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SAMUEL CARL ADAMS

Drift and Providence for large orchestra

Carl Adams (BMI)

Music processed by the composer Cover image especially created for the first edition by the composer

Printed in Berkeley, CA

Co-commissioned by The New World Symphony and The San Francisco Symphony Michael Tilson Thomas, Artistic Director with generous support from the New Music USA Composer Assistance Program

The first performance was given by The New World Symphony conducted by Michael Tilson Thomas at the New World Center in Miami, FL

Duration: c.20 minutes

Samuel Carl Adams

291 Eastern Parkway # 21 Brooklyn, NY 11238 (510) 390 3969

samuelcarladams@gmail.com www.samuelcarladams.com

Percussion C above stage

Percussion A on stage

Percussion B

Sizzle Cymbal Vibraphone

Low Tom

Brake Drum

Snare Drum

Percussion D

(above stage)

Sizzle Cymbal

Gong

Table* Crotales

PercussionDiagram1

Diagram 1

Percussion D above stage

Timpani on stage

Percussion B on stage

Conductor

PercussionDiagram2

Conductor

Timpani on stage

Percussion A

Sizzle Cymbal Vibraphone

Low Tom

Bass Drum

Brake Drum

PercussionDiagram3

Conductor

Brake

Percussion C (above stage)

Sizzle Cymbal Table* Crotales

Tamtam

* 2 Almglocken, 2 Sandpaper blocks Brake Drum Medium Triangle * 2 Almglocken, 2 Sandpaper blocks Drum Large Triangle

3 flutes (II, III = piccolo)

3 oboes

3 clarinets in Bb (II = bass clarinet in Bb, III = contrabass clarinet in Bb)

3 bassoons (III = contrabassoon)

4 horns in F

2 trumpets in C

2 tenor trombones

1 bass trombone

1 tuba

percussion (4 players)

A: vibraphone, large riveted sizzle cymbal, bass drum, low tom (preferably tuned to F#), brake drum

B: vibraphone, large riveted sizzle cymbal, snare drum, low tom (preferably tuned to F#), brake drum

C: 2 large almglocken (tuned to F#), large riveted sizzle cymbal, brake drum, 2 sandpaper blocks, crotales, tamtam, large triangle

D: 2 large almglocken (tuned to F#), large riveted sizzle cymbal, brake drum, 2 sandpaper blocks, crotales, gong (G#3 only), medium triangle

Timpani (6 drums)

Strings

Electronics (contact composer for details)

The score is notated in C

Orchestral parts available on hire from the composer

I N S T R U M E N T A T I O N

mp *always let vibrate until directed to dampen. as a general rule, the sound of the contact of the rivets on the cymbal is more important than the sound of the contact of the beater on the cymbal.

*always let vibrate until directed to dampen. as a general rule, the sound of the contact of the rivets on the cymbal is more important than the sound of the contact of the beater on the cymbal.

Contrabass

Contrabassoon

Bass

Timpani

Percussion

Percussion (D)

Percussion Resonance (Sounding Pitches) Violin I Violin

Viola Violoncello Contrabass q = 54 - 58 pp f mf fade mf fade mf fade pp f mf mp

sfp slight dynamic swells p sfp slight dynamic swells p ppp mp mp leggiero and hushed, but full of potential energy p q = 54 - 58 mp leggiero and hushed, but full of potential energy p mp leggiero and hushed, but full of potential energy p mp leggiero and hushed, but full of potential energy p pp f mp fade pp f p pp f p pp f p pp f p sfp mf fade p sfp mf fade p                                                                                                                          DRIFT AND PROVIDENCE SAMUEL CARL ADAMS Co-commissioned by the New World Symphony and the San Francisco Symphony Michael Tilson Thomas, Artistic Director I. Embarcadero       a4 pitchless exhale through chamber of instrument (inverted mouthpiece)  a2 pitchless exhale through chamber of instrument (inverted mouthpiece)  a2 pitchless exhale through chamber of instrument (inverted mouthpiece)  pitchless exhale through chamber of instrument (inverted mouthpiece)  pitchless exhale through chamber of instrument (inverted mouthpiece)    Vibraphone motor off, pedal ad lib until II  hard mallets (change to soft mallets) soft    Bass Drum wire brush maintain constant wash of white noise Sizzle*  soft mallet  Vibraphone motor off, pedal ad lib until II  hard mallets (change to soft mallets) soft   Snare Drum wire brush maintain constant wash of white noise Sizzle* soft mallet   2 Almglocken  rub bells together in circular motion to create a metallic noise   2 Almglocken rub bells together in circular motion to create a metallic noise   open strings when possible always non vibrato, poco sul pont. 3 3 3 3 3 3 3 3 3 3 3 3  open strings when possible always non vibrato, poco sul pont. 3 3 3 3 3 3 3 3 3 3 3 3  open strings when possible always non vibrato, poco sul pont.  open strings when possible always non vibrato, poco sul pont.     n.v., poco sul pont.     tasto, n.v.    tasto, n.v.    tasto, n.v.   tasto, n.v.  II  tasto, n.v.  II tasto, n.v.  Unauthorized copying or reproduction of this music is forbidden by law and may result in criminal or civil action.                                                                                                                                                                                                                                                                                                                                                                                                      

