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UBC Theses and Dissertations

A recital of compositions Crutchley, Ian Joseph 1993

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A RECITAL OF COMPOSITIONS by IAN JOSEPH CRUTCHLEY B.Mus., The University of British Columbia, 1988 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC in THE FACULTY OF GRADUATE STUDIES School of Music We accept this thesis as conforming to the required standard  THE UNIVERSITY OF BRITISH COLUMBIA April 1993 ©IanJosephCrutchley,193  In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission.  Department of^Music The University of British Columbia Vancouver, Canada  Date April 28, 1993  DE-6 (2/88)  ABSTRACT Each composition in the following document has resulted from my desire to explore problems and possibilities that are to be found in the various ensembles and/or techniques chosen. For each new composition a particular issue or set of issues was established at the outset and dealt with from different angles at all stages of the works' creation. Chansons Precieux In these three songs I was interested in reducing my material choices to a minimum and also in creating a small fragment for the text which could be exploded into syllabic utterances. These were, over the course of the three songs, utilized in small groups. Only in the final song is the entire text revealed. Across The Gorge Is The Bridge Synthesized and concrete sounds constitute the palette of this tape piece. In processing the sounds I selected evolutionary characteristics with the intention of exploiting these characteristics in a particular manner - the notes in the piece are of extremely long duration (c. 12') and so the evolution takes place at a very slow pace. In a sense time is slowed down in the work, almost to the point of absolute stasis. Triangle Here I examined the concept of an imagined triangular pathway in which each intersection of two lines consisted of the same object viewed in a different way. The lines themselves are manipulations of the object. The original inspiration for this piece came from reading about Stonehenge and other such prehistoric laboratories designed as viewing points for the sun and moon and their risings and settings at key times of the year. Anya Manas A small item, in this case a chord, is never presented literally, but begins its life in this piece by already having been bent, altered, linearized and otherwise mutilated. Eventually the chord has completely lost its own sense of its own reality. "Anya Manas" is a Sanskrit saying that refers to a state of mind in which confusion of identity prevails. Wo Weilest Du? This work involved the desire to eliminate such traditional concepts as motivic development, regular phrasing and clear form. Sound objects appear, vanish and may or may not return later. There is no formal goal or climax. The piece simply begins and ends where it does. The title is German and means where are you waiting? It comes from Wagner's Tristan und lsolde.  TABLE OF CONTENTS  Abstract Table of Contents^  iii  The Recital Program^  iv  Chansons Precieux^  1  Triangle^  6  Anya Manas^  31  Wo Weilest Du?^  44  Graduation Recital* Compositions By Ian Crutch ley Chansons Precieux (1992) I. Freesia Scent 2. The Buried Flowers 3. Spring Roslyn Osborne, soprano Melanie Sereda, cello  Across The Gorge Is The Bridge (1992) Ian Crutchley, diffusion  Triangle (1991, revised 1993) David Branter, soprano saxophone Julia Nolan, soprano saxophone Lauri Lyster, percussion Jon Richmond, percussion  INTERMISSION  V.  Anya Manas (1992) Chenoa Anderson, flute Roger Man gas, viola Ellen Heinicke, harp  Wo Weilest Du? (1992/93) Chenoa Anderson, flute Karen Noel-Bentley, clarinet Stephanie Mason, bassoon Jim Ross, trumpet Stefan Femetich, horn Nathan Wilkes, bass trombone Sarah Westwick, violin Tina Day, viola Melanie Sereda, cello Leslie Wyber, piano Allan Dionne, percussion Wallace Leung, conductor I 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 and sweet airs that give delight, and hurt not. Sometimes a thousand twangling instruments Will 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 riches Ready to drop upon me, that when I waked I cry'd to dream again. Shakespeare, The Tempest  *In partial fulfillment of the requirements for the Master of Music degree with a major in composition. Reception to follow in the faculty lounge.  Chansons Precieux Three Songs for Soprano and Violoncello  1. Freesia Scent ^S. • rel.e.41  ^110 (ax^(^'`)  ^10.(c6)--"I  1■1■1•C___..1 900  .+  m ot9  ■•■  Ca) p re!, ^  rircre  vc-  ^all=11■•■  S.,.  r  r  *  (m)--fr (0,)-10' 0'1)^  VC.  (1  (.