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Augusta Read Thomas Shakin' (Homage to Elvis Presley and Igor Stravinsky) (2005)
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AUGUSTA READ THOMAS
SHAKIN’ HOMAGE TO ELVIS PRESLEY AND IGOR STRAVINSKY
ED 4297 First Printing: August 2006 ISBN-13: 978-1-4234-1644-9 ISBN-10: 1-4234-1644-9
Shakin’ was commissioned by the Memphis Symphony Orchestra, David Loebel, Music Director, and the Music Library Association in honor of its 75th Anniversary. The first performance was given by the Memphis Symphony Orchestra under the direction of David Loebel on 24 February 2006.
Performance Notes: Grace notes come before the beat. Strings to be plucked inside the piano are indicated as pizz. this is cancelled with ord. The piano should be located with the percussion in the back of the orchestra. Divisi sections in the strings should always be split as inside and outside. Eight violins require practice mutes. String bowing suggestions and preferences are marked by the composer but can be altered at the discretion of the players and conductor.
Music of many periods and by different composers and improvisers has fascinated and nurtured me since I was a child. I deeply love the music of J.S. Bach for its precision, its amazing invention, its elegance, and the nobility and grandeur of its emotional spectrum. Bach sounds utterly modern to me, even 300 years after it was composed. The music of a myriad of other composers and Blues, Rock, and Jazz improvisers keeps me focused and humble at the same time as they inspire me with confidence for creative thinking. Shakin’ pays homage to Elvis and Stravinsky. I grew up in the 1960s, the 10th of 10 children (and a twin), in a home with music playing in literally every room! All my brothers and sisters loved Rock and Roll and so did I, and thus, at a very deep level, it has indisputably affected my music. Shakin’ is a six-minute work for orchestra, which falls into two short sections, played without a pause. The first is characterized by the use of soloists in the orchestra. It is lyric and elegant, and tuneful. Eight solo violinists, all who have practice mutes on their instruments (which makes their sound extremely dreamy, distant, and delicate) play brief song fragments. They spin an eight-part counterpoint-web. This dreamy lattice obscures each song, so one should not try to hear “Amazing Grace,” for instance, but it is in there, floating above the orchestra in the soloists, as if to recall the web of power that Elvis holds on us all, from afar. The second half of the work is one long crescendo, from ppp to ffff, and it also is a gradual and continual accelerando. There are several “licks” that repeat, although subjected to slight variations, and give a feeling of a transformed Rock and Roll motive. —Augusta Read Thomas
Instrumentation Piccolo 2 Flutes 2 Oboes English Horn 3 Clarinets in B flat (3rd doubling Bass Clarinet) Alto Saxophone in E flat 2 Bassoons (2nd doubling Contrabassoon) 4 Horns in F 3 Trumpets in C (optional Trumpet 1 doubling on Piccolo Trumpet in B flat) Trombone Bass Trombone Tuba Percussion (3 players) (Unless otherwise specified, please use the most common mallet or beater) I. vibraphone (motor on at times, 1 bow needed), very large triangle, medium suspended cymbal, 2 bongos, 2 low conga drums II. crotales (2 octaves, 1 bow needed), tubular chimes (shared with Percussion 3), large triangle, large suspended cymbal, very large bass drum III. glockenspiel, tubular chimes (shared with Percussion 2), small triangle, small suspended cymbal (bow needed), sizzle cymbal, chinese cymbal, 3 low tom-toms (graduated in pitch: very low, low, and moderately low)
Piano Harp Strings (approx. 14,11,9,8,7)
duration ca. 6 minutes
Performance material is available on rental from the publisher. G. Schirmer/AMP Rental and Performance Department P.O. Box 572 Chester, NY 10918 (845) 469-4699 - phone (845) 469-7544 - fax www.schirmer.com
Information on Augusta Read Thomas and her works is available at www.schirmer.com
with admiration and gratitude to the Music Library Association, David Loebel, and The Memphis Symphony Orchestra
SHAKIN’
Homage to Elvis Presley and Igor Stravinsky Resonant and elegant
Augusta Read Thomas (2006)
= 56–60
Piccolo
Flute
1 2
Oboe
1 2
English Horn
1 Clarinet in B 2 3 1 2
Bassoon
Alto Saxophone in E 1 2 Horn in F 3 4
1 Trumpet in C 2 3
Trombone
Bass Trombone
Tuba Vibraphone–motor on, moderate speed bowed 1 Ped. Percussion
2 Tubular Chimes 3 in background; blend into others Ped. pizz., inside piano
Piano
Ped. ord. (on keyboard)
sim.