Oboes 2 Clarinets in Bb

Clarinet in Bb

Bassoons

4 Horns in F

Trumpets in C

Tenor Trombones

Trombone Tuba

[Center on Stage]

(A) [Left on Stage]

(B) [Right on Stage]

[Right above Stage]

            Fl. 1 Ob. 1 Cl. 1 Cl. 3 (Cb. Cl.) Bsn. 1 Bsn. 3 (Cbsn.) Hn. 1.3 2 C Tpt. 2 Tbn. B. Tbn. Tba. Timp. Perc. (A) [L on] Perc. (B) [R on] Perc. (C) [L above] Perc. (D) [R above] Res. Vln. I Vln. II Vla. Vc. Cb. mp mp mp mp mp fade p mp fade p mp fade p mp fade p mp fade p mp fade p 4 5                                                                                                                                           (Alm.)  (Alm.)   3 3 3 3 3 3 3 3 3 3  3 3 3 3 3 3 3 3 3 3                                                                                                                                                                                                                                                                                                        2

            Fl. 1 Ob. 1 Cl. 1 Cl. 3 (Cb. Cl.) Bsn. 1 Bsn. 3 (Cbsn.) Hn. 1.3 2 C Tpt. 2 Tbn. B. Tbn. Tba. Timp. Perc. (A) [L on] Perc. (B) [R on] Perc. (C) [L above] Perc. (D) [R above] Res. Vln. I Vln. II Vla. Vc. Cb. mp mf mp mp mf mp fade mp fade mp fade pp p p p p mf fade mp fade p mf fade mp fade p mf fade mp fade p mf fade mp fade p mp fade mp fade 6 7 8                                                                                                                                                                                                                                                                  (Alm.)   (Alm.)    3 3 3 3 3 3 3  3 3 3 3 3 3 3  3 3 3 3  3 3 3 3                                                                                                                                                                                                                                                                                                                                        3

            Fl. 1 Ob. 1 Cl. 1 Cl. 2 Bsn. 1 Bsn. 3 (Cbsn.) Hn. 1.3 2 C Tpt. 2 Tbn. B. Tbn. Tba. Timp. Perc. (A) [L on] Perc. (B) [R on] Perc. (C) [L above] Perc. (D) [R above] Res. Vln. I Vln. II Vla. Vc. Cb. ppp fade ppp fade mp sim. mp sim. mf mp mf mp mp mp mp mp mp poco fp fade mp fade p mp fade mp mp fade p mp fade mp mp fade p mp fade mp mp fade p mp fade mp p fade mp fade p fade mp fade 9 10 11 12                                                                                                                                                                                                                                                    n.v.  n.v.             Bass Drum wire brush, constant white noise    Snare Drum wire brush, constant white noise  (Alm.)  (Alm.)     3 3 3 3 3 3 3 3 3 3 3 3 3 3  3 3 3 3 3 3 3 3 3 3 3 3 3  divisi, very loose and uneven                                                                                                                                                                                                                                                                                                                                                                                                                                                 4

            Fl. 1 Ob. 1 Cl. 1 Cl. 2 Bsn. 1 Bsn. 3 (Cbsn.) Hn. 1.3 Hn. 2.4 2 C Tpt. 2 Tbn. B. Tbn. Timp. Perc. (A) [L on] Perc. (B) [R on] Perc. (C) [L above] Perc. (D) [R above] Vln. I Vln. II Vla. Vc. Cb. pp fade pp fade ppp fade fade ppp fade fade mp p fade mp mp fade (mp) fade (mp) fade fade p mp p mp p sim. fade mp p mp p sim. fade fade fade p fade p fade poco più f sfz p poco più f sfz p poco più f sfz p poco più f sfz p 13 14 15                                                                                                                            n.v.  n.v.                  (Alm.) gradually slow down circular motion  (Alm.) gradually slow down circular motion   3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3  3 3  3 3 3 3   poco sul pont. 3 3 3 3 3  poco sul pont. 3 3 3 3 3                                                                                                                                                                                                                                                                                                                                                                            5

          Fl. 1 Fl. 2 Fl. 3 Ob. 1 Cl. 1 Timp. Perc. (A) [L on] Perc. (B) [R on] Perc. (C) [L above] Perc. (D) [R above] Res. Vln. I Vln. II Vla. Vc. Cb. p A p p mf fade mf fade pp a hushed and warm sound, cant. mp pp mp mf as before mf slightly under lead winds mp mf as before pp mp pp mp pp mp mp leggiero A mp leggiero mp leggiero mp leggiero p mp mp p mf mp p mf mp p mf mp p mf p mp fade p mp fade 16 17 19 18                                                     1. soli (with cl. 1) non vibrato   1. soli (with ob. 1) non vibrato   soft mallets always let vibrate unless otherwise directed 3 3 3  (soft)   gently dampen cymbals  B.D. (wire brush)  medium mallet soli (w. ob. I, cl. I)    gently dampen cymbals  S.D. (wire brush)   ord.   ord.   as before 3 3 3 3 3 3 3 3 3 3  as before 3 3 3 3 3 3 3 3 3 3  as before  as before  soli, sul pont.  ord.  tasto n.v.   tasto n.v.   tasto n.v.   tasto n.v.  tasto n.v.  tasto n.v.                                                                                                                                                                                                                                                                                                          6