Foundation

and composed between December of 1979 and March of 1981.

It is dedicated to Jean and Paul Ingraham and was

premiered by the American Composers Orchestra in New York

City with Dennis Russell Davies conducting on Mav 18,

1981. The immediate success of this work brought Tower

national recognition and ultimately led to her appointment

as composer-in-residence with the St. Louis Symphony.

Leonard Slatkin was so impressed with the piece that he

recorded it with the St. Louis Symphony in 1984 and 10

offered her the post in 1985. Tower remained in St.

Louis as composer-in-residence until 1988 when she assumed

the Asher Edelman endowed chair in composition at Bard

College, where she has been teaching since 1972. In

addition. Tower served as the Karel Husa visiting

professor of composition at Ithaca College during the

1989-90 school year.

Tower gained international fame by winning the 1990

Grawemeyer Award for Music Composition. She received the

award for Silver Ladders, her first large orchestral work.

This work was composed in 1986 for the St. Louis Symphony

during her residency. This prestigious award is one of

the largest in the world with a cash prize of $150,000.

Tower has also been the recipient of other awards, grants,

commissions, and fellowships including those from the

Guggenheim, Fromm, Naumburg, Koussevitsky, and Jerome

foundations, the Nev; York and Massachusetts state art

councils, and the National Endowment for the Arts,

American Academy of Arts and Letters, Meet the Composer,

Inc., Schubert Club, and Contemporary Music Society. In

addition, she was profiled in an award-winning PBS

television documentary produced by WGBH-TV.

Tower 's works have been performed by the New York

Philharmonic, Los Angeles Philharmonic, Chicago Symphony,

St. Louis Symphony, San Francisco Symphony, National

Symphony, Houston Symphony, Cincinnati Symphony, Minnesota

Composers Orchestra, American Composers Orchestra, the

festivals of Tanglewood, Aspen, and Spoleto USA, the Da

Capo Chamber Players, Collage, Music Today, New York

Chamber Symphony (formerly the Y Chamber Symphony), New

Music Consort, Twentieth Century Consort, and the New York

10

New Music Ensemble. In addition, many prominent

instrumental soloists have performed works by Tower.

These include Andre Emelianoff, Laura Flax, Lynn Harrell,

Sharon Isbin, Charles Neidich, Ursula Oppens, Joel

Smirnoff, and Richard Stoltzman.

Stylistically, Tower's m.usic has grown from emulating

the surrounding musical environment into a unique personal

style. Her early music demonstrates the influence of the

pointillistic and complex serial music she performed in 11

the 1960's. From this beginning grew an interest in

balancing the elements of music. Of particular interest

in Tower's compositions are an examination of melodic

shape, color, and exploration of musical space. These

elements are crucial to the design of her works, both on 12

the outer and inner structural levels. Tower's music is

popular with audiences because within innovative formal

structures it is strikingly dramatic and uses powerful

visual imagery.

Libby Larsen

Born in 1950 in Wilmington, Delaware, Libby Larsen

now resides in Minneapolis, Minnesota. Growing up in

Minneapolis, she started composing as a child. Later, she

considered becoming a stockbroker, although composition

was her true love. She decided to pursue music, however,

and received the unexpected support of her father, a

11 13

biochemist turned financier. Upon completing a Bachelor

of Arts degree in music theory and composition at the

University of Minnesota in Minneapolis, Larsen faced an

uncertain future. She observed that the degree "prepared 14

me for nothing but thinking." Larsen spent six unhappy

months working as an insurance company secretary before 15

returning to graduate school. She returned to the

University of Minnesota where she studied composition with

Dominick Argento and Paul Fetler, and was awarded the

Doctor of Philosophy degree in composition in 1978.

Despite her extensive formal education, Larsen was-

determined to make a career as a composer outside the 16

academic environment. In working to achieve this goal,

Larsen established strong professional connections in

Minneapolis. While studying at the University of

Minnesota, she met Stephen Paulus with whom, in 1973, she

co-founded the Minnesota Composers Forum. This

organization has become highly respected, and Larsen has

supported it as managing composer, administrator, and

director. She has served as a trustee of KTCA Minnesota

Public Television, and also of the Minnesota Citizens for

the Arts. In addition, she has served on many national

panels and committees, including the National Endowment

for the Arts music panel, the Meet the Composer National

Advisory Committee, the ASCAP Board of Review, the

American Symphony Orchestra League board, the National

12

Womens Forum, and as Vice President of the American Music

Center.

In 1988, Larsen was a visiting professor at the

University of Minnesota in Minneapolis. She has also

appeared as guest lecturer and resident composer in

numerous institutions across the United States. These

include Brigham Young University, the Arnold Schoenberg

Institute, the Aspen Summer Institute, the California

Institute of the Arts, the University of Iowa Center for

Creative Studies, the University of Arkansas, the

University of Wisconsin, Carleton College, St. Olaf

College, Augsburg College, the University of Northern

Iowa, Augustana College, the Grand Teton Festival, St.

Cloud State University, Lawrence University, and South

Dakota State University. In addition, she has been the

keynote speaker for conferences held by the American

Symphony Orchestra League, Chorus America, the American

Choral Directors Association, and the American Society of

University Women.

Larsen has been the recipient of a composer

fellowship from the National Endowment for the Arts, the

American Council on the Arts Young Artist Award, and a

Bush Artists Fellowhip. In addition, Minnesota ensembles

have been especially generous in granting Larsen

commissions. These organizations include the Minnesota

Orchestra, the Minnesota Opera, the Minneapolis Artists

13

Ensemble, the St. Paul Chamber Orchestra, and the Schubert

Club of St. Paul. Larsen has also received commissions

from the American Composers Orchestra, the Arkansas Opera

Theater, the St. Louis Symphony, the American/Soviet Youth

Symphony, the Cleveland Cham.ber Symphony, and jointly, the

Music Educators National Convention/Air Force Band/Singing

Sergeants. Prominent musicians, such as Eugenia Zukerman

and Arlene Auger, have offered individual commissions, as

well. Larsen made an early decision to compose only for 17

commissions. The accessibility and nature of her

musical style have allowed her to stand by this decision

while watching her career blossom. She explains: "For me

performance is as necessary as composing. I feel that 18

music can't live unless it is performed."

Important for Larsen's career has been her

association with the Minnesota Orchestra, for whom she was

composer-in-residence from 1983 through 1987. Her

relationship with this ensemble remains good, and the

orchestra continues to support Larsen with commissions and

performances of her works. Sir Neville Marriner, the

orchestra's conductor during her tenure, remarked after

their work together, "I see Libby having a career parallel

to someone like Samuel Barber. They never create a

totally new idiom but thev take what's there and develop 19

and em.bellish it considerably." Larsen credits her

experience with the Minnesota Orchestra as invaluable:

14

"I got an education in sound that I couldn't have gotten

any other way. You can't learn to high jump unless you

high jump. And you can't really learn to compose for 20

orchestra unless you compose for orchestra."

Larsen writes in a variety of genres including

orchestral, choral, opera, chamber, and solo. A list of

orchestral works appears in Appendix C. These works have

been performed in the United States and Europe by such

prominent conductors and soloists as Neville Marriner,

Leonard Slatkin, Zubin Mehta, Catherine Comet, Claus Peter

Flor, JoAnn Falletta, Gregg Smith, Dale Warland, Eugenia

Zukerman, Benita Valente, Arlene Auger, and Jehan Sadat.

Larsen's works have been performed at the Aldeburgh

Festival, the Grand Teton Music Festival, the New

Hampshire Music Festival, and the Aspen Music Festival.

Her works are recorded on such labels as Nonesuch, Pro

Arte, Leonarda, Innova, Plymouth Music Series, 10,000

Lakes, and the United States Air Force Band.

Larsen 's music is reminiscent of impressionistic

style. It is lyrical, traditional in structure, and

displays poetic imagery, deriving its inspiration from

nature. Larsen's intention is not to represent nature

with regard to actual physical sound, but rather to 21

represent the feelings evoked by aspects of nature.

This music is popular with both musicians and audiences.

Part of Larsen's success derives from the importance she

15

places on collaborating with musicians throughout the

creation of a musical work. This process continues 22

through the performance of her compositions.

CHAPTER III

CELEBRATION FOR ORCHESTRA

BY ELLEN TAAFFE ZWILICH


Celebration for Orchestra is a one-movement work

commissioned in 1984 by the Indianapolis Symphony

Orchestra for the Inaugural Concert of the newly renovated

Circle Theatre in Indianapolis. With this occasion in

mind, Zwilich created a work to serve several purposes.

First, it was designed to demonstrate the acoustics of the

hall. This is achieved through the utilization of short,

accented "bell-like" tones, and thematic materials which 23

illustrate the hall's reverberation characteristics.

Second, Celebration for Orchestra is based on the tonality

of A, a particularly resonant pitch on string instruments,

not to mention its use as the orchestral tuning pitch.

Therefore, it is the first pitch to be heard in the concert

hall. Large orchestral tuttis on A display the resonance

potential of the hall.

Further acoustical testing is achieved through the

wide range of dynamics and articulations used.

Celebration for Orchestra then highlights various sections

and soloists within the orchestra, creating a contrasting

display of timbres which is not only interesting to the

16

17

audience, but also shows off the various colors to best 24

advantage v/ithin the hall's acoustic environment.

Celebration for Orchestra is simply a well-constructed

composition. It successfully considers and combines all

the elements of music to create a work which is not only

intellectually admirable, but also aurally pleasing.

Tonality and Structure

Celebration for Orchestra opens with a full

orchestral tutti on A, presenting the tonality on which

the work is based. Although there are brief digressions

to other tonalities, the A center is maintained by the

appearance of pedal tones on the pitches A, C, C-sharp,

and E. This underlines a contrasting major and minor

chordal relationship which is present throughout the work.

The additional importance of the pitch D-sharp adds an

interesting Lydian color to the work.

A series of fermatas locates points of articulation

which divide the work into seven sections. The contents

of these sections creates a form which is a reflection.

The structure of Celebration for Orchestra is illustrated

in Figure 3.1. From the center section outward the

sections are symmetrical, although not identical in

length. Each of the fermatas highlights a pitch which is

important within the tonality of A. As is the case with

the opening fermata, the second fermata, occurring in

18

structural Sections

ir

1 7

I 15 26

31

45

® i r

106 142

97 I 1 1 5 1 2 6 I

© 0 TI ir 1

255

240 248 263

Codetta

n ' 276 282 288

(0 T3 0)

a

m

o 0

u

c o

IB TJ (U a

4fc

u

- H

cn (0

£ a E <U

10

a

^

c ID 0

4J 0

^ r—(

• H

3

(0 0-0)

^ a 0 c (0 1-1 JJ

JJ f -H

0 £

o 3 C 0) •IJ

-l-l

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Figure 3.1: Structure of Celebration for Orchestra.

measure 7, underscores A by means of an A pedal. This is

followed in m.easure 15 by a C-sharp pedal. The next

fermata, at measure 31, sustains both A and C-sharp. The

A-major triad is completed in measure 45 where there is an

emphasis on the pitch E. The C-sharp pedal which begins

in measure 9 7 continues through the next fermata, in

measure 106. Within this C-sharp pedal lies an A pedal.

Again, the pitch E is present, appearing within the first

theme. This theme consists of the interval of a perfect

fourth, v/hich moves perpetually back and forth betv/een

pitches which assume a dominant to tonic relationship. in

this case, the two pitches are E and A.

19

The section initiated by the fermata at measure 106

is the central section. Within this section the D-sharp

Lydian pitch is introduced. This section contains all

the pitches important to the tonal structure of the work,

In addition to A, C-sharp, E and D-sharp, these pitches

include C which creates a bimodal fluctuation between A-

major and A-minor. In fact, the interplay between

chromatic tones is a means of unifying the work. For

example, measures 228 through 233 consist of a D-major

triad juxtaposed with an F-minor triad. This provides

chromatic fluctuation between F-sharp and F, as well as

between A and A-flat. This chromatic fluctuation also

occurs within appearances of the first theme. For

example, when this theme appears at measure 126 in the

tonality of A, as shown in Example 3.1, it fluctuates

between the pitches C and C-sharp.

f p^

Copyright 1984, Merion Music, Inc. Used by Permission. All Rights Reserved.

Example 3.1: Chromatic fluctuation in Theme 1, Celebration for Orchestra.

Likewise, this same bimodality occurs when this theme

appears in the tonality of C, as shown in Example 3.2

20

2J6 ViPnapXone, N

7J—;^r-r


Example 3.2: Chromatic fluctuation in Theme 1, in the tonality of C, Celebration for Orchestra.

