MOTHERSHIP
commissioned by theYouTube Symphony • Michael Tilson Thomas, music director premiered March 21, 2011 by the YouTube Symphony Orchestra
4 Flutes – 3 rd and 4th doubling Piccolo
2 Oboes
English Horn
2 Bassoons
Contrabassoon
Eb Clarinet
4 Bb Clarinets
2 Bass Clarinets
Soprano Sax
Alto Sax
Tenor Sax
Baritone Sax
4 Trumpets in C
4 Horns
2 Trombones
Bass Trombone
Euphonium
Tuba
Harp
Piano
4 Percussion
Timpani
Contrabass
PROGRAM NOTES
The mothership floats high above, an orchestra pulsing rapidly with a heart of techno. At several moments in the piece, various soloists dock with the mothership, dropping in with solos both virtuosic and lyrical. The work was commissioned by Michael Tilson Thomas and the YouTube Symphony, which asked about the possibility of integrating improvisation.
The piece follows the form of a scherzo with double trio. But while symphonic scherzos historically play with dance rhythms such as the waltz, Mothership looks to 21st Century electronic dance music to enliven its journey. The brief solos can be played as written or improvised.
PERFORMANCE NOTES: mini-solos
Two passages feature brief virtuosic solos from four players (rehearsal letters G & T, which showcase two solos each) Players can simply follow the written-out solos for a more traditional performance of the piece. However, in the event that certain musicians can improvise, those players can be assigned one of the passages to improvise over. Lead sheets containing harmonic information are in the back of the score. Instruments need not be the same as the written-out solos marked in the score, though treble instruments are preferable as they project best.
RHYTHMIC SOLOS
mm.68-97 (written as Eb Cl )
mm.98-119 (written as marimba)
LYRICAL SOLOS
mm.174-202 (written as cello)
mm.203-236 (written as trumpet)
*It is fine for one improviser to take both solos in either the Rhythmic or Lyrical section, since all the solos are quite short.
PERFORMANCE NOTES: electronics
The piece simply requires two stereo speakers, placed on the left and right sides of the stage, in addition to a few onstage monitors. A small hotspot monitor placed near the conductor, as well as a few additional monitors placed within the orchestra, will help the performers stay in precise tempo with the electronic part. It is highly recommended that the conductor’s hotspot be elevated on a stand near the podium, and that it have a volume knob on the front. (This is not a soloistic, performative part; it is much like a dynamic, touch-controlled CD player.)
An assistant conductor situated in the hall near the soundboard would facilitate in monitoring the balance, though the electronica part is carefully designed to balance with the orchestra after a basic level is set. Because the score is carefully notated when the electronics are beat-oriented, a click track is not needed. A “live” version of the electronic part can be realized when the composer is present.