pizz., inside piano
blend with harp and pizz.
DCB/E F G A
Harp
Resonant and elegant
= 56–60
Solo 1º sempre echo
Violin I
pizz.
standard mute
solo 2º arco
gli altri echo
standard mute Solo 1º Violin II
echo
pizz. gli altri
solo 3
3
to standard mute
Solo 1ª Viola
standard mute
solo 2ª
espr.
le altre echo
3
solo
3
Solo 1º
Violoncello
espr.
solo 2º standard mute
gli altri echo Contrabass
Copyright © 2006 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.
3
2
8 Picc. echo Fl.
1 2
Ob.
1 2
E.H.
Cl. in B
1 2 3
Bn.
1 2
Alto Sax. in E
Hn. in F
1,2 3.4
Tpt.
1 2 3
Tbn.
Bs. Tbn. Tba.
1 Crotales Perc.
bowed
l.v. molto
2 3
3
Pno.
Hp.
Solo 1º
3
espr.
echo
Solo 2º arco (standard mute)
Vn. I Solo 4º
arco (standard mute) Solo 6º 3
gli altri
Solo 1º practice mute Solo 2º sempre, with natural dynamic nuances Vn. II
arco Solo 4º
arco
practice mute solo
Solo 6º tutti, standard mute, arco
to standard mute gli altri standard mute Solo 1ª Va.
echo le altre 5
rubato Solo 1º 5
Vc.
espr.
solo 2º–via sord. gli altri
Cb.
Note: The 8 violin soloists, with practice mutes on, should sound like a distant, floating web of lyric lines. They fade in and out of prominence, depending on the loudness and texture of the orchestra. They should not sound like foreground solos.
sempre, with natural dynamic nuances
3
15 Picc. 1. Fl.
1 2
Ob.
1 2
bell-like
E.H.
Cl. in B
1 2 3
Bn.
1 2
Alto Sax. in E bell-like 1. solo Hn. in F
1,2 3.4
Tpt.
1 2 3
espr.
3
solo Tbn. espr. Bs. Tbn. Tba. (Vib.)
(bowed)
mallet
1 Ped. Perc.
(bowed)
l.v. molto
2 in background (Tubular Chimes) 3 Ped.
ord. (on keyboard)
Pno.
Hp.
A
*to standard mute Solo 1º
to practice mute Solo 2º Vn. I
to practice mute
practice mute
Solo 4º sempre, with natural dynamic nuances practice mute Solo 6º
5
sempre, with natural dynamic nuances tutti (standard mute)
(arco)
3
3
gli altri
practice mute Solo 1º sempre, with natural dynamic nuances
Solo 2º 3 3
Vn. II
to practice mute Solo 4º
Solo 6º 5 3
gli altri
(con sord.) a tutti, divisi (con sord.)
Va. b
3 3
a tutti, divisi (2º senza sord.)
Vc.
sub. pizz.
arco
b sub. Cb.
* From measure 18, only the Violoncelli and Contrabassi are not muted.
4
22 Picc.
solo Fl. 1 3
espr.
3
poss.
poss. solo
Ob. 1 espr. E.H. bell-like 1
Cl. in B
2
3
Alto Sax. in E bell-like
straight mute Tpt. 2 poss.
echo Tbn.
(Vib.) 1 (Ped.) Perc.