-)^  )  120  5, 7 .  cs  ^■.".1tteCIC  r^"',49 ••••■■■  (61)^(r")^(i)^(al)  (1)  (,nq)--1.(a 1 )  r.,4  51, . Ye. e p7i  So p .  # 7-4  (Area f1  ve.  P  El  qr---  (4)--4Cr" )-+C^(r)  -0-  20  2. Buried Flowers •,32)  -=e rra wi- C  ftp  Sop.  (1)  530— ilgamsm  (0 )^ 9)  (13  (  i f^  -4rE  Sep.  ^9.77,  Sop.  •  Lcceo  (r )  I.v  Vc  4g-  iv -19  ...01112■1.■  Se p.  In  (  )  06,GO  0.  /9 00  5 ep . ,s p (' •"^!  0)  ,  sga,41  . (0)  Vc  1^s  3:r  ek. a  (0)  alma P.,^•  r (g)  aa.  .  ()  4—  vo 4. 4  (.9)  0)  1111 .■  :az^X  anc0  .^•  ..71=111.  0  z  7'/"/22  7.  3. Spring S•1  2/22,17  ^P,7ez'  F—  Sop. 73-e  cious  (s) P-rs  —  Ser.  Ve.  SIA^ire AT' - •^C., OCAS  *I° ,AJ -^er-  ^ )  ,Z7 11 Co^  tr)  OIA CO••••••  Cr9^  far,1,;t^  7  (lt )^  Kck  )  7  71.•  /19 C  Ye.  –  t2t.  ••■■■.11.  ^...1.0111M10  _Sep /0,^tAX^y0  Vc.  c  f  IA^  y e-t^  cr^-^CI  en^ /10,0•MI=P^  0.0 f•1 tn., 4  ▪  ITS 79—^  412 .--•""Th  p re  C;0(.45  C r*.  Co-  Crn)  ')  arm  ,oir-4.1r-  pp  'yip  fD  ^A—,^  ft_ cIrec,,,,^Cm-)^tl-;)^-  Ott'  (D)  r  z  /y  7)^  X  r pr.  e-  14-  et  44r- pa^Of  rn^  9,2z^ ----A. 19 4. ^  ^  p.e7  I  .77  r.2_C  I  r--^  •  -  ry  mez*  1".  .1F-to •^•  (.3.,forfr  Cca  i)  111,4.  I  4-  •  •^•  PL.t.4 /991 20  6.  Triangle Music for Two Soprano Saxophones and Percussion  Performance Notes All Players: 1. Material that is contained within a box0 should be repeated continuously for approximately the 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 approximately execute the material in proportional rhythm. ^ 51, • 0..■...,dP •■•■d0  In this case, for example, there should be a pause of roughly two seconds before the entry of the four notes. The line attached to some of the notes means to hold that note until the line ends or another event appears.  Saxophones: 1. All notes should receive their full notated duration unless modified by a staccato mark, in which case the 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 lip bending and extremely slow key action the glissandi should be executed as smoothly and evenly as possible. 3. The final section of Triangle makes extensive use of multiphonics. Below are suggestions for fingerings. Substitutions for fingerings and for the pitches themselves are acceptable provided the relative registral value of the pitches is retained. 1^  2^  3  ^  4  Percussion: The following instruments are required: Player One: glockenspiel supended cymbal large tam - tam xylophone large woodblock 2 different tom - toms 2 different conga drums mallets: 2 brass, 2 heavy cloth, 2 hard plastic  Player Two: suspended cowbell vibraphone 5 temple blocks small woodblock snare drum bass drum mallets 2 drumsticks, 2 rubber, 2 hard plastic  ^ ^  Triangle 3  Soprano Saxophone 1  Soprano Saxophone 2  r— 3 3 —I I— 3 —1 • mu^—■___11.^■11 —^ norm===-_-_ —^-wm, rr.-..--sm^Nomernor..^mg^IiiMil illiMinnall.,MINNEMMINNWFM.7111•11111111EdiMMIIVIAMMEN I /...MPI^MINIM JIIIIIIIIIIMIBMI^NM^NM^■11,71•1111Mr .MNIMINIIMINIIMIN^WM JIMs10.111IIIMPUIMPIP•111111111111111•••• J.111111141111:771/.■111=1•1111-11M  Wo.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( ,NW^  "MI^  _._  •  MINIM11•1^ ■IIIMMIIIM 'MI^ W A W-'7/1/1^ ■IIIMIIMMIMINMII^ a fl.W.-4/M^•111^IMIIMEMIN.MPIINIM,MM A^ 1104,i; 17.•^79,"^Amwr......m..74. - ri...- .7.4111M.^ AIIMP".^'  .41114.11111b;'^'^  Ac.  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LK... ,^  Soprano Saxophone 1  Soprano Saxophone 2  •  .  ..............-„,t,....^. .......2.-.  =^=5  •  MIEM.4••■•■•■  .  5  1—  a_ PP  Bang Drum  ^MEE^ PP  PP  3 -J -  PP  MOOR^ 111111•111111M11 """111111-1-1-!!!!=  V<ff  411^100  135 Soprano Saxophone 1  =NOM  weimmmt^  MEN= >  •1 =.113 .7.71= 11=IN IMAI .•••11  PP ^  Percussion 2 Snare Drum (an)  .1111■1•1  5  Percussion 1 2 Tom-Toms  rirr,a nit:r.e.s-crewr 7rumin ■1 11W,M1111111 1M:1 •■ ••=111■11 1MI.MII  _am  AWN,^sl 11 msf M••11••si .11.1=IMEC...M.IMIN^ ,W,/r-.711WV11■11MMIMIIMIIIMINIIMMIIIMIMINIIMMIM ^CIMOMIl ^ Miiiallt="1=r•IIIII!,1= ll^ M^ NI..TANW,^NIMINIIIIIIMIIMINIMIIMIIIMI^111^ 111=■141!!..11•IMONIMIUNIMIIIIIIM M.M•■: 1■ _1===•—.1=----■---ImIlE ^ir111■11SIMINNIM^Ma  if  2 Conga Drums  M-9■111=1  MIN  MEM lEINAMMINIET■ INN ^  Mor 1!:=1■111= MIM.IMMIIMWMMIW 1,10■4 111M•IMINIMIOW,■11=W■11P71•1■1 4.1 a=ar I lAJIMT1111  Soprano Saxophone 2  Percussion 1  d1111411111Milliill Percussion 2  IESIMINIMMIAITIMISININIESIIIMIRSIIM1111111■11111MINI  Li  140  .  ei■••17■10:1■11■MOIINIIIIIII7JC:••■■111C.09111■INEMMIMMINCJIIIIMIM 010/ .aegor Ammaii  111111111•111M1111  1111■••••  ■11■1••=1.1 ANIM.orwi.^ MUM^Ws..^ .■ impr JIMMI711111.MY^ MIL .IBITINIMMEN111■111^ ••■IIII=OMIL&IM,U11•IIMIMMIII^ZNII■LIIIIