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A recital of compositions Crutchley, Ian Joseph 1993

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A RECITAL OF COMPOSITIONSbyIAN JOSEPH CRUTCHLEYB.Mus., The University of British Columbia, 1988A THESIS SUBMITTED IN PARTIAL FULFILLMENT OFTHE REQUIREMENTS FOR THE DEGREE OFMASTER OF MUSICinTHE FACULTY OF GRADUATE STUDIESSchool of MusicWe accept this thesis as conformingto the required standardTHE UNIVERSITY OF BRITISH COLUMBIAApril 1993© Ian Joseph Crutchley, 1993In presenting this thesis in partial fulfilment of the requirements for an advanceddegree at the University of British Columbia, I agree that the Library shall make itfreely available for reference and study. I further agree that permission for extensivecopying of this thesis for scholarly purposes may be granted by the head of mydepartment or by his or her representatives. It is understood that copying orpublication of this thesis for financial gain shall not be allowed without my writtenpermission.Department of^MusicThe University of British ColumbiaVancouver, CanadaDate  April 28, 1993DE-6 (2/88)ABSTRACTEach composition in the following document has resulted from my desire toexplore problems and possibilities that are to be found in the various ensemblesand/or techniques chosen. For each new composition a particular issue or set ofissues was established at the outset and dealt with from different angles at allstages of the works' creation.Chansons PrecieuxIn these three songs I was interested in reducing my material choices to aminimum and also in creating a small fragment for the text which could beexploded into syllabic utterances. These were, over the course of the threesongs, utilized in small groups. Only in the final song is the entire text revealed.Across The Gorge Is The BridgeSynthesized and concrete sounds constitute the palette of this tape piece. Inprocessing the sounds I selected evolutionary characteristics with the intention ofexploiting these characteristics in a particular manner - the notes in the piece areof extremely long duration (c. 12') and so the evolution takes place at a very slowpace. In a sense time is slowed down in the work, almost to the point of absolutestasis.TriangleHere I examined the concept of an imagined triangular pathway in which eachintersection of two lines consisted of the same object viewed in a different way.The lines themselves are manipulations of the object. The original inspiration forthis piece came from reading about Stonehenge and other such prehistoriclaboratories designed as viewing points for the sun and moon and their risingsand settings at key times of the year.Anya ManasA small item, in this case a chord, is never presented literally, but begins its life inthis piece by already having been bent, altered, linearized and otherwisemutilated. Eventually the chord has completely lost its own sense of its ownreality. "Anya Manas" is a Sanskrit saying that refers to a state of mind in whichconfusion of identity prevails.Wo Weilest Du?This work involved the desire to eliminate such traditional concepts as motivicdevelopment, regular phrasing and clear form. Sound objects appear, vanish andmay or may not return later. There is no formal goal or climax. The piece simplybegins and ends where it does. The title is German and means where are youwaiting? It comes from Wagner's Tristan und lsolde.TABLE OF CONTENTSAbstractTable of Contents^ iiiThe Recital Program^ ivChansons Precieux^ 1Triangle^ 6Anya Manas^ 31Wo Weilest Du?^ 44Graduation Recital*Compositions By Ian Crutch leyChansons Precieux (1992)I. Freesia Scent2. The Buried Flowers3. SpringRoslyn Osborne, sopranoMelanie Sereda, celloAcross The Gorge Is The Bridge (1992)Ian Crutchley, diffusionTriangle (1991, revised 1993)David Branter, soprano saxophoneJulia Nolan, soprano saxophoneLauri Lyster, percussionJon Richmond, percussionINTERMISSIONAnya Manas (1992)Chenoa Anderson, fluteRoger Man gas, violaEllen Heinicke, harpWo Weilest Du? (1992/93)Chenoa Anderson, fluteKaren Noel-Bentley, clarinetStephanie Mason, bassoonJim Ross, trumpetStefan Femetich, hornNathan Wilkes, bass tromboneSarah Westwick, violinTina Day, violaMelanie Sereda, celloLeslie Wyber, pianoAllan Dionne, percussionWallace Leung, conductorI would like to thank the following people:Keith Hamel, Eugene Wilson, Stephen Chatman, Paul Steenhuisen,Cam McKittrick, Warren Copeland, Dieter Piltz, my mother and father,Amanda Suchocki, Richard Crutchley,and Mary Harris.Be not afeard; the isle is full of noises, sounds andsweet airs that give delight, and hurt not.Sometimes a thousand twangling instrumentsWill hum about mine ears; and sometimes voices,That if! then had waked after long sleep,Will make me sleep again; and then, in dreaming,The clouds, methought, would open, and show richesReady to drop upon me, that when I wakedI cry'd to dream again.Shakespeare, The Tempest*In partial fulfillment of the requirements for the Master of Music degreewith a major in composition.Reception to follow in the faculty lounge.V.Chansons PrecieuxThree Songs for Soprano and VioloncellorircreCa)pre!,^120 ^■.".1tteCICcs r^"',49(,nq)--1.