The fermata, which brings to a close the central

section of the work, occurs in measure 142. The following

section contains a C-sharp pedal which reflects the C-sharp

pedal in measure 97. A pedal on E occurs in measure 240,

reflecting the emphasis on E in measure 45. The E pedal

continues through a fermata which appears a measure 255,

and is followed immediately by a digression to the tonal

center of C. This brief establishment of C consists

initially of a rhythmic pattern and becomes a pedal on C.

Interestingly, this C pedal reflects a C-sharp pedal

(measure 15). Juxtaposed with the C pedal are figures

within the tonal centers of A-flat, B, and D. This dense

array of chromaticism builds in anticipation of the return

of the tutti A pitch. Measure 276 brings the orchestral A

on a fermata, balancing the tutti A of measure 7, also

marked with a fermata. Completing the reflective structure

of the work is a fermata in measure 282, marking an A

tutti pitch corresponding to the initial measure of the

21

work. The final fermata, however, is followed by a brief

Codetta of six measures' duration, which revives the

important C-sharp and D-sharp pitches. The final measure

of the work contains a fermata sustaining the pitches A,

C-sharp and D-sharp.

Tempo and Meter

The reflective structure of this work is further

demonstrated by tempo changes. These are few and very

important. The initial tempo is allegro vivo, followed by

several tempo indications coinciding with sectional

divisions. At the center of the work (measures 115

through 125) is a rallentando leading to a meno mosso

tranquillo. A pochissimo ritenuto occurs from measure 26

through measure 31. In reflective fashion, another

pochissimo ritenuto occurs from measure 248 through

measure 255, marking a sectional division at measure 255.

Celebration for Orchestra has a rather static quality

because of its slow harmonic rhythm. Meters shift often,

but the pulse remains steady. Therefore, meter is not

important as a structurally defining element. The

shifting meter has an organizational purpose and aids in

the ease of performing the music.

Thematic Material

Celebration for Orchestra is based on three themes.

The first theme, labeled Theme 1 above and illustrated in

22

Example 3.3, is rhythmic in nature. It consists of a

repeated dotted figure which begins at a forte or

fortissimo dynamic level and eventually fades out. The

effect created is that of an echo. In its original form,

the repeated interval is a perfect fourth. All examples,

including those involving transposing instruments, appear

at concert pitch.

Z] n -trui^t ^- ^ .^-

'' J7


Example 3.3: Theme 1, Celebration for Orchestra

As the harmonic material of the work develops. Theme 1 is

developed as well. It appears in the same rhythmic form,

but altered intervallically. These alterations are most

often triadic, as seen in Example 3.4.

jy thf^.^f^^t^f^^ iff


Example 3.4: Theme 1 altered. Celebration for Orchestra.

23

The second theme is a derivative of the first, and

is labeled lA. Theme lA is also rhythmic in nature but

relies more heavily on accented entrances which are

staggered between different instruments. Theme lA, like

Theme 1, is characterized not only by rhythm, but also by

dynamics. Each strongly accented entrance immediately

diminishes to allow space for succeeding entrances. As

with Theme 1, the dynamic level of forte or fortissimo at

which Theme lA appears is dictated by the surrounding

texture. Theme lA is illustrated in Example 3.5.


Example 3.5: Theme lA, Celebration for Orchestra.

In contrast to both Theme 1 and Theme lA, Theme 2 is

lyric in nature and accompanied by various orchestrations

It appears as a solo, as a tutti, and within combinations

of instruments creating varied timbres. Theme 2 is

illustrated in Example 3.6.

24

Textures involving Theme 2 are generally less dense

than those surrounding Theme 1 and Theme lA, although

Celebration for Orchestra maintains a rather clear texture

throughout. An interesting textural effect is produced by

the coupling of Theme 1 and Theme 2 after each theme is

Z7~' * I ' ' ~ ' I ~" H /

i / r ^ -


Example 3.6: Theme 2, Celebration for Orchestra

introduced. When Theme 1 enters at measure 185 it is at a

forte dynamic level, which demands attention. Just prior

to the entrance of Theme 2 in measure 188, Theme 1

decrescendos to a mezzo-forte dynamic level. This allows

Theme 2 to demand the foreground upon its entrance.

Consequently, Theme 1, which continues to sound throughout

the statement of Theme 2, becomes an accompaniment figure.

This is shown in Example 3.7. Also, reflection of thematic

material is illustrated in the diagram labeled Figure 3.1.

Rehearsal Guide: Structure and Unification Techniques

Celebration for Orchestra is unified through its

reflective form. When preparing for performance, this

25

relationship among the work's seven sections, indicated in

Figure 1, should be considered. Sections 1 and 7 reflect

one another in thematic content and dynamic levels.

Likewise, Section 2 should be balanced with Section 6, and

Section 3 with Section 5. The central Section 4 is

188 •fluie

^

^ I t b

/ horn

1.4 ri^i E S

rv r

-fl i ^

w^ I

Pi .[ Ti .h

•9-

> ^

•w ' V •J^ ^=P^ r A

-V ^

\l f±

^ ^

^

^ ^ ^

m ^

/ > > / ^ ^ §

- y — / — ¥ •


Example 3.7: Theme 1 as an accompaniment to Theme 2, Celebration for Orchestra.

highlighted by changes in tempo, texture, and

articulation. This change is that of a piano dynamic

which incorporates lyrical thematic material within a

tranquil setting. Section 4 effectively contrasts the

louder, more rhythmic sections which surround it.

Unity is also achieved though the function of the

three themes which are developed throughout the work.

Each theme must have a clear identity which is consistent

26

at each appearance. For example, the dotted rhythm and

repeating interval which is characteristic of Theme 1

must be consistently performed so that each appearance of

Theme 1 is clearly recognized by the listener. When

planning the pacing of the work, the fermatas must be

carefully considered. Each of the fermatas is an

important structural point. For this reason, the length

of each must be gauged in relation to the length of the

others. Within the form, all are similar in importance

and should be approximately the same length. At the

least, care should be taken that those fermatas which

mirror one another are the same length.

The fermata in measure 142 may be sustained a bit

longer than the others because of the importance of its

position. It occurs almost precisely at the center of

the work and designates the end of the work 's central

section, thereby signifying the beginning of the reverse

image. It is also highlighted with a piu volte marking

which indicates an indefinite continuation of Theme 1 whose

pattern repeats until it has faded out (see Example 3.8).

UL»^.wvM ^ "•* "W ^m


Example 3.8: The fermata in measure 142, Celebration for Orchestra.

27

The fermatas of the Codetta give emphasis and

finality to the work. They must therefore be more highly

stressed than the previous fermatas. The composer has

striven to ensure this by marking the first, at measure

285, with a lunqa, and the final fermata of the work, at

measure 288, with a molto lunqa.

The conductor must be technically precise and clear at

measure 142. The trumpets playing Theme 1 must be able to

maintain a steady pulse throughout the diminuendo. The

conductor will need to indicate the fermata, which sustains

the triangle and celeste until beat two of measure 143, and

must also indicate the diminuendo for the trumpets. The

conductor then must resume the beat pattern on the

anacrusis to the downbeat of measure 143, showing a small,

clear cut-off on beat two and then a crisp energetic beat

four to prepare the accented fortissimo entrance by low

strings and bassoon on the measure's final sixteenth-note.

This problem can be seen in Example 3.9.

t42 " t r u i w p c t f»iu vol4c

s = CcleS^

njf'

^

viola. > cello il^ bass | ]

s f^- ttl.ftpe^ I f


Example 3.9: Conducting problems in measure 142, Celebration for Orchestra.

28

Execution of the thematic material is important.

Theme 1 and Theme lA are similar but must be

differentiated. The differences between them are

highlighted by inherent differences in dynam.ics, accents,

and tone color. Theme 1 must sound echo-like with an even

stress placed on each dotted eighth-note.

In contrast to the rhythmic treatment of Theme 1, the

dotted rhythm of Theme lA is divided among various

instruments. In order to perceive the desired coloristic

effect, each accented entrance must clearly emerge from

the texture and then immediately recede to allov;

succeeding entrances to gain prominence.

In contrast to the bold articulations of both Theme 1

and Theme lA, Them.e 2 must be performed legato, and with

great lyrical expressiveness. It must soar above the

surrounding texture whenever it appears. Theme 2 is

soloistic in nature and while it is sometimes performed

by one instrument, at other times it is performed by

several instruments in unison. These instruments must

blend as one voice. Theme 2 is sometimes stated several

times in succession, each appearance being performed by a

different instrument. For example. Theme 2 is stated in

measure 41 by the solo first violin. There immediately

follows another statement by unison piccolo, flute, and

piano. This is followed by another statement by cello and

29

yet another by both the cello and bass sections. These

statements should all match in articulation and style.

Rehearsal Guide: Articulation

From time to time, heavily accented pitches or chords

appear, as seen in Example 3.10. The composer intends them

to have a bell-like effect. Therefore, the tone should be

articulated strongly and then allowed to decay. These

tones are often doubled to great coloristic effect.

Particularly effective is the addition of pizzicato

strings to other instrumental groupings. While it is not

specifically indicated in the score, it must be insured

id9\

^ •f/ale.

v^^ a ^ J5^

± ^

z

/ib/in 2.

1T^> ~ rr Hold Jf bells I" ,

flitr tuTf'' all.Soury) d igs

? s £ £ ffi t ff


Example 3.10: Bell-like effects. Celebration for Orchestra.

30

that the string players vibrate their string enough in

advance to create the greatest reverberation possible on

the pizzicatos. Pizzicato articulation is also used to

advantage in coloring Theme lA. In this case, the

important factor is the articulation of the accents in

Theme lA (measure 228). This is shown in Example 3.11.

# . i ^ -=: ^ ji.

(istruts p,zj\ t I

i Shirks PI ZZ.

S / r i . ^ P

£^

<iri^ pitt-K

feteS 1 ' /•

^1

^


Example 3.11: Pizzicato articulation coloring Theme lA, Celebration for Orchestra.

Rehearsal Guide: Harmonic Rhythm and Tempo

The slow harmonic rhythm of the work produces a

static quality. This allows the thematic and rhythmic

elements within the harmonic structure to assume greater

importance. To insure that this static quality is

maintained, the conductor must keep an even, steady pulse

throughout the work. The few indicated tempo deviations

which occur should be gradual and subtle so as not to

disturb the flow. The changes in tempo are important also

and must be felt by the listener. Zwilich believes that

31

music should have a natural ebb and flow. That is, there

should be a certain flexibility in performance which 25

allows the pulse some elasticity. This can be

accomplished by a perceptive conductor who leads the

ensemble to feel certain sections in a quarter-note pulse

and others in a broader half-note pulse. Taking into

consideration the structural importance of changing tempos

in Celebration for Orchestra, the conductor must be

careful not to disrupt this structure by exaggerating

pulse fluctuations. The indicated tempo changes will

cease to be effective if the surrounding pulse is unsteady,

Rehearsal Guide: Texture and Color

The balance of textures in the performance of

Celebration for Orchestra must be given careful attention.

Within the complexity of the texture each layer must

maintain its own integrity so that it is recognizable to

the listener. The conductor must insure that at all times

the layer of immediate importance is given prominence and

rises above the surrounding texture. Within the various

textures there are interesting and challenging coloristic

effects. For example, in measure 148 there is a lyrical

tuba part indicated dolce. The dynamic level is

fortissimo and the part is written in the tuba's upper

range. This line is doubled by the chimes and bells. It

is also doubled by the flute section which plays its line

32

in the instrument's low register. Care must be taken to en

sure proper balance of these instruments (see Example 3.12).

148 ML.

m ^ zy

r^andhclh

m P C^i tiie^

E f 1 t / •

tUi^fl m ife ^

c/c/ce, j ^ jd"


Example 3.12: Balance problems. Celebration for Orchestra.

Percussion, mallet and keyboard instruments

particularly, have an important coloristic role in this

work. For instance, this is true in the previous example.

One must remember that the vibraphone is to be played with

hard mallets and without the use of the motor. The effect

achieved is similar to bass orchestral bells.

There is also an interesting coloristic effect which

occurs in the solo violin part at measure 47. Here, there

is a series of fourth space E's which must be played

33

alternately on the open E string and the stopped A string,

producing timbral transformation (see Example 3.13).

SOto vrolm Z O Z O 2. O

la * f f Z 3 g

W^^=^ g S


Example 3.13: Series of E's on alternately open and stopped strings. Celebration for Orchestra.

At measure 198 there is a chordal passage for six solo

cellos. This passage is illustrated in Example 3.14.

Within the thinness of the accompanying texture, it is

exposed and provides the harmonic foundation for the

musical material which surrounds it. This passage must be

#-i^ ^ •r: s: z^

9^'^^ g zzr.

5ub 'n Copyright 1984, Merion Music, Inc. Used by Permission. All Rights Reserved.

Example 3.14: Six-part cello divisi. Celebration for Orchestra.

34

worked to achieve good intonation and matched tone. It

must also be balanced, not only within itself, but with

the remaining parts which it supports.

Finally, the conductor must be sure that all niente

indications are strictly observed. This is fundamental to

the work's desired musical effect.

CHAPTER IV

SEQUOIA BY JOAN TOWER


Sequoia was inspired by the massive sequoia tree. 26

Tower emulates the tree through balance and contrast.

The tree's roots and trunk form a solid and massive

foundation from which branches emanate. These branches

reach up and spread out, constantly dividing into smaller

offshoots. This intricate pattern, though complex, is

perfectly balanced and housed within the outer tree shape

which is essentially simple. The tree's solid foundation

is portrayed by a G pedalpoint. From this grow the many

branches which are defined through musical elements such

as rhythm, musical line, tempo, dynamics, pacing, texture, 27

and use of registers. As the branches emerge and

divide, these musical elements become more complex, but

balance is maintained. The complexity is achieved through

the layering of elements. This complexity is coupled with

a simple outer structure. The contrast this creates

represents the contrast between the tree 's outer

structure, which is massive, and the tiny needles at the 28

ends of its branches. The work has a dramatic quality

which serves to portray the tree's grandeur and power.

Drama balance, and contrast have made Sequoia immediately 29

popular with performers and audiences alike.

35

36

Sequoia has been performed by over twenty orchestras,

including those of St. Louis, New York, San Francisco,

Cincinnati, Minnesota, Washington, D. C., and Tokyo. It

was given important exposure in 1982 when the New York

Philharmonic performed it on the televised United Nations

Day concert. At the premiere performance of Sequoia,

New Yorker critic Nicholas Kenyon wrote: "The [ambitious, 30

energetic] score had vigor and imagination."

Structure: Dynamics, Tempo

This work is organized into three sections which lend

themselves to various types of structural labeling

depending on which musical element is considered most

important. Because of the predominance of musical figures

which constantly return, even as new figures are

introduced, the form is labeled A1-A2-A3. The music is

continuous between sections and various m.eans are used to

signal the initiation of each. The driving rhythmic

figure which opens the work appears at the end of

Section Al and serves as a transition to Section A2, which

begins in measure 131. The initial two sections are

also separated by a comma. This is the only appearance of

a comma in the work. Section A2 and Section A3 are

divided by two fermatas. The first fermata appears in

measure 326, the final measure of Section Al, while the

second appears in measure 327, the initial measure of

37

Section A3. The only other fermata in the work lies in

measure 489, the final measure of the composition.

These major sections are also marked by changes in

dynamics. The end of Section Al builds, through a

crescendo, to a mighty triple forte. Immediately

following this strong dynamic. Section A2 opens within a

subito mezzo-piano dynamic level. Likewise, there is a

sudden change between Section A2 and Section A3. Section

A2, which contains more lyrical and subdued musical

material than the two sections which surround it, ends on

a pianissimo. This is immediately followed by the sudden

accented chord marked forte which opens Section A3.

The three sections are further divided by changes in

tempo. Sections Al and A2 are related in regards to

tempo. Section Al ends within a brisk tempo of 120

quarter-notes per minute. Section A2 opens at a tempo

which is exactly half that: its opening tempo is 60

quarter-notes per minute. Likewise, there is a tempo

relationship between Sections A2 and A3. Section A2

closes at a tempo of 47-50 quarter-notes per minute.

Section A3 begins at a tempo which is approximately

double that indication: its opening tempo is 96-104

quarter-notes per minute. Subsections within the work

are also marked with changes in tempo. The structure

of Sequoia may be seen in Figure 4.1.

38

Al A2 A3 1

J)=138

1]

:F

G p e d a l F

1 1

J=120 J=60

— f 1' '3 1

[ 1 3 1 ]

fff^m V - F# p e d a l

[119]

H

J) =j=47-50 J=96-104

1 . . _ j [ 3 2 7 ]

IT f

E p e d a l

[160]

1

1=60

[ 4 8 9 ]

?2^=-m G p e d a l

T 1 submerges emerges

[468]

Figure 4.1: Structural diagram of Sequoia.

Figures

Sequoia most vividly portrays the structure of the

tree through its use of melodic and rhythmic figures.

These figures will be identified according to how they are

interrelated, an order which is not necessarily

chronological. A number of these figures are introduced

throughout the work's first section. As the branches of a

tree reach out and separate to form smaller branches, so

do figures grow from one another into new transformations.

For example, the initial rhythmic figure, a unit of non-

pitched thirty-second notes, appears throughout the work,

not only in its original form, but also transformed into a

triplet pattern which uses various pitches and pitch

levels. Examples 4.lA and 4.IB illustrate these initial

figures.

Percussion' iiihpitcked) f^^^^^*^* * » tL ^m

ff

Copyrignt 1981, Associated Music Publishers, Inc Copied with Permission. All Rights Reserved.

Example 4.1A: Figure lA, Sequoia.

39

-femple UoJks a^a

•m r d.r

Copyright 1981, Associated Music Publishers, Inc Copied with Permission. All Rights Reserved.

Example 4.IB: Figure IB, Sequoia.

Likewise transformed is a figure which emerges from a

tremolo in its introductory appearance in measure 40.

Figure 2A consists of the even undulation of a major third

interval within a sixteenth-note rhythmic pattern (see

Example 4.2).

—ViarinLPO-

-rnf>

• 1 M ^ •ff


Example 4.2: Figure 2A, Sequoia.

40

Branching from this figure is an undulating rhythmic

figure which, while still based on the interval of a

third, is housed within uneven metric passages and moves

onto different pitch levels (see Example 4.3).

^ v i o l a

^

^ ^

Sf -<c P i '^^

si ^ '^•^ Vw

h \A ;i J' •' / ,:' m


Example 4.3: Figure 2B, Sequoia.

When this figure is again transformed, it becomes a

pattern of undulating seconds (see Example 4.4).

229 cello

5=fF;2: f"r^fff^\f^'ffffff x^f^^^t^f^ ): ,> i^i^Yrfff /

Copyright 1981, Associated Music Publishers, Inc. Copied with Permission. All Rights Reserved.

Example 4.4: Figure 2C, Sequoia.

Also, as many smaller branches may grow from one area of a

larger branch, and therefore be very close in proximity,

so do the various transformations of this figure occur

simultaneously. This combination creates intervals of

seconds and thirds which are also the fundamental inter

vallic units of each independent figure (see Example 4.5).

41

-tbn, vin

^m ^ ^ i m m -r ^

^ l e , VC, lano

vIe.Vc, c b

I •*—* J J J d ' J • r/-' J " J > ^ i E t jt ji^>*' f 3^ ^ E i 3 ^ z±zt s jk_i :

fff


Example 4.5: Figure 2B and Figure 2C combined. Sequoia.

All of the aforementioned figures may appear

simultaneously with, or in alternation with, one other

Measure 6 introduces an important figure which

consists of dotted rhythms (see Example 4.6).

S/lolcL

^ ^

oco a. poco P c hesc. p,



Through the process of transformation. Figure 3A is

augmented and punctuated with accents (see Example 4.7)

More branching off occurs when Figure 3A is transformed

from a rhythmic figure on a single pitch, to a rhythmic

figure that uses different pitches (see Example 4.8).

i o/iVi /

^ ^

ff ^JJ'JJ- n J"- J \u n=f^

^ > ^ : - ^ fy / / ^ <* >


Example 4.7: Figure 3A in augmentation and with accents. Sequoia.

42

70 >u I

1 j d If: ff f i f r i ' ^S E ^ ) w ^. i)j

SS fff



Accents and the interval of a third are important in

an energetic figure which appears in measure 70. Figure 4

is important throughout the work (see Example 4.9).

^ Korr> ^

T7-

f


Example 4.9: Figure 4, Sequoia,

43

When different figures appear simultaneously, they

sometimes maintain their independence, and sometimes are

combined into a single unit. An example of this union

occurs in measure 137 where Figure lA and Figure 4 are

combined into one musical line. The interval of a third,

found in Figure 4, is inverted (see Example 4.10).

-M? ((\)4 - -

t

rf-^ ^

r _

S-haCcTCS


Example 4.10: Combination of Figure lA and Figure 4 into one musical line. Sequoia.

The introduction of new figures often occurs

immediately following, or overlapping with, established

figures. This may represent the outgrowth of new tree

branches from older, established branches.

Figure 5A is similar to Figure 2A. While both

consist of a pattern of repeating sixteenth-notes, they

differ in intervallic structure. While the sixteenth-

notes of Figure 2A undulate within the intervallic pattern

of a third, the sixteenth-note pattern of Figure 5A jumps

wildly, creating wide intervallic leaps. Figure 5A is

often incorporated into a pattern of ascending and

descending notes. This ascending and descending pattern

becomes an independent figure. Figure 5B, and appears

throughout the composition in different contexts incorpo

rating different intervallic and rhythmic units. Figures

5A and 5B appear in Examples 4.11 and 4.12, respectively.

oboe

i^ £ i Jr • I .itr

c

*t •mp- •M: f

^ • V 0

t



44

251

I ^ S ^ ^

= * -v»l ./

^ otl



In measure 94, two figures are introduced which

appear at climactic points. Figure 6 is a descending

sixteenth-note pattern. It differs from Figure 5A, which

is also highlighted by a staccato articulation, in that

its pattern involves a descending line in which the notes

descend steadily by the interval of a second.

Figure 7 consists of a series of stressed quarter-

note triplets in the hemiola pattern. Figure 6 and

Figure 7 occasionally appear independently of one another.

45

but most often appear together, one following immediately

after the other (see Examples 4.13 and 4.14).


Example 4.13: Figure 6, Sequoia.

violin 3 -m

ir"i?r, 3 — -1 r •ri^

1 / < - ^ " II V ^ > '- ^^—i—^ f f n 1 ••^•-r-

\\*\ f i^ ' T . , . J j

1 ^ 9^1^ \

>^ f



The final figure. Figure 8, is lyrical in nature and

includes a triplet rhythmic unit (see Example 4.15).

25.



46

The rare appearances of Figure 8 occur at important

structural points. After its initial appearance in

measure 25, it returns very early in the second section in

conjunction with Figure 3C, and again just prior to the

beginning of the third section. Ultimately, it closes the

work in the same ethereal character in which it was

initially introduced.

Pedal Tones

Fundamental to the musical depiction of the tree is

the G pedal which opens the work. This strong pedal,

which lasts for twenty-nine measures, represents the

sequoia tree's great strength and massive foundation.

Music grows from this foundation as branches grow from the

trunk of a tree. The G pedal returns in measure 468 and

closes the composition. This achieves a sense of balance.

After its appearance in measure 468, the G pedal is

gradually submerged in the surrounding texture. It

emerges once again before ultimately being submerged in

the surrounding harmony. This may symbolically represent

the importance of the tree's foundation, not only as an

individual entity, but also as an object which is

surrounded by the life which grows from it.

There are other pedal tones which occur at important

points in Sequoia. In measure 119 an F sounds briefly

below changing harmonies. Once immersed in an

47

accelerando, it acquires a preparatory function and leads

to an F-sharp pedal tone in measure 123, where there is

also a change of tempo. The F-sharp pedal remains through

measure 132. Thus, it bridges Sections Al and A2.

Another important pedal tone appears in measure 160

and continues through measure 166. This pedal is on E and

is important because the midpoint of the pedal 's length,

which occurs at measure 163, is precisely one-third of the

distance through the composition.

Intervallic Relationships

The interval of a third is important throughout

Sequoia. It is integral to key musical ideas such as

Figures 2A, 2B, and 4. When this interval appears within

moving lines, it may occur within the bass line, within

melodic passages, or within rhythmic passages. This

intervallic movement includes instances in which two notes

are moving in alternation with one another, as well as

arpeggiated figures. There are many passages within the

work where pairs of thirds move together. There are also

a number of tremolos consisting of the interval of a

third.

Sequoia does not use traditional functional harmony.

The v/riting is chromatic, and Section A2 uses the whole

tone scale prominently. The composer's use of the whole

tone scale is important to the tree simile. As this scale

48

assigns equal weight to each of its members, so each

element of the tree has an equal amount of importance to

the whole.

Rehearsal Guide: Tempo

Sequoia presents technical challenges for the

conductor who must clearly execute changes of tempo.

Often, these are prepared through an accelerando or

ritenuto from one tempo into the next. This occurs, for

example, at the beginning of Section A2. In measure 33, a

ritardando leads the existing tempo of one quarter-note

equaling 72 beats per minute into measure 34's slower

tempo of one quarter-note equaling 60 beats per minute.

Soon after this, in measure 36, an accelerando leads to a

tempo of one quarter-note equaling 80 beats per minute,

a tempo which is initiated in measure 39. Another transi

tion which needs careful execution occurs between the first

two sections of the work (see Example 4.16). Section A2

begins exactly half as fast as Section Al ended. This

relationship is important. Since the two sections are

divided by a comma, the conductor must be careful that the

preparation to the downbeat of measure 131 is precise

after the brief hesitation. The conductor must also

include a clear articulation of dynamics in the beat

pattern. Section Al builds to a triple forte climax.

Section A2 begins at a subito mezzo-piano dynamic level.

49

^ / >. i'M'/tsri'T^

tJ=m\ A^>

}-^0

I ti ^ -rr

>-*

• » > •» > • »

a n nmi i: 21^2:- ^a.ia a 3i*a.-i: z

y >

J J J j • ± 1 -

SK^


Example 4.16: Transition between Section Al and Section A2, Sequoia.

More difficult to execute are transitions where the

beat unit changes. For example, measure 157 initiates a

tempo of one quarter-note equaling 50 beats per minute.

Measure 162 not only changes the metric beat unit to an

eighth-note, but also increases the tempo to 112 beats per

minute- Since there is not a direct correlation between

these two units, the conductor may wish to begin a subtle

subdivision of the beat pattern in measure 158, showing a

50

gesture where the eighth-note equals 100 beats per minute.

The pace of the beat pattern will then need to quicken to

112 through the preparatory upbeat to measure 162 (see

Example 4.17).

7t^TrWT~^PT M


Example 4.17: Transition where beat unit changes. Sequoia.

Some of these seemingly difficult transitions Tower

makes easier by creating a direct relationship between

rhythmic units. For example, the tempo in measure 151 is

that of one quarter-note equaling 48 beats per minute.

The passage preceding this measure involves mostly eighth-

note meters and a tempo of one eighth-note equaling 120

beats per minute. The measure immediately preceding 151,

however, consists of five sixteenth-notes. Ordinarily a

difficult transition. Tower eases the conductor's task by

making the five sixteenth-notes of measure 150 equivalent

to one quarter-note in measure 151. The conductor can

control the transition by beating measure 150 in one.

51

floating at the end of the upbeat, and continuing the path

into the downbeat in the new tempo. This also allows the

horns, tenor trombones, and bass trombone to play out their

sixteenth-notes without interference (see Example 4.18).

I49[ }TIW 3

1= _-^ W 9 > W 9 f

-fnowkone.

/ i') ^f J> f > f r f * r ffi

j>j^ •^&

X ^ y y #^

^:±: 5 ^ * ^ ^ ^ s ?^c?

5 ^

S ^

1

/ , shic£aiz>


Example 4.18: Transition with direct correlation between rhythmic units. Sequoia.

A similar transition occurs in measure 364. Here the

tempo is one quarter-note equaling 128-136 beats per

minute- This measure is immediately preceded by two

measures consisting of sixteenth-notes in groupings of

threes. Measure 363 has a meter of 9/16. It is arranged

in three groupings, each grouping containing three

sixteenth-notes. Therefore, the conductor would beat the

measure in a three pattern, creating the effect of

triplets. Tower has eased the awkward transition to a

meter of 4/4 by making one of these triplet figures, a

dotted eighth-note, equivalent to a quarter-note of the

following measure. Thus, the conductor's basic pulse may

52

remain the same. Further, measure 364 consists of eighth-

note triplets. Therefore, the figures contained in measure

363 become equivalent to the figures in measure 364. The

tempo is slightly faster but the conductor can control that

through a brisk upbeat to measure 364 (see Example 4.19).

i- gJJF? J'.-.J^iie-'36

oboe. 3^ ol)o& ^ x ^ , ^ r ^ ^ ^

^ 2 m

horn

/ /


Example 4.19: Rhythmic equivalency in a metric transition. Sequoia.

Another transition which is eased through rhythmic

equivalencies occurs at measure 468 where the meter is

3/4. The transition into this meter from the previous 3/8

one is easy because the dotted quarter-note of the 3/8

becomes equivalent to a quarter-note in 3/4.

Rehearsal Guide: Meter

Throughout passages where the meter is shifting, the

conductor must decide which beat patterns would provide

optimum clarity. It is particularly important that the

conductor not overbeat. This is especially true of quick

rhythmic passages where overbeating would be a hindrance.

Rhythmic passages, such as that beginning in measure 260

53

and continuing through measure 311, should be perceived in

long phrases rather than measure by measure. Also, this

passage begins by mixing quarter-note and eighth-note

meters. Since the initial pulse is derived from the

quarter-note, it makes sense within the quick tempo to

beat the 3/8 meters in one. However, halfway through this

passage the meters begin to shift between those derived

from the eighth-note and those derived from the sixteenth-

note. At this point, it provides clarity to begin beating

an eighth-note pulse and grouping the sixteenth-notes in

broader units.

Rehearsal Guide: Rhythm

Much of the texture of Sequoia is rhythmically dense.

Not only are there long patterns of repeated eighth-notes

or sixteenth-notes, but various rhythms are stacked in

layers. To achieve the proper effect these rhythms must

remain steady in performance. This is important because

certain rhythms or accents line up between different

rhythmic patterns. The unison accents are powerful and

must project through the surrounding texture. Also,

sometimes the combination of figures produces a steady

line of notes of the same rhythmic value. For example,

measures 260 and 261 consist of the layering of rhythmic

figures which share a steady sixteenth-note pattern

between them. The use of accents creates an interesting

texture and timbral fabric as the sixteenth-note pattern

is passed among various instruments (see Example 4.20).

54

260

//-te. ^b^.^^^^f If: b t tit t i t \—^ S I

^ S otoe Z

; ? = ^ XI 4 > - >

# - f - > ^ — « - > — ^ ^—>-

ff??=T rr ti^t 'LJ' Li' CJ" feoe./

c/ar. / f ^ t j f -

^ £_: I - : - ^ -

i

-./ar. 1

4=^ i 0-^ ^ •^ A—^—^ # - # • s bafioon ^ ,

^ ^

•fi-f i f=H= Copyright 1981, Associated Music Publishers, Inc. Copied with Permission. All Rights Reserved.

Example 4.20: Layering of rhythmic figures. Sequoia.

This rhythmic layering becomes increasingly more complex

as the work progresses. For example, measures 336 through

350 present a layered texture which includes eighth-note

figures, sixteenth-notes figures, and sextuplet figures.

This is the first appearance of sextuplets in the work.

Together, these patterns create a type of motor rhythm

which must stay absolutely steady.

55

Rehearsal Guide: Melody

Sequoia is a highly rhythmic work. Therefore, when

melody of a lyrical nature appears, it should soar out

from the surrounding texture. For example, in measure 311

a lyrical horn solo is presented from within a motor

rhythm accompaniment. The solo is joined by violin in

measure 322. This duet must be balanced and have

predominance over the rhythmic texture in which it

resides. The composer has assisted the ensemble in this

feat first, by indicating that the horn is to use a mute

after the entrance of the violin and second, by making the

textural background subdued and static in nature.

An interesting timbral effect employed in Sequoia

involves the scoring of Figure lA. This distinctive

rhythmic figure is introduced by, and remains primarily a

vehicle for, percussion. At different points in the work,

however, this figure is played by an array of other

instruments including trumpet, horn, trombone, violin,

viola, and cello. It is the conductor's responsibility to

insure that these rhythms are clear and precise.

CHAPTER V

SYMPHONY: WATER MUSIC

BY LIBBY LARSEN


Symphony: Water Music, an eighteen-minute work, is a

product of Libby Larsen's residency with the Minnesota

Orchestra, which performed its premiere in 1985. The music

of Symphony: Water Music strives to present the images

and feelings evoked by different experiences associated 31

with water. It is a work organized into four separate

movements which follow the traditional tempo scheme of

fast, slow, presto, fast. The choice of title and source

of inspiration are not accidental. The year 1985 marked

the 300th anniversary of G. F. Handel's birth. In the

title of Symphony: Water Music Larsen pays homage to

Handel, a favorite composer, for his well-known work by 32

the same name: Water Music.

The first movement of Larsen's Symphony: Water Music

is titled "Fresh Breeze." In this movement, texture is an

important element. This is apparent right from the

opening as the music emerges from a stack of major thirds

and minor thirds. The pulsating, constant motion

"attempts to capture the fresh, oscillating, crystalline

vibrancy of water moved by constant wind." Musical

gestures travel across the orchestra highlighting various

56

57

colors such as a harp glissando, trills in high woodwinds, 34

a horn quartet, or mellow violas.

The second movement, "Hot, Still," describes the 35

lethargy of a lake on a hot, humid August day. This

feeling is achieved through the employment of long pedal 36

tones. The pulse is a languid 6/4. The stillness is

coupled with a haziness suggested by ties which are

sustained across and obscure the barlines. This

prevailing mood is initially established by a solo flute

line and a single sustained high note in the violins which

float above quiet chimes. The languid mood is stirred, as

the still surface of water may be stirred, by rapid 37

gestures in the woodwinds.

The third movement, "Wafting," is a scherzo which

suggests "the tiny scatter squalls and cat's pav/s created 38

by puffs on still water just before a front moves in."

This idea is established by muted trumpets and horns

moving in complex rhythmic patterns. Characteristic of

Larsen's style is the appearance of blocks of musical

texture and timbres which alternate and combine with one 39

another. This may be seen in Example 5.7.

The fourth movement, "Gale," evokes the feelings

associated with the sudden onset of a violent summer storm 40

which is over as quickly as it began. This movement

contains powerful tonal images and carefully plotted

dynamics which express the impact of nature's fury.

58

Symphony: Water Music has been warmly received by

both audiences and critics. James Phillips of the

Minneapolis Star and Tribune said of the symphony at its

premiere that it "represents a landmark achievement by a

leader of a groundbreaking generation of Minnesota 41

composers." This fine reputation has followed Larsen as

she continues to have a successful career as a composer.

Indeed, the Los Angeles Times proclaims that "Larsen . . .

is one of the most active and sought-after young American 42

composers."

Symphonic Structure

Symphony: Water Music is unified through its

traditional four-movement symphonic form. The overall

tempo scheme follows the classical sym.phonic outline of

fast-slow-presto-fast. The first movement, "Fresh

Breeze," moves at an allegro tempo of 92 beats per minute

and is strong and energetic in character. The majority of

the second movement, "Hot, Still," moves at a leisurely 88

beats per m.inute. This movement begins and ends, however,

even more slowly at 66 beats per minute. Its character is

still and quiet. The third movement, "Wafting," is a

brief, light scherzo which passes quickly at 132 beats per

minute. The final movement, "Gale," is vigorous and

dramatic. After a slow introduction at 80 beats per

minute, "Gale" progresses at 138 beats per minute. At the

59

center of the movement is a meno mosso. This section is

brief and leads, through an accelerando, to the tempo of

the second half of the movement. This final tempo is 132

beats per m.inute, which is slightly slower than the

initial tempo and serves to add additional weight to the

finale of the symphony.

The basic structures which define each m.ovement do

not follow standard sym phonic patterns. The first

movement may be labeled A1-B-A2-C-C. This movement also

begins with an introduction and concludes with a short

extension. This structure is diagrammed in the following

figure:

y' Al B A2 C C <.+"

6 4

,_ CD

o>

3 4

,— OD

^

6 8

^..^ 00 VO

5 4

,_ H-*

H -

4 4

»-

1 II II 11 II II II 1 [1] [22] [49] [87] [115] [138] [161] [165]

J .=92 Poco meno mosso A tempo

I 1 \ 1 \ \ \ 1 6 5 4 8 4 4

OD \D

G — G

E E F C # — C # —

G G C — B C E E — C — G C- G C

Figure 5.1: Structure of Movem.ent One, "Fresh Breeze," Symphony: Water Music.

The second movement, "Hot, Still," is comprised of

the alternation of two contrasting ideas. The first, as

seen in Example 5.6, consists of fleeting solo lines. The

60

second, as seen in Example 5.5, consists of long tones

which carry across barlines. Although "Hot, Still" is

through-composed, the composer's use of different tempos

gives a sense of introduction and closure to the movement.

The majority of the movement is identified by a metronome

marking of 88 beats per minute. This portion of the

movement concludes with a brief "pushing ahead" of the

tempo, which is immediately followed by a ritardando into

the closing tempo of 66 beats per minute. This closing

tempo matches the opening tempo. Therefore, the first

nine and final twenty measures of the movement, each

moving at a tempo of 6 6 beats per minute, provide a frame

for the main body of the movement. This structure is

diagrammed in Figure 5.2.

Push Ahead

1=66 1=88 rit. J=66

[1] [10] [49] [58] [77]

C — D E (E)— G (G) A B C-B B F C

Pedals D -Et-G-F-E-

E-A F#-

E ^ -

Figure 5.2: Structure of Movement Two, "Hot, Still," Symphony: Water Music.

The third movement,"Wafting," has the character and

formal structure of a scherzo. Musically, it is based

upon the alternation of two musical ideas. These can be

61

seen in Examples 5.7 and 5.8. The larger form is an Al-B-

A2 design which is defined by textural elements.

The final movement is basically a modified strophic

form in an A1-A2 design. Between Section Al and Section

A2 is a brief transition of contrasting texture and tempo.

The fourth movement also contains an introduction and a

coda. This structure is diagrammed in Figure 5.3.

I n t r o d u c t i o n A1 T r a n s i t i o n A2 Coda I I I 1 I 1 I 1 I 1

J=80 J.=138 J.=J Accel. J=132 J=J.

3 6 4 6 4 8 4 2ieno

mosso

[1] [31] [72] [83] [121] [138]

Figure 5.3: Structure of Movement Four, "Gale," Symphony: Water Music.

The proportion of each movement to the others is

typical of traditional symphonic design. As the opening

movement, "Fresh Breeze" is a substantial five minutes in

length. "Hot, Still," which follows, is the longest

movement in the work at a length of seven minutes and

twenty-two seconds. The third movement, "Wafting," is

quite short in relation to the others at a length of one

minute and forty-three seconds. The finale, "Gale," at

slightly over four minutes, is similar in length to "Fresh

Breeze." Although it is slightly shorter than the first

62

movement, "Gale" has enough dramatic and musical weight to

successfully balance the symphony.

Symphony; Water Music is a programmatic work which is

unified through its imagery. This is immediately evident

in the programmatic titles of not only the overall work,

but of each movement. Each movement portrays a different

facet of water. To achieve specific imagery indicative of

these different facets, the composer has included

descriptive instructions to aid the performers in the

execution of their musical lines. For example, the second

movement includes such markings as "wafting," "shadowy,"

"fleeting," and "warmly." This movement also imitates the

sound of crickets through flute flutter-tonguing.

The work's imagery is enhanced by a large percussion

battery. With the exception of the wind machine, these

instruments are not unusual and are used in a traditional

fashion. Although the percussionists utilize normal

technique, a colorful imagery results. The composer

carefully calculates effects by such means as indicating

the type of mallets to be used, or by specifying whether

or not the motor should be turned on when playing the

vibraphone. Larsen employs percussion instruments to

imitate natural sounds. This is obvious with the wind

machine, but special effects occur in the other

instruments, as well. For example, several times in "Hot,

63

Still" Larsen employs a sizzle cymbal to simulate the

sound of a katydid.

Structure of Movement One, "Fresh Breeze"

Structurally important in each movement is the use of

repetition. This includes repetition not only of musical

ideas, but of entire sections. This repetition may be

exact, or incorporate developmental ideas. In the first

movement, an introduction precedes Section Al, which

consists of two phrases. The first phrase, which begins

in measure 22 and continues for seven measures, introduces

musical material which is not only fundamental to Section

Al, but establishes the movement's bright mood, and

appears at the conclusion of each statement of Section C.

The remainder of Section Al is comprised of a twenty-

measure passage, beginning in measure 29, which uses

musical material derived from the seven-measure passage

which precedes it.

The restatement of material from Section Al begins in

measure 87, but there is a variance. When Section Al

returns, only its last four measures appear. These four

measures, however, are expanded to eight through

reiteration and textural expansion of sixteenth-note

figures (see Example 5.1). Therefore, this section,

beginning in measure 87, may be labeled A2 (see Example

5.2) .

tt= ^4) tM Mdl'-J - ^

64

E3 :^

[,e 11 -tree h

Wir^d cM'inei

^ f P r± * m 1 I I ^ ^'Il

/ r^r^^ir m^ f Kl O

f W •» w -m w^

:f

mH ^ ^

1 JUL

^fa ^

- c

5= ldfffififf=ff=^

/ ?Z-$)

i 72-

Copyright 1987, by E.C. Schirmer-Boston. Copied with Permission of E.C. Schirmer-Boston. All Rights Reserved.

Example 5.1: The first phrase of Section A of "Fresh Breeze," Symphony: Water Music.

65

VibrApî

SB m Wff tS f

LiJJ LLUryj-'k UUUfiU'f ^w^'i\f\

iSSoor

^^^^^^^^^

w 7^ JZ.

- ^ ?-v

E s I ? M 2133 J Z 2 3 3 3 2 = i : 2=2

if^tffir r i f^31W??? ^ ^ r

^ 7^y-#

^ ^ ^ ^

ff?T^ tir

\\MÛUU m w k ÛH P ^

bas S I : i y. j:j:pi(/ ' -^ :

I 22: zz: ^

^ \ - (rerr lMne

'f


Example 5.2: Reiteration and expansion of sixteenth-note figures in Section A2 of Movement One, Symphony: Water Music.

66

There is a contrasting section, labeled B, which appears

between Section Al and Section A2. This section

introduces a different sixteenth-note figure which returns

in Section A2 (see Example 5.3).

53 n^rimixu "^ ~ '

/

Copyright 1987, by E-C. Schirmer-Boston. Copied with Permission of E.C. Schirmer-Boston. All Rights Reserved.

Example 5.3: New sixteenth-note figure introduced in Section B of Movement One, Symphony: Water Music.

Section B is highlighted by a change of tempo and meter.

The initial 6/8 meter becomes 4/4 and is marked by poco

meno mosso. In addition, the texture becomes much

lighter, relying more on woodwinds than brass. Solo lines

emerge at a piano dynamic level. This contrasts with the

surrounding density of fuller orchestration and louder

dynamic levels.

Section C of "Fresh Breeze" begins at measure 115.

While introducing its own musical figures, this section

also incorporates elements from both the Al and B sections

of the movement. Long, trilled figures from Al appear,

along with the sixteenth-note figure from Section B. In

this way, the structure of the first movement is

integrated. Section C is a twenty-three measure unit

67

consisting of a statement answered at the interval of the

fifth by different groups of instruments. This may be

seen in Example 5.18. Section C, which lasts from measure

115 through measure 137, is immediately repeated in

measures 138 through 160. The final five measures of the

movement, 161 through 165, are a brief extension which

continues to repeat previously stated musical material.

There are pedal tones in this movement which

serve to reinforce sectional divisions and underlie tonal

movement. The initial chord, which is a stack of thirds,

has at its base a G- Later, in Section Al, a G pedal

appears which ultimately assumes a dominant function with

the C pedal initiating Section B. Pedal tones continue to

emerge over one another becoming gradually more dense

until Section C. Each of the large passages in Section C,

which involve a pattern of consecutive ideas answering one

another around the circle of fifths, begins on C and

remains firm.ly rooted there. Each passage ends with a

long G pedal which prepares the return of C. The final

return occurs at the Extension, which retains a C pedal

throughout.

Structure of Movem.ent Two, "Hot, Still"

"Hot, Still" is, in terms of notation, the shortest

of the four movements, containing only 77 measures. The

slow tempos, however, make this the longest movement in

68

duration. The movement opens at 66 beats per minute and

increases to 88 beats per minute at measure 10. This

tempo continues until measure 49, where there is an

indication that the tempo should be "pushed ahead." This

eight-measure thrust gives way to a ritardando which leads

directly into a return of the original tempo in measure 58.

Thus, the movement achieves closure.

Pedal tones are important in this movement also. The

movement opens with a C pedal. The pedal tones which

follow are the pitches of the C-major scale. They sound

in scale order until C returns in measure 60. After this

point, various pedal tones are introduced which do not lie

within the key of C. These tones enter successively, each

continuing to sound while the others enter, until C

emerges alone to conclude the movement. These structural

elements can be seen in Figure 5.2. The chromatic and

whole-tone relationships of the pedal tones which appear

just before the closing reflect the use of chromatic and

whole-tone materials in the harmonic context. This

harmonic background serves to create an atmosphere of

stillness and lethargy through obscuring the drive toward

a harmonic center (see Example 5.4).

"Hot, Still" is thoughtfully designed with regard to

proportion. Measure 49, the one place where the tempo

pushes ahead, moving the prevailing atmosphere briefly

from its lethargy, is almost precisely two-thirds of the

69

K;,3 % h ± r ^ -:i

^ m mnil t, if'jrf^

i A ^ ^ ^ ?

^ ^sA ahead

^ = ^ ^ ^ = ^ - i5^ 1. s -• r U

- ^ *

^ r •* ^ ft Copyright 1987, by E.C. Schirmer-Boston. Copied with Permission of E.C. Schirmer-Boston. All Rights Reserved.

Example 5.4: Chromatic movement and long tones which obscure the feeling of a harmonic center in Movement Two, Symphony: Water Music.

distance through the movement. Further, the length from

measure 4 9 to the end of the movement is twenty-nine

measures. This is exactly the same length as is the

beginning of the movement to the entrance of the G pedal

in measure 30. Thus, this pedal on G, the dominant,

controls the center of the movement.

The texture of "Hot, Still" is thin. Its

orchestration is light and includes many solo lines,

limited brass, and special effects designed to create the

lethargic, hazy, staid atmosphere of a body of water on a

hot summer day. These effects include flute flutter-

tonguing suggesting the sound of crickets, and the sizzle

cymbal, simulating the sound of a katydid. Enhancing

the lethargic effect are long tones which are suspended

across barlines (see Example 5.5).

39

fe ^ ^

ftrmas

^^^^=^ I

I H

/ l

nryairf '/ r

;S f1

I J^/;J

^

TTT

*

4jSi ^

1 i-rTTJTTTTTJTil


Example 5.5: Long tones suspended across barlines in Movement Two, Symphony: Water Music.

70

The impression of lazy, gentle breezes which blow

across the water while faintly disturbing its surface is

produced through brief sixteenth-note or thirty-second-

note figures. The players are assisted in their

interpretation of these figures through descriptive

playing instructions such as "wafting," "fleeting," and

"shadowy" (see Example 5.6).

clarinet ^

7 /I- 1

copyright 1987, by E.C. Schirmer-Boston Copied with Permission of E.C. Schirmer-Boston. All Rights Reserved.

Example 5.6: Sixteenth-note figures accompanied by expressive instructions in Movement Two, Symphony. Water Music.

71

Structure of Movement Three, "Wafting"

"Wafting" is in the character of a light scherzo and

moves at a tempo of 132 beats per minute. it consists

primarily of two ideas which appear in alternation,

repeated either verbatum, or in a form which is

transformed in texture or orchestration. The first idea

consists of a pattern of short eighth-notes, while the

second idea consists of sixteenth-notes (see Examples 5.7

and 5.8, respectively).

m ^ 3

- ^ ^

^ b ^

^ ^

^

m ^

^

h. %^ ^

^ ^ by-

S

W 'nmp fi •3-t ^ ^ T~er- isd ipo

^f V


Example 5.7: First idea in Movement Three, Symphony; Water Music.


Example 5.8: Second idea in Movement Three from Symphony: Water Music.

72

Texture is an important element in "Wafting."

instrumental families operate as units. The strings and

woodwinds tend to appear together, as do the brass and

percussion families. Texture defines the A1-B-A2 form of

the movement. Section Al contains blocks of sound which

alternate and combine with one another. Section B begins

at measure 59 where there is a distinct change of texture

and character. The texture is lighter and musical

material reminiscent of that found in the first movement.

Section B contains a passage of great weight which is

executed by the string section without contrabasses (see

Example 5.9).

75

:± I I Z I ^ ^

y viola.

f 1. O^f^fff i fe \lf A f < ^ ffyi)/ ff f tfT^f b/ fff hit.

s E:

WE: A ~l

f- 4

i hljL


Example 5.9: Strong passage in Section B of "Wafting," Symphony: Water Music.

73

This passage is not surpassed in dynamic level or power

until measure 112, close to the end of the movement.

Section B of "Wafting" concludes at measure 101, where the

return of musical material from Section Al signals the

beginning of Section A2. Section A2 consists of a repeat

of material, beginning in measure 41 and continuing to

the end of Section Al, with the exclusion of measures 59

through 64. Treatment of this material differs in that

the alternating blocks of sound which appear in Section Al

are layered one upon another in Section A2.

Tonally, the movement shifts between the centers of A

and A-flat. This fluctuation is produced through the use

of pedal tones on the pitches of A, A-flat, E, and E-flat.

To heighten tonal ambiguity, at measure 59 the vibraphone

plays dual glissandos, one on the white keys and another

on the black keys. Above this sounds an E pedal. Also,

chordal structures which suggest either the A or the

A-flat tonal center appear not only separately, but

concurrently. Although the movement begins and ends

solidly in A-flat, tonal ambiguity continues to the end of

the movement when an A-major sonority is juxtaposed with

the strongly A-flat harmonic texture in measure 126. This

is presented chordally in the upper woodwinds and

chromatically in the piano line.

There is no doubt that "Wafting" ends in A-flat.

Beginning in measure 106 and continuing to the conclusion

of the movement, the musical texture is dominated by

A-flat scalar passages and harmonies. m addition. an

E-flat dominant pedal prepares the strong A-flat

conclusion which culminates in the final note,

A-flat. a unison

Programmatically, images of breezes wafting over the

water are evoked through light and fleeting musical ges

tures. Throughout the movement these patterns are predom

inantly ascending, creating a buoyancy (see Example 5.10).