(Crotales)
(bowed)
2 (Tubular Chimes) 3
pizz. (inside piano)
Ped.
ord. (on keyboard)
Ped.
Pno.
Hp.
B
standard mute
to practice mute
Solo 1º 3
3
practice mute Solo 2º sempre, with natural dynamic nuances 8va
Vn. I
loco
Solo 4º
3 3
8va
Solo 6º 8va
gli altri 3
3
8va
via sord. Solo 1º 3
Solo 2º 3
3
Vn. II
practice mute Solo 4º 3
sempre, with natural dynamic nuances
Solo 6º 8va
gli altri 3
3
a
Va. b
a Vc.
pizz. b
Cb.
arco
pizz.
5
29 Picc. sim.
solo
Fl. 1 espr. bell-like Ob. 1
E.H. solo
3
1 espr. Cl. in B
2
3
Bn. 1
Alto Sax. in E bell-like Hn. 3 in F espr. (Vib.) 1 Ped. Perc.
2
3 (Ped.)
Ped.
Pno.
pizz. (inside piano)
secco
l.v.
Hp.
secco
practice mute Solo 1º 3
sempre, with natural dynamic nuances
Solo 2º
5 3
Vn. I Solo 4º 3
3
3
(echo of cello solo, measure 1) Solo 6º 3
3
sempre, with natural dynamic nuances gli altri
Solo 1º
via sord. Solo 2º Vn. II Solo 4º via sord. Solo 6º
gli altri
via sord. a Va.
via sord. b sul A a
Vc.
arco, al punta sul A
(pizz.) b
Cb. 3
3
6
36 Picc.
Fl. 1
E.H.
1 Cl. in B
2. 2 3
1 Bn. 2
Alto Sax. in E
1 2 Hn. in F 3 4 solo, open Tpt. 1 espr. Tbn. blend with Basses (Vib.)
l.v. molto
1 (Ped.) Very Large Triangle Perc.
l.v. molto
Ped.
2 Small Sus. Cymbal (please pick a cymbal that when bowed gives off lots of high partials) 3 ord. (on keyboard)
pizz. (inside piano)
Pno.
Hp.
Solo 1º 5
Solo 2º 3
loco
8va
Vn. I Solo 4º
3
3
Solo 6º 3
3
3
8va
via sord. gli altri
Solo 1º
Solo 2º Vn. II Solo 4º 3
3
Solo 6º 8va
via sord. gli altri solo 1ª & solo 3ª, div. senza sord.
sul C, non vib.
solo 2ª & solo 4ª, div. senza sord.
sul C, non vib.
a Va. b
a Vc.
pizz. b
Cb.
arco, ord.
3
3
bowed
l.v. molto
7
42 Picc.
Fl. 1
E.H.
1 Cl. in B
(2.) 2 3
1 2 Hn. in F
espr. 3 4 espr. 1
Tpt. 2 3
Tbn.
Bs. Tbn.
Tuba Place brick on Vibraphone pedal for the rest of the composition (so Vib. is l.v. until it naturally fades). Turn motor off. 1 (Ped.) Perc.
Place brick on Tubular Chime pedal for the rest of the composition (so Tub. Ch. is l.v. until it naturally fades).
2
3
Pno.
Hp.
D B G A
via sord. Solo 1º 8va
via sord.
senza sord.
Solo 2º Vn. I
via sord. Solo 4º 5 8va
via sord. Solo 6º 3
gli altri
Solo 1º
Solo 2º Vn. II
via sord. Solo 4º 3
Solo 6º
gli altri
a Va. b sul tasto a Vc. b
Cb.
8 Perpetual (with repetition and variations) motion = 96 accel.*
48 Picc.
1 Fl. 2
1 blend with pizz.
Ob. 2
E.H. blend with pizz. 1
Cl. in B
2
3
1 Bn. 2
Alto Sax. in E 2. 1 2 Hn. in F
4. 3 4
1 Tpt. 2 3 solo Tbn. espr. echo bass Bs. Tbn. echo bass Tba.
2 Bongos 1 3
Very Large Bass Dr. Perc.
Large Sus. Cym.
(choke)
2 3 low Tom-toms solo 5
Glock.
3
ord. (on keyboard)
secco
Pno.
blend with Contrabasses, pizz.-like
Hp.
A
(D CB/E F GA )
Perpetual (with repetition and variations) motion = 96 accel.*
tutti, unis. (senza sord.)
pizz.
tutti, unis. (senza sord.)
pizz.
0
Vn. I
0
Vn. II tutti, div. (senza sord.) pizz. 3
3
3
3
3
3
3
unis.
3
div. 3
Va.
unis., pizz. (ord.)
0
0
Vc. pizz.
0
0
0
0
Cb. quiet, but in the foreground
* From here to the end, there is a very gradual accellerando from In addition, from here to the end is one long crescendo.
3
= 96 to
= 144.
sim.
9
52
solo
Picc. 5
1 3
blend with pizz. Fl. 2
1 3
Ob.
sub. 2
E.H. 3
1
Cl. in B
2
3
1 3
Bn. 2
3
Alto Sax. in E
1 2 Hn. in F 3 4 st. mute 1 Tpt.
st. mute 2 3
Tbn.
Bs. Tbn.
3
Tba. blend with basses 1 3
3
Tubular Chimes Perc.
2
Sizzle Cymbal
Ped. (with brick on it) l.v. molto
3 low Tom-toms
from here to end, never dampen cymbals or triangle
5
3
l.v. molto
3
Pno.
3
s.
glis
blend with strings
Hp.
C A
unis.
3
(D C B/E F GA )
E A
3
Vn. I
3
Vn. II
div.
unis.
3
3
unis., arco
3
Va. arco (ord.)
sul D & A
div., pizz.
0
Vc. 3
3
espr.
(sim.)
Cb. 3
10
(accel.) (ca.
56
= 108)
fltg.
Picc.
3
1 blend with string harmonics
Fl.
3
2 3
1 Ob. 2
E.H. 3
3
3
3
3
3
1
Cl. in B
2
3
1 Bn. 2
Alto Sax. in E 1. 1 2 Hn. in F
3. 3 4 solo 1 cantabile
3
Tpt.
2. 2 3
Tbn.
Bs. Tbn.
Tba.
(2 Bongos)
from here to end, never dampen cymbal
1 3
Very Large Bass Drum Perc.
Large Sus. Cym.
(choke)
Tubular Chimes
3 low Tom-toms Glock.
l.v. molto
3
l.v. molto
Ped. (with brick on it)
5
3
Pno.
l.v. molto
secco
secco
gli
ss.
Hp.
l.v.
D
G
(DC B/EF GA)
(accel.) (ca.
arco 3
pizz.
= 108) (pizz.)
3
Vn. I 3
arco 3
pizz.
3
pizz.
3
3
3
3
3
3
3
(pizz.)
3
Vn. II
Va. unis. Vc.
Cb.
3
2
div., arco
non div.
11
60 Picc. sub.
3
3
3
3
1 sub.
sub.
sub.
Fl. 2 sub.
1 sub.
Ob.
3
3
sub.
sub.
2 sub. E.H. sub. 1 3
3
Cl. in B
2
3
1 Bn.
optional tacet
to Contrabassoon
2
Alto Sax. in E 1. 1 2 Hn. in F
3. 3 4 via sord.
senza sord.
solo
solo
3
1 3
Tpt. 2 3 solo Tbn. solo Bs. Tbn.
Tba.
Med. Sus. Cym.
2 Bongos 2 Congas
l.v.molto
1 3
Bass Dr. Perc.
Sus. Cym.
2
Small Triangle
3 low Tom-toms
5
3
secco
secco
Pno.
gli
ss.
secco
l.v.
Hp.
3
3
3
3
sub.
3
3
sub.
3
3
F G
arco a
3
3
div.
Vn. I
arco b arco
Vn. II
unis.
pizz.
div.
sub. unis., arco 3
Va. 3
div.
sub. unis., arco
Vc. div. Cb.