(a 1 ) (61)^(r")^(i)^(al)(1)r.,4^all=11■•■••••■■■r r * (.-)^ (1 )(m)--fr (0,)-10'0'1)^-0-20# 7-4 qr---(4)--4Cr" )-+C^(r)(Area f1P Elep7i1. Freesia Scent^S.• rel.e.41 ^110 (ax^(^'`) ^10.(c6)---"I . +1■1■1•C___..1■•■900 mot9vc-S.,.VC.5, 7 .51, .Ye.So p .ve.Sop.(1)(13i f^ftp 530—ilgamsm(0 )^( 9)-4rE-=e rrawi-C^9.77,4g-iv -19Sep.Sop.VcI.v (r )•Lcceo2. Buried Flowers•,32)Se p.5 ep .Vc ....01112■1.■(In )0.06,GO/900,s p (' •"^! 0)0) (.9) ()4—3:r4. 4,1^s sga,41 ek.vo. a alma r(0) (0)aa.P.,^• (g)anc0.^• 0 7.1111 .■ ..71=111.:az^X z7'/"/22/19 cfC –Ye.t2t. ••■■■.11.tr) OIA CO••••••71.•(lt )^ Kck )Cr9^far,1,;t^7 7AT' - •^C., OCAS *I° ,AJ -^er- ^)11Co^,Z7(s)cious73-e3. SpringS•12/22,17F— ^P,7ez'Sop.P-rs—SIA^ireSer.Ve./10,0•MI=P^^...1.0111M10/0,^tAX^y0 IA^y e-t^ cr^-^CIen^ 0.0 f•1 tn., 4_SepVc.1".111,4.Cca i )I4-• •^•PL.t.4 /99120mez*(.3.,forfr.1F-to •^•/yr zr pr.X7)^e -14-412 .--•""Th ITS 79—^Cr*. Co-')Crn)C;0(.45p rearm pp'yip,oir-4.1r- fD ft_ cIrec,,,,^Cm-)^tl-;)^-^A—,^Ott'(D)rn^ 44r-pa^Of9,2z ----A. 19 4.^I^ .77etp.e7r.2_Cr--^ I -•▪ ry6.TriangleMusic for Two Soprano Saxophones and PercussionPerformance NotesAll Players: 1. Material that is contained within a box0 should be repeated continuously for approximatelythe duration indicated by the line attached to the box.2. In sections that are not metered, the given duration in seconds should be used to approximatelyexecute the material in proportional rhythm.^ 51,• 0..■...,dP •■•■d0In this case, for example, there should be a pause of roughly two seconds before the entry of thefour notes. The line attached to some of the notes means to hold that note until the line ends oranother event appears.Saxophones: 1. All notes should receive their full notated duration unless modified by a staccato mark, in which casethe note must be as short as possible while retaining clarity of pitch and articulation.2.A diagonal line connecting two notes calls for a glissando between those two notes. By a combination of lipbending and extremely slow key action the glissandi should be executed as smoothly and evenly aspossible.3. The final section of Triangle makes extensive use of multiphonics. Below are suggestions forfingerings. Substitutions for fingerings and for the pitches themselves are acceptable providedthe relative registral value of the pitches is retained.1^ 2^ 3^4Percussion: The following instruments are required:Player One: glockenspielsupended cymballarge tam - tamxylophonelarge woodblock2 different tom - toms2 different conga drumsPlayer Two: suspended cowbellvibraphone5 temple blockssmall woodblocksnare drumbass drummallets: 2 brass, 2 heavy cloth, 2 hard plastic mallets 2 drumsticks, 2 rubber, 2 hard plasticTriangle3r— 3• —^ norm===-_-_   —^--wm, mu^—■___11.^■11rr.-..--sm Nomernor.. mg^IiiMil illiMinnall.,MINNEMMINNWFM.7111•11111111EdiMMIIVIAMMENI /...MPI MINIM JIIIIIIIIIIMIBMI^NM NM^■11,71•1111Mr .MNIMINIIMINIIMIN^WM JIMs10.111IIIMPUIMPIP•111111111111111•••• J.111111141111:771/.■111=1•1111-11MWo.mi: m .1::!..• AK JEW A .111=0.f •Mer M111■11 AIM•11■I .MIIIILAMIIM .IIIM A.t Aft AIIK .■17..iiI MIIII■AM,C .AI JI•1 AKIO( Ac. 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Y •noIfIivBass and snare drums should bepnotteed. RwIthnshavanedsto ubentile.fecuruttedr withpp-...--sempre iv1- — pp15i ,. the lingers.^i • P..if ^fPercussion 12 Tom-Tome2 Conga DrumsPercussion 2Snare Drum (on)Bess Drum^Ls^ PPP▪ V.Vifonl,hand 4. • • 0.44ifPP ^ PP'P^pp —^^• -^ ifSopranoSaxophone 2••5 secs. ^SopranoSaxophone 1PPsii^— PPPif ^^- Pp .pp  ^PpP5 secs. ^PPP—165ifPercussion 12 Tam-Toms2 Conga DrumsPercussion 2Snore Drum (on)Bag DrumSopranoSaxophone 1SopranoSaxophone 2Percussion 12 Tom-Toms2 Conga DrumsPercussion 2Snure Drum (on)Dats Drum-p2 seconds—PP's..... — — —•7.'?SopranoSaxophone 2 i ^if^-pp- PP^- PP170SopranoSaxophone 1 -Percussion 12 Tom-Toms2 Conga DrumsPercussion 2Sm. DISIM (C.)Baas DrumPP.0. ^ to .^. ..ff _ ^-^. PP• MP*-i- PP1VP if5 secs. ^ ISopranoSaxophone 1SopranoSaxophone 2... .il,L.,,^id .___.^._.V  P -.fPC fp. ., .--pZ:,w ,ff >- PP_ if _ -pp ^iA^PPP• . .t: PP<i>PP if J7---. 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Es.it,M; , .__^_..•Al• i I: in1•AN>- PP PP12111II AM - iii; a • la^ rrilOMCIO= ^ r •play as quickly as possibleif PP <if PP< if -.P22.<.&asPP < if>— PP < ff-PP< he-PP PP < if PP <^-^SopranoSaxophone 1SopranoSaxophone 2Percussion 12 Tom-Toms  2 Conga Drums ^pp< if --.Pp< if -pp<ff^I. 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