Five measures from the end, however, this "wafting" gesture

appears in descending form. This statement is accompanied

by a dynamic indication beginning at fortissimo and

ending at piano. Figuratively, this creates the

106

to^sclttrmec ^

^m jai »!r / i J

i izxz

S TTrr

V=C?z M

-f


Example 5.10: Ascending musical gestures in Movement Three, Symphony: Water Music.

74

impression of squalls gently quieting down and returning

to earth. Just as suddenly, however, the movement

concludes with another rising figure (see Example 5.11).

75

W oiatyojff-

M J^i:;2

^ fe r ^v, FrT

F/5? 3 i

• 7

^ -f

7—r

•:u

ff bass

2Z=z:

===?

ii^


Example 5.11: The final five measures of "Wafting," Symphony: Water Music.

Structure of Movement Four, "Gale"

Formally, this movement is a large modified strophic

structure, with the addition of a slow introduction and

coda. Linking Section Al and Section A2 is a brief

transition which differs from them in texture and tempo.

The expressive introduction begins in a meter of 3/4 and a

tempo of 80 beats per minute. Momentum is generated at

measure 12 where the meter becomes 6/8 and the dotted

quarter-note pulse increases to a tempo of 138 beats per

minute. Measure 31 marks the beginning of Section A.

Here, the meter shifts to 4/4 but the quarter-note pulse

remains at 138 beats per minute. The transition, which

begins in measure 72, has a much lighter texture than

Section Al. It is, nonetheless, very intense in character

The transition, which is merely eleven measures in length.

76

has an initial tempo indication of meno mosso. The final

two measures of the transition have an accelerando which

leads into Section A2 and a return of the previous tempo.

Section A2 begins in measure 83 and consists of a

reiteration of material from the first half of the

movement. The repeat is verbatum beginning with measure

37 and continuing into the first three measures of the

Transition. At this point. Section A2 concludes.

Immediately following, in measure 121, is a coda in which

the meter returns to 6/8, the meter used in the movement's

Introduction. Thus, "Gale" achieves closure.

Powerful images are evoked in this movement. A mood

of anticipation is generated by the introduction (see

Example 5.12). At the opening, percussion and contrabasses

ttS^dr ^ I^L "^

(imftntallets)

•£1

L . ^

^ ^ ^ s ^ ^ ^ f m •9'.-t-*•/

limF

f:^ , u ^ . Lw' ô-

§ ; ^ r = t f f t—Cr P f - /

f f ^ f Bîi Cmr\ icrA\r\0

-fz ft Luâ Liiv^^^.

n:6 '-^ •z. S Z2L z

Jiviti t ^

^

ev«L

2_Z


Example 5.12: The opening of Movement Four, Symphony: Water Music.

77

play tremolos within a carefully designed dynamic struc

ture. These tremolos are punctuated by long pauses marked

lunaa. The effect is that of thunder which grows closer as

a storm approaches. The conductor should be aware that a

fifth-string contrabass attachment will be necessary to

achieve the low pitches required. The introduction

continues to gain momentum as more instruments are

gradually added to the texture and the dynamic level

increases from piano to fortissimo.

Textural elements combine to create the impression

of, and feeling evoked by, a violent storm. For example,

the phrase beginning in measure 42 contains a jagged line

with tremolos in all the string parts except contrabasses,

high trills in the upper woodwinds, a strong sixteenth-

note arpeggiated line for solo clarinet, and a driving

pattern of accented eighth-notes in the bassoon, tuba,

piano, temple blocks, and contrabasses. This passage is

highly chromatic, but revolves around a fundamental D

pitch. A timpani roll on this pitch supports the

surrounding texture. The pitches C and E-flat are also

important and are emphasized through accents which are

played by the horns, trumpets, trombones, and vibraphone.

When this phrase returns at the end of the movement, the

harmony gives way to C, ultimately climaxing on a final C-

major triad. Also included in the texture of the passage

beginning in measure 42 is an interesting timbre created

78

by the use of wire brushes on a suspended cymbal (see

Example 5.13).

"Gale" also contains other scoring which effectively

creates the imagery of a storm. For example, the wind

14£

± / /

^ : <MV7>\4 . ;

'VlU'> • ^ ' , / /

^y'''\^:^ -. —

/ -P-

k 5oin

el

S ^

3 ;

tTT p

^, ,

^ i s a ^Wp¥^

ba',sel, VC n .in.biSS, — I U C J C J

-K

= ? Z = ^ /

-tfinu>le. blec^i

Ji31 ) 1 J! V^

+ o

^^.r" ifr ^ ^ / /

A IL^

i5

^ ^

f ' J

I'f

fl

V poca o. pocc creic-

m

+&«i-

^pm

fTf fe

fe ^

J - /

i A k ^m Cumba f i

al l i j ' i ' l l ^ 'L f ' I--' tj*

f- / /-sy^

S ^te u 'v ci' '^

1^

• g T '

fei

f - /

i / / l ^

^s


Example 5.13: Storm imagery in Movement Four, Symphony: Water Music.

machine is introduced just prior to the transition at the

center of the movement (see Example 5.14). Included in the

texture at this point are a high trumpet line which emerges

I^ih 79

r^^'M-^it

'b/Kfr-


Example 5.14: Introduction of the wind machine and beginning of Transition in Movement Four, Symphony: Water Music.

80

from a driving eighth-note pattern, high fortissimo

tremolos in the upper woodwinds, and a unison tremolo at

mid-range in the strings. When the texture immediately

thins upon the initiation of the transition, the wind

machine is joined intermittently by a large fortissimo

glissando in the harp, blocks of sound in the upper wood

winds at very high range, trills in the bassoon and bass

clarinet, a solo violin line at very high range, and sud

den fortissimo entrances by the bass drum and snare drum.

Throughout, the contrabasses maintain a pedal tone E-flat.

Dynamics are carefully plotted within and between

instrumental parts to insure the success of this movement.

The listener can feel the intense power of the sudden,

violent storm. Just as quickly, the storm ends. Larsen

brings the movement to a speedy conclusion with the fury

of a hurricane.

Rehearsal Guide to Movement One, "Fresh Breeze"

In preparing Symphony: Water Music for rehearsal and

performance the conductor must be ever cognizant of the

feelings each movement should evoke in the listener. This

work is carefully designed to create specific impressions

which are designated by the title of each movement.

Important in "Fresh Breeze" is the performance of the

dynamics. The conductor must clearly show dynamic nuances

such as those in the opening string line. In measure 2

81

there is a small swell over a trill which only lasts for

one beat. Two more swells follow, each over a longer part

of the passage. Each returns to the original dynamic

level. Finally, measure 19 introduces a crescendo which

leads through two and one half measures to a fortissimo

dynamic level. Each of these nuances must be carefully

gauged so that, proportionately, they become consecutively

greater in dynamic level.

The entrance of the trumpets in measure 23 presents a

conducting problem. They begin piano on the downbeat of

the 6/8 measure. There is then a very fast and large

crescendo to an accented fortissimo note on the third

eighth-note of the measure. Completing the measure is

another accent on the fifth eighth-note. This accent is

indicated as a fortepiano. The violins are completing a

fortissimo phrase when the trumpets enter. They should be

instructed to maintain their dynamic level independently

so the conductor can focus attention on the trumpets. The

conductor must show a gentle, precise cue, and immediately

increase the beat size and intensity giving the accent on

the upbeat. The onset of beat 2 will then show the

strong, rebounded ictus of a forte with the immediate

pulling back of a piano. This trumpet gesture occurs at

other points in the movement, and each time it is

juxtaposed with passages at a forte or fortissimo dynamic

level (see Example 5.15).

82

2^ violin

fe^ 3 3 ^-=// /r


Example 5.15: Violin phrase with trumpet entrance in measure 23 of Movement One, Symphony: Water Music.

It is important to achieve proper balances. Larsen

has been careful to plot a set of dynamic levels which

help to insure proper balances, but the conductor must

listen carefully to make sure these levels are observed.

For example, the passage beginning in measure 56 contains

a number of woodwind solos (see Example 5.16). These are

sometimes prominent, such as the oboe solo at measure 56,

and sometimes subtle, as with the flute and clarinet

duet which immediately follows the oboe's first phrase.

Also, the bassoon enters with a solo line in measure 58..

At this point, the oboe solo continues, doubling the

bassoon line, but is now in the background of the texture

rather than the foreground. This brief six-measure

passage contains difficult lines which are doubled at the

octave. They must be executed with precise rhythm and

articulation. Here also, the violas must emerge from the

texture while trilling a muted note low in their range.

83

56 StJoti .0.

5

Sol.f •fl^ : ^

r ff^ 't f f ft •Fl.

ffr.£p?'Jtf-^ # ^ i s -s'-p-yj' r r y~

'6r_£, ^

.5c./oi

^ ^

I -a-i :2: ^ E ^ ^P ^ VIctOL nj -G-^

H


Example 5.16: Solo lines which must be balanced in Movement One, Symphony: Water Music.

Tremolos and trills occur extensively in this

movement. Particularly where they appear in a moving

line, the initial notes must be clearly sounded on the

beat where they occur. The initial pitches of the trills

are reinforced with unison lines which execute the pitches

with tremolos or without embellishment. This, however,

should not excuse poor technique. For example, measure

125 contains an embellished, ascending line which is

executed in unison, or at the octave, by the clarinets,

bass clarinet, marimba, and violins. The initial pitches

should be clearly sounded on each beat where they occur,

even though the line also appears in the tuba part in

unembellished quarter-notes (see Example 5.17).

84

c:loi-inetr

r([)J ; , , , ^ ( J o d ^ ^ / =

^ ' ^ tf^ ^ ^ ^

rf*UMl ^3

^

r y ' -h- -b- - t ^ — • ^ . I

boss cl . i^^ifJ I'v) V<'^

/ =

m illU- - I - ^

^

Jni\i^i*> p

^


Example 5.17: Ascending line with embellished and unembellished notes sounding together in Movement One, Symphony: Water Music.

There are passages in this movement where orchestral

statements are made and answered. For example, the

passage beginning in measure 115 opens with a statement

made by the trombone section. This figure, beginning on C,

is immediately answered by various instruments at intervals

of a perfect fifth: G, D, and A (see Example 5.18).

Continuity must be maintained throughout the passage.

There are meter changes at various points throughout

"Fresh Breeze." Most are prepared by the composer through

the shifting of beat subdivisions. One, however, is not.

It occurs at measure 89 where a 3/4 meter becomes a 6/8

meter. The conductor must simply be aware of the change

85

115

5 Um 1 /

hC ^1.

^ f#

/ horn

f f

iit>'^ljc

^P^^ m -^ i^-

EEE ffi &e ^

S ^ / / fi-ttf/


Example 5.18: Statement and answers in Movement One, Symphony: Water Music.

and begin thoughtfully redividing the beat pattern before

the meter has been changed. There can be no confusion or

tentativeness in the beat pattern when the change occurs.

In considering the programming of this work, the

conductor should be aware that this movement requires

triple divisi of the first violins, second violins,

violas, and cellos.

Rehearsal Guide to Movement Two, "Hot, Still"

For the players, "Hot, Still" is the most technically

difficult movement of Symphony: Water Music. It obscures

any feeling of pulse and demands an impressionistic

interpretation. The sense of pulse, while not necessarily

evident to the listener, must reside inside the musicians

executing this movement. This is necessary in order to

achieve precise entrances.

86

There is nothing technically challenging for the

conductor in this movement. The conductor, however, must

carefully control fluctuations in tempo and dynamic

levels, be clear and simple in gesture to ensure precision

of the ensemble, and subtly show expression through

effective gesture to assist the instrumentalists in

bringing musicality to their lines.

This movement is very coloristic. The composer has

insured certain effects by including specific instructions

to the players. For example, the chime tremolo at the

opening of the movement is to be played with yarn mallets.

Also, the cello tremolos in measures 14 and 15 are to be

sul ponticello.

Expressive adjectives are used as instructions to

assist the players in the interpretation of musical lines.

For example, the opening solo flute line is marked

"wafting," whereas the piccolo entrance which immediately

follows it is marked "shadowy." Also contributing to the

creation of a specific mood or feeling are the special

effects, previously mentioned.

The placement and interpretation of dynamics is

important in "Hot, Still." The opening and closing

sections consist primarily of gradations of low dynamic

levels. Although there is one brief solo line and a four-

measure unison string passage at a forte level in the

first section, the dynamic levels of the first and last

87

sections predominantly range from triple piano to

mezzoforte. The conductor must carefully gauge each of

the intermediary dynamic gradations to create a

proportionate difference among them. Section B, which

lies approximately two-thirds of the way through the

movement, contains the movement's dynamic climax. Here

can be found forte and fortissimo levels.

At different points within this movement, there is a

florid line which is passed among various instruments.

The players must have a sense of the expressiveness of

their line and how it relates to its context. An example

is the woodwind passage in measure 33 (see Example 5.19).

JJ

i f-re

B^

g^^j s .-^TffJt/'^

I ^ ^ tr+t

7Z1

I


Example 5.19: A florid line moving between woodwind instruments in Movement Two, Symphony: Water Music.

Intonation, particularly within lyrical string

passages, demands attention because of the minor seconds

and leaps present. One such passage occurs at measure 39.

This passage is complicated for the violins as they must

88

enter at a very high pitch level in measure 42 after seven

measures of resting. This passage can be seen in Example

5.5.

Rehearsal Guide to Movement Three, "Wafting"

Movement Three is as rhythmic as the second movement

is fluid. The pulse remains constant throughout. This is

true even when the texture thins at measure 59. At this

point, even though the steady rhythmic figures present

throughout the rest of the movement briefly disappear, the

inner pulse of the music remains constant.

The conductor must be careful in this movement never

to allow gestures to become heavy-handed. The danger lies

not only with the basic beat pattern, but also in showing

dynamic nuances. The entire movement must move buoyantly,

never becoming weighed down. The dynamic climax of

fortissimo arrives five measures from the end of the

movement. This final passage contains fragments of the

two ideas which undergird the entire movement. These

ideas are illustrated in Examples 5.7 and 5.8. They

should not lose their buoyant character within the

fortissimo dynamic level. Further, after this final

statement, the movement is brought to a brisk conclusion

which swoops airily down to a pianissimo level. The

movement's final five-measure passage is illustrated in

Example 5.11.

89

Ensemble is a concern of this movement. The first of

the two ideas on which the movement is based consists of

a series of eighth-notes which are passed between

different instrumental groupings throughout the orchestra.

This idea opens the movement, and interplay is seen as it

is passed between the horns, trumpets, low strings, and

timpani. This interplay is seen in Example 5.7.

Immediately following the initial statement of this idea,

another idea is introduced which also recurs throughout

the movement. This second idea, consisting of sixteenth-

notes, is also often passed among instruments, but in

linear fashion. It must be made apparent to the players

when they are executing a fragment of a linear pattern

which must blend with the fragments surrounding their own

part. An example of this occurs in the woodwinds and

strings in measure 49 (see Example 5.20).

,i


Example 5.20: Sixteenth-note pattern of Movement Three's second idea divided among various instruments. Symphony: Water Music.

The second idea is transformed to a scalar pattern in

measure 36 (see Example 5.21). This form of the pattern is

originally divided between instruments of contrasting reg

isters. The effect produced is similar to the first idea.

90

36

.-gTit I Trillin

Copyright 1987, by E.C. Schirmer-Boston. Copied with Permission of E.C. Schirmer-Boston. All Rights Reserved. ^

Example 5.21: Sixteenth-note pattern of Movement Three s second idea divided between registers and with rests, Symphony: Water Music.

In measure 39, the scalar pattern is re-orchestrated to

create a continuous rising line through the woodwinds (see

Example 5.22) .


Example 5.22: Movement Three's second idea in a continuous rising line divided among the woodwinds. Symphony: Water Music.

Articulation is important in "Wafting." The string

players must be clean and precise in bowing their

91

sixteenth-note passages. The lighter passages should be

played off the bow. Even when the stronger passages

demand more string contact, the quality of lightness

should not be totally abandoned. For example, beginning

in measure 75 is a primarily whole-tone passage for

strings, forte. These sixteenth-notes must not become

weighed down. To retain clarity and buoyancy, these notes

must be articulated without using much bow. The bow

should be allowed to glide, the sound becoming a product

of arm weight and not pressure. Also, the accented

eighth-notes should be shortened, effectively creating a

rest, off of which following rhythms can bounce. This

passage is illustrated in Example 5.9.

Rehearsal Guide to Movement Four, "Gale"

Dynamically, "Gale" is the antithesis of "Hot,

Still." It consists primarily of dynamic shadings in the

louder range. Specifically, the movement grows in

intensity from a piano dynamic, to levels ranging from

mezzoforte to fortissimo. Ultimately, the movement

reaches an intensity of triple forte. These levels must

be carefully gauged to create the necessary gradual

buildup of intensity.

Dynamic effects and accents help create the stormy

imagery of "Gale." The conductor must clearly indicate

these inflections to the orchestra. This is technically

92

difficult in sections where accents and dynamic effects do

not coincide within the ensemble. For example, the brief

passage from measure 115 through measure 117 contains a

rhythmic ostinato of eighth-notes, carried by most of the

instruments in use at the moment. The articulations

utilized, however, vary. In the bassoon part, each of the

eighth-notes is accented. In the piano part, the notes

are articulated separately, but not accented. These notes

initially have slurs in the trumpet part. Particular

beats are emphasized by accented eighth-notes in the horn,

tuba and timpani parts. These are often not the same

beats, however. In addition, the trombones execute

figures which begin at a muted piano dynamic level and

immediately crescendo to an unmuted, open forte level.

Again, these dynamic levels most often do not coincide

with those in the surrounding texture. In this passage,

the conductor must decide which accents are the most

necessary to conduct, since it is impossible to indicate

all of them (see Example 5.23). It will benefit the

ensemble's precision to rehearse each of these lines

independently and then in various couplings and groupings.

In this way, each player will understand that his part is

correct, and also how his part fits with the others.

The brief transition at measure 72 has a free quality

which is created through the orchestration and texture.

The conductor, however, must maintain complete control.

93

Entrances are strong and must be executed with assurance.

The transition is illustrated in Example 5.14.

"Gale" has a driven quality which is produced

through the relentless eighth-note motor rhythm. The

conductor must be constantly aware of tempo and not allow

the ensemble or the conducting technique to disturb the

steadiness of the pulse.

i

m

triwnpCL

^ M

Ftrcm / •

^ ^ t2i±i

4^^[JlMi - /

^ : ^

-tuho^

piano ff

z^3 j AJi^h^'" j g p &

-hmf

)'7l i J J JfeR=^

e ^

KW>^ ti^'''w^i mftfO" azSm

i fc'tr r,;i,;fV ^ ^

i-^f ?-=/

Hfi TvFTTl 7f ft f

i /jljftji

g

zir

W

^ •^f-

:;^

efiTJaJ'^^ ^ > ' > > > >

-f

tr* ^ w ^ ^ ^

^

:.v


Example 5.23: Dynamic effects and articulations in Movement Four, Symphony: Water Music.

94

Because of the programmatic elements present in this

work, it may be helpful for the conductor, when preparing

this work for performance, to study how the feelings and

impression of a violent storm are achieved through the

music in this movement. In fact, this is an approach to

be taken in acquainting oneself with each of the four

movements of Symphony: Water Music. Discoveries of the

more salient elements may then be communicated to the

ensemble. Together, the conductor and performers will

have a united vision of the composer's intent.

CHAPTER VI

SUMMARY AND CONCLUSIONS

Celebration for Orchestra by Ellen Taaffe Zwilich,

Sequoia by Joan Tower, and Symphony: Water Music by Libby

Larsen are orchestral works which are very different in

nature, although they were composed within three years of

one another. Each work contains interesting structural

features or programmatic elements. Celebration for

Orchestra is an objective work which contains colorful

timbral effects, such as a recurring echo-like figure, and

resonant bell-tones which appear with various instrumental

doublings. Sequoia is a programmatic work whose entire

structure is reliant upon the image of the sequoia tree.

Symphony: Water Music, also a programmatic work, evokes

different emotions associated with various aspects of

water, through colorful imagery in the music. It is

important that the conductor do a careful study of the

structural features and processes of the work, including

not only the outer formal structure, but the inner

organizational aspects of orchestration, tonality,

texture, meter, tempo, rhythm, melody, and motivic

development. When considering programming, the conductor

must also consider the available resources. For example,

each work requires celeste as well as a large percussion

battery.

95

96

Each work would be a valuable addition to an

orchestra's repertoire, not only because of artistic

merit, but also for the creation of interesting

programming. Celebration for Orchestra could be

combined with a Classical or Neoclassical Period work,

such as a symphony by Haydn or piece by Hindemith, to

create a successful half of a concert program. Sequoia

would be effectively displayed on a concert program with a

work by Stravinsky, such as Petroushka or The Rite of

Spring. Symphony: Water Music is an immediately

appealing cinematic work which can be effectively

presented in several different ways. For one, it may be

coupled with another four-movement symphony. Symphony:

Water Music may be paired successfully with a work from

any stylistic period. For example, combining it with a

work by Ravel will create a comfortable flow because of

the similar colors used, while combining it with an

expressionistic work by Schoenberg will produce an

interesting contrast. One may consider pairing it with

Handel 's Water Music to facilitate a comparison.

Symphony: Water Music is also accessible enough to be

considered as the serious portion of a pops concert

program.

ENDNOTES

1 Ellen Taaffe Zwilich; Professional Brochure

(Englewood, New Jersey: Music Associates of America, 1990), unpaginated.

2 Richard Dyer, Ellen Taaffe Zwilich Recording:

Program Notes (n.p.: Recorded Anthology of American Music, Inc., 1986), unpaginated.

3 Ellen Taaffe Zwilich. 4 Ibid. 5 Ibid.

6 Ibid.

7 Mary Lou Humphrey, Joan Tower: Professional

Brochure (New York: G. Schirmer, Inc., and Associated Music Publishers, Inc., 1988), unpaginated.

8 Susan Feder, Joan Tower Recording: Program Notes

(New York: Elektra Entertainment, 1990), p. 3. 9 Ibid. 10

Ibid. 11

Humphrey, loc. cit. 12

Ibid.

Pam Lambert, "Orchestrating a Life in Music, The Wall Street Journal (New York), August 9, 1988.

14 Ibid.

15 Ibid.

16 Ibid.

17 Ibid.

18 Ibid.

19 Ibid.

97

20 Ibid.

21

98

Re cor Nones

Mary Ann Feldman, Stephen Paulus and Libby Larsen ^i$3J Program Notes fNPW vn^v. Elektra/Asylum/ uch Records, 1987), unpaginated. pag 22 ^

Ibid. 23

Dyer, loc. cit. 24

Ibid. 25 Telephone interview with Ellen Taaffe Zwilich,

composer, April 27, 1991. 26

Feder, loc. cit. 27

Ibid., p. 5. 28

Humphrey, loc. cit. 29

"Joan Tower: Promotional Material." Xerox, 1990, p. 1.

30 Humphrey, loc. cit.

31 Feldman, loc. cit.

32 Ibid.

33 Ibid.

34 Ibid.

35 Ibid.

36 Ibid.

37 Ibid.

38 Ibid.

39 Ibid.

40 Ibid.

41 James Phillips, "Orchestra Premieres Larsen's New

Symphony," Minneapolis Star and Tribune, February 1, 1985. 42 Libby Larsen: Professional Brochure (n.p.: n.p.,

n.d.), unpaginated.

BIBLIOGRAPHY

Dyer, Richard. Ellen Taaffe Zwilich Recording: Program Notes. n.p.: Recorded Anthology of American Music, Inc., 1986.

Ellen Taaffe Zwilich: Professional Brochure. Englewood, New Jersey: Music Associates of America, 1990.

Feder, Susan. Joan Tower Recording: Program Notes. New York: Elektra Entertainment, 1990.

Feldman, Mary Ann. Stephen Paulus and Libby Larsen Recording: Program Notes. New York: Elektra/ Asylum/Nonesuch Records, 1987.

Humphrey, Mary Lou. Joan Tower: Professional Brochure. New York: G. Schirmer, Inc., and Associated Music Publishers, Inc., 1988.

Lambert, Pam. "Orchestrating a Life in Music." The Wall Street Journal (New York), August 9, 1988.

Libby Larsen: Professional Brochure. n.p.: n.p., n.d.

Larsen, Libby. Symphony: Water Music.

Phillips, James. "Orchestra Premieres Larsen's New Symphony." Minneapolis Star and Tribune, February 1, 1985.

Tower, Joan. Sequoia.

Zwilich, Ellen Taaffe. Celebration for Orchestra.

Zwilich, Ellen Taaffe. Telephone interview. April 27, 1991.