3
12 (accel.) (ca. 65
= 120)
fltg.
Picc.
3 3
fltg. 3
1
3 3
3
poss. fltg.
Fl. 2
3 3
1 3
3
3
3
3
Ob. 2 3
3
E.H. 3
3
3
3
1 3
Cl. in B
3
2 3
3
3
sub.
3
Bn.
1 Contrabassoon
Cbn. blend with Contrabass pizz. Alto Sax. in E 1. fltg.
ord.
(1.)
3
3.
3
1 2 3
Hn. in F 3 4
3
fltg.
ord.
fltg.
ord.
1 Tpt.
via sord.
2 3
Tbn. Bs. Tbn.
Tba. 2 Bongos & 2 Congas
2 Bongos 1 3
Crotales Perc.
Bass Drum
l.v. molto
Sus. Cym.
2 3 low Tom-toms Small Triangle
5
l.v. molto
3
Pno.
3
3
secco 8va
loco 3
Hp.
D B
unis.
(accel.) (ca.
= 120)
unis.
div. Vn. I 3
sub.
div.
unis.
div.
Vn. II 3
div., pizz.
0
arco
Va. 3
pizz. Vc. unis. Cb.
0
arco
slow tremolo
fast tremolo
13
fltg.
70
3
Picc. 3
fltg.
fltg.
1 3
fltg.
fltg. Fl. 2
1 Ob. 2
3
E.H. 3
1
3
3 3
Cl. in B
2
3
3 3
Bn.
3
1 3
3
Cbn. fltg. Alto Sax. in E 5
(1.) 1 2 Hn. in F
(3.)
(3.)
3 4 solo
(non fltg.)
solo
1 Tpt.
2. senza sord.
(senza sord.)
fltg.
2 3 fltg.
solo Tbn. solo Bs. Tbn.
Tba. Vibraphone (with brick on pedal)
2 Bongos 2 Congas
l.v.
1 3
(Ped.) Perc.
Bass Dr.
Sus. Cym.
Bass Dr.
Sus. Cym.
2 3
5
Chin. Cym.
5
3 low Tom-toms
l.v. molto
3 8va
3
3
blend with pizz. secco
Pno.
3
3
3 3
ss.
ss.
gli
gli
Hp.
(D C B /EFGA)
G A
(D C B /EFG A )
unis.
div. Vn. I
3
3 3
unis. Vn. II 3
3
3
sub.
3
div.
unis.
unis.
pizz.
Va. 3
super fast tremolo
0
pizz.
arco
Vc.
arco Cb.
3
3
div.
14 (accel.) (ca.
= 132)
75 Picc.
1 3
3
Fl.
5
2 3
3
1 3
Ob. 2 3
E.H. 3
1
Cl. in B
2
3
Bn.
1
Cbn.
Alto Sax. in E
1 2 Hn. in F
3.
4.
3 4
1 Tpt.
(3.) 2 3
Tbn.
Bs. Tbn.
Tba.
Vibraphone
2 Bongos 2 Congas
l.v.
1 3
(Sus. Cym.) Perc.
(Ped.) Sus. Cym.
Bass Dr.
Bass Dr.
Sus. Cym.
2 3 low Tom-toms Sizzle Cym.
5
l.v. molto
5
Sizzle Cym.
3
3 3
3
Pno.
8va
glis
s.
Hp.
D
G A
(DC B /EFGA)
(accel.) (ca. sul D
= 132) 3
Vn. I 3
3
sul D Vn. II 3
3
div.
unis., arco
3
Va. pizz. Vc.
Cb.
unis., arco
0
15
80 Picc.
1 Fl. 2
1 Ob. 2
E.H.
1
Cl. in B
2
3
Bn.
1 3
Cbn.
Alto Sax. in E 1. 1 2 Hn. in F
3. 3 4
solo 1 3
espr. Tpt.
sub.
sub.
2 sub.
sub.
sub.
sub.
3
Tbn. 1 Tbn. Bs. Tbn. (sub.) 3
Tba.
Med. Sus. Cym.
2 Bongos, 2 Congas
l.v. molto
1 3
Bass Dr. Perc.
Sus. Cym.
Bass Dr.
Sus. Cym.
l.v. molto (do not dampen)
2 sub. Chinese Cym.
3 low Tom-toms
3
5
5
5
5
5
3
intense
Pno.
Hp.
G
B
3 0
Vn. I sub., cantabile
3
sub.
ord.
pont.
0
Vn. II sub., cantabile
Va.
3
Vc. div. Cb. 3
16 (accel.) (ca.
= 144)
85 Picc. 3
3
1 3
3
3
Fl. 2 3
1. Ob.
1 2
E.H.
1 Cl. in B 2 3
Bn.
1
Cbn.
Alto Sax. in E solo 1 solo 2 sempre
Hn. in F
3.
solo
3 4 solo 1 3
3
Tpt.
2.
3
3
3
3
solo
2 3 3
3
3
3
3
3
Tbn.
Bs. Tbn.
3
Tba. (2 Bongos) (2 Congas)
3
1 3
Bass Dr. Perc.
Sus. Cym. l.v. molto sim.
Bass Dr.
(Bass Dr.)
Chin. Cym.
3 low Tom-toms
Small Sus. Cym.
5
5
3
3
Pno.
Hp.
secco
(secco)
secco
secco
E A
Sus. Cym. 3
2
3
E
G
(accel.) (ca.
= 144)
0
Vn. I 3
0
Vn. II
Va.
3
Vc.
unis. Cb. 3
17
91
fltg.
Picc. 3
3
fltg. 1 3 3
fltg.
Fl. 2
3 3
1 3
3
Ob. 2 3
3
E.H. 3
3 3
1
Cl. in B
2 3
3
Bn.
1 3
Cbn.
Alto Sax. in E
1 2 Hn. in F 3 4 (Tpt. 1 optional: from here to end can be played on Piccolo Trumpet)
solo
3
solo
1 sempre Tpt.
2. 2 3 Tbn. 1
Tbn. Bs. Tbn. 3
Tba.
Med. Sus. Cym.
l.v.
2 Bongos 2 Congas
3
Med. Sus. Cym.
l.v.
1 5
sub. Triangle
Perc.
l.v.
2 Small Triangle
5
3 low Tom-toms
5
3
3
3 sub. l.v. molto
Pno.
gliss
.
Hp.
B F
(DC B /EF G A )
Vn. I sempre
3
intense
Vn. II
3
intense
3
div.
unis.
div.
unis.
Va. intense div.
unis.
div.
0
Vc. 3
Cb.
18
96
fltg.
3
Picc. non dim. fltg. 1 non dim.
fltg.
3
fltg.
Fl.
fltg. 2 non dim.
1 non dim. Ob. 2 non dim.
3
E.H.
1 non dim. Cl. in B
2 3
3
Bn.
1
Cbn.
Alto Sax. in E 2., 4. Hn. in F
1., 3.
2., 4.
1, 2 3, 4 fltg.
fltg.
fltg.
fltg.
sub. fltg.
fltg.
1 non dim. Tpt.
2
3 sub. fltg. Tbn. Bs. Tbn.
Tba.
2 Bongos, 2 Congas
Very Large Triangle
l.v.
1 3
Bass Dr. Perc.
3
3
Sus. Cym.
Bass Dr.
Sus. Cym. Bass Dr.
Crotale
3
Glock.
l.v.
2 5
(Tom-toms)
5
l.v.
3 sempre
5
intense
Pno.
non dim.
l.v.
B E F G A
Hp.
secco
poss.
div.
poss.
unis. sul G & A
Vn. I
div., sul G & A
3
non dim.
3
non dim.
unis.
Vn. II
div.
unis.
Va. 3
(div.)
unis.
non dim.
0
Vc. intense
non dim. div.
Cb.