99

APPENDIX A

ORCHESTRAL WORKS AND DISCOGRAPHY:

ELLEN TAAFFE ZWILICH

Symposium for Orchestra 1973 Duration: 12 minutes Publisher: Merion (rental) 3-3-4-3; 4-3-3-1; timp, perc, 2 harp; strings

Passages (orchestral version) 1982 Duration: 25 minutes Publisher: Margun (rental) Soprano solo; 2(pic, a.f1)-l-E.hn-2(b.cl)-2 ( c . bsn ) ;

3-1-1-0; perc (-3, incl. timp); strings

Symphony No. 1 (Three Movements for Orchestra) 198 2 ~ Duration: 18 minutes Publisher: Margun 2(pic)l-E.hn-l-b.cl-2(c.bsn); 4-2-3-1; timp, 3 perc,

piano, harp; strings Score; (Parts on rental) 1983 Pulitzer Prize Arturo Toscanini Music Critics Award Recording: New World (John Nelson, Indianapolis Symphony

Orchestra)

Prologue and Variations for String Orchestra 1983 Duration: 13 minutes Publisher: Merion Score; (Parts on rental) Recording: New World (John Nelson, Indianapolis Symphony

Orchestra)

Celebration For Orchestra 1984 Duration: 10 minutes Publisher: Merion 4-3-3-3; 4-3-3-1; timp, 3 perc, piano (celesta), harp;

strings Recording: New World (John Nelson, Indianapolis Symphony

Orchestra)

100

101

Symphony No. 2 (Cello Symphony) 1985 Duration: 24 minutes Publisher: Merion 3-3-3-3; 4-3-3-1; timp, 3 perc, piano; strings Score; (Parts on rental) Recording: Lawrence Leighton Smith, Louisville Orchestra

Concerto Grosso 1985 (to Handel 's Sonata in D for violin and continue, first movement)

Duration: 15 minutes Publisher: Mobart l-2(E.hn)-0-l; 2-0-0-0; harpsichord; strings Score; (Parts on rental) Recording: New World (Zubin Mehta, New York Philharmonic)

Concerto for Piano and Orchestra 1986 Duration: 24 minutes Publisher: Merion 3-3-3-3; 4-3-3-1; timp, 3 perc; strings Two-piano reduction; (Parts on rental)

Images for Two Pianos and Orchestra 1986 Duration: 18 minutes Publisher: Merion pic-1-l-E.hn-l-b.cl-l-c.bsn; 2-1-1-1; perc; strings

I. Opening (to Alice Bailly's "Self-Portrait 1917") II. "La Poupee Abandonne" by Suzanne Valadon III. "Iris, Tulips, Jonquils & Crocuses" by Alma

Thomas IV. "Bacchus #3" by Elaine De Kooning V. "Spiritualist" by Helen Frankenthaler

Tanzspiel. Ballet in four scenes. 1987 Duration: 28 minutes Publisher: Merion 3_3_3_4. 4-2-2-1; timp, 2 perc, piano; strings

Symbolon for Orchestra 1988 Duration: 16 minutes Publisher: Merion . 4-3-4-3; 4-3-3-1; timp, 3 perc, harp; strings cirore: (Parts on rental) , .,, • \ Recording: New World (Zubin Mehta, New York Philharmonic)

102

Concerto for Trombone and Orchestra 1988 Duration: 20 minutes Publisher: Merion 3-3-3-3; 6-3-3-1; timp, 3 perc, piano; strings

Concerto for Bass Trombone, Strings, Timpani & Cymbals 1989 Duration: 16 minutes

Chamber Symphony 1979 Duration: 17 minutes Publisher: Merion flute (piccolo), clarinet (bass clarinet), violin, viola,

cello, piano Score and parts Recording: CRI (Pittman, Boston Musica Viva)

Sources

Composers Recordings Inc. (CRI) 170 West 74th Street New York, NY 10023

Leonarda Productions P. 0. Box 1736, Cathedral Station New York, NY 10025

Margun Music, Inc. 167 Dudley Road Newton Centre, MA 02159

Merion Music, Inc. c/o Theodore Presser Company Presser Place Bryn Mawr, PA 19010

Mobart Music Publications c/o Jerona Music Corporation P. 0. Box 5010 Hackensack, NJ 07606

New World Records 701 Seventh Avenue New York, NY 10036

Northeastern Records P. 0. Box 116 Boston, MA 02117

103

For further information about Ellen Taaffe Zwilich contact:

Music Associates of America 224 King Street Englewood, New Jersey 07631

'Phone: (201) 569-2898

APPENDIX B

ORCHESTRAL WORKS AND DISCOGRAPHY: JOAN TOWER

Amazon II 1979 Duration: 13 minutes 2(pic)-2-2-2; 2-2-1-1; 3 perc, harp, piano/celesta;

strings Materials on rental First performance: Hudson Valley Philharmonic, Imre

Pallo, conductor, November 10, 1979

Sequoia 1981 Duration: 16 minutes 2(2pic)-2-2-2; 4-2-3-1; 5 perc, harp, piano/celesta;

strings Materials on rental First performance: American Composers Orchestra, Dennis

Russell Davies, conductor. May 18, 1981 Recording: Nonesuch Digital 9 79118-1 F (Leonard Slatkin,

Saint Louis Symphony)

Music for Cello and Orchestra 1984 Duration: 19 minutes Solo cello; 2(pic)-2-2-2; 2-2-3-0; 2 perc, harp; strings Materials on rental First performance: Andre Emelianoff, cellist. New York

Chamber Symphony, Gerard Schwarz, conductor, September 29, 1984

Recording: Nonesuch (Lynn Harrell, cello; Leonard Slatkin, Saint Louis Symphony - in preparation 1989)

Island Rhythms 1985 Duration: 7 minutes 2(pic)-2-2-2; 2-2-b. tbn-1; timp, 2 perc; strings Materials on rental First performance: The Florida Orchestra, Irwin Hoffman,

conductor, June 29, 1985

104

105

Piano Concerto (Homage to Beethoven) 1985 Duration: 21 minutes Solo piano; 2(pic)-1-2(b. cl)-l; 2-1-b. tbn-0; 2 perc;

strings Materials on rental First performance: Jacquelyn M. Helin, piano, Hudson

Valley Philharmonic Chamber Orchestra, Imre Pallo, conductor, January 31, 1986

Fanfare for the Uncommon Woman 1986 Duration: 3 minutes 0-0-0-0; 4-3-3-1; timp, 2 perc Materials on rental First performance: Houston Symphony Orchestra, Hans Vonk,

conductor, January 10, 1987 Recording: Nonesuch (Niklaus Wyss, Houston Symphony - in

preparation 1988)

Silver Ladders 1986 Duration: 22 minutes pic, 2-2, E. hn-2, b. cl-2, cbn; 4-3-2, b. tbn-1; timp,

4 perc, harp, piano/celesta; strings Materials on rental First performance: Saint Louis Symphony, Leonard Slatkin,

conductor, January 9, 1987 Recording: Nonesuch (Leonard Slatkin, Saint Louis

Symphony - in preparation 1989)

Concerto for Clarinet and Orchestra 1988 Duration: 19 minutes Solo cl or basset cl; 2(pic)-2-2-2; 4-2-2-1; 2 perc, harp,

piano/celesta; strings Materials on rental

Island Prelude 1989 Duration: 10 minutes Solo oboe; strings Materials on rental Recording: Nonesuch (Peter Bowman, oboe; Leonard Slatkin,

Saint Louis Symphony - in preparation 1990)

Second Fanfare for the Uncommon Woman 1989 Duration: 5 minutes 0-0-0-0; 4-3-3-1; timp, 3 perc Materials on rental

106

Concerto for Flute and Orchestra 1989 Duration: 15 minutes Solo flute; 1(pic)-1-1(b. cl)-l; 0-1-b. tbn-0; 2 perc;

strings Materials on rental

Sources

All works in this list are published by Associated

Music Publishers unless otherwise indicated. For perusal

materials on Joan Tower, please contact:

G. Schirmer Promotion Department 225 Park Avenue South, 18th floor New York, NY 10003

'Phone: (212) 254-2100 Fax: (212) 254-2013

For rental and performance information, please contact:

G. Schirmer Rental and Performance Department 5 Bellvale Road Chester, NY 10918

'Phone: (914) 469-2271 Fax: (914) 469-7544

APPENDIX C

ORCHESTRAL WORKS AND DISCOGRAPHY:

LIBBY LARSEN

Stage

Clair de Lune (2 act romantic chamber opera) Libretto: Patricia Hampl Publisher: E. C. Schirmer Duration: 1 hour 45 minutes

The Silver Fox (one act opera for the young) Libretto: John Olive Publisher: E. C. Schirmer Duration: 40 minutes

Moon Door (full evening solo performance with slides, tapes, costumed)

Tenor, 2 percussion Manuscript Duration: 1 hour

Tumbledown Dick (2 act comic opera) Libretto: Vern Sutton, based on H. Fielding play Manuscript Duration: 2 hours

Frankenstein, the Modern Prometheus (full length music drama)

Premiere: Minnesota Opera; Dale Johnson, conductor Multimedia

Ghosts of an Old Ceremony Premiere: Minnesota Orchestra and Oberlin Dance

Collective

Orchestra

Concerto; Cold, Silent Snow Flute/Harp; Chamber orchestra Premiere: Lehigh Valley Chamber Orchestra; Donald Speith,

conductor

107

108

Coriolis picc-2-2-2-b.cl-2-contrbsn, 4-2-3-1, timp, 3 perc, piano/

eel, strings Duration: 12 minutes Publisher: E. C. Schirmer Premiere: Minnesota Orchestra; Claus Peter Flor,

conductor

Symphony: Water Music picc-2-2-2-b.cll, 4-3-3-1, timp, 3 perc, piano/eel,

strings Duration: 18 minutes Publisher: E. C. Schirmer Premiere: Minnesota Orchestra; Neville Marriner,

conductor Recording: Nonesuch (Neville Marriner, Minnesota

Orchestra)

Overture: Parachute Dancing 2(2 picc)-2-2-2, 4-2-3-1, timp, 3 perc, piano, strings Duration: 7 minutes Publisher: E. C. Schirmer Premiere: American Composers Orchestra; Thomas Nee,

conductor Recording: Leonarda (Carolann Martin, Bournemouth

Sinfonietta)

Pinions (violin concerto) Violin solo; 1-1-1-1, 1-0-0-0, piano, strings Duration: 15 minutes Publisher: E.C. Schirmer Premiere: St. Paul Chamber Orchestra; Romuald Tecco, solo

violin; William McGlaughlin, conductor

Three Cartoons Full orchestra Premiere: Minneapolis Civic Orchestra; Robert Bobzin,

conductor

Deep Summer Music 2(2 picc)-2-l-2, 4-1-3-0, timp, 2 perc, strings Duration: 8 minutes Publisher: E.C. Schirmer Premiere: Minnesota Orchestra; Joseph Guinta, conductor

Weavers Song and Jig String band, 1(pice)-1-1-1, 1-0-0-0, 1 perc, strings Duration: 9 minutes Manuscript Premiere: St. Paul Chamber Orchestra; William

McGlaughlin, conductor

109

Collage: Boogie Full orchestra Publisher: E.C. Schirmer Premiere: American/Soviet Youth Orchestra; Zubin Mehta,

conductor Recording: Comin, Inc. (Zubin Mehta, American/Soviet

Youth Orchestra

Trumpet Concerto Trumpet solo; Full orchestra Publisher: E.C. Schirmer Premiere: Davenport Youth Symphony; Daniel Culver,

conductor

Torn Twist (for children's concerts) Narrator, mime or dancer; picc-1-l-E flat cll-b.cll-

alto sax-2, 1-1-0-0, 2 perc, piano, harp, strings Duration: 9 minutes Publisher: E.C. Schirmer

Choral with Orchestra

In a Winter Garden Soprano solo, tenor solo; SATB, chamber orchestra Text: Patricia Hampl Duration: 40 minutes Publisher: E.C. Schirmer Recording: Pro Arte - Plymouth Music Series (Philip

Brunelle, conductor) Plymouth Festival Orchestra and Chorus

Coming Forth Into Day Soprano solo, baritone solo; narrator, children's choir,

SATB, full orchestra Duration: 45 minutes Publisher: E. C. Schirmer Recording: Plymouth Music Series (Philip Brunelle,

conductor) The Plymouth Festival Orchestra and Chorus and the Bel Canto Singers; Jehan El Sadat, narrator. Jubilant Sykes, baritone, Linda Russell, soprano

Three Summer Scenes SATB, optional youth chorus, full orchestra Texts: William Carlos Williams, Lloyd Frankenberg,

Maurice Lindsay

no Films

The Daytime Moon Terra Nova Films, with Minnesota Opera Min Tanaka, Mai Juku, Sandy Smolan, producers Filmed on location in Tokyo, Japan

Four On The Floor Terra Nova Films, with Minnesota Opera and Minneapolis

Artists Ensemble

Touch Media Ventures Film Score by Libby Larsen

Sources

Publisher: E.C. Schirmer Music Company 138 Ipswich Street Boston, MA 02215

'Phone: (617) 236-1935

Performing Rights Society: ASCAP ASCAP Building, One Lincoln

Plaza New York, New York 10023

'Phone: (212) 595-3050

copyright 1991, susan louise bailey robinson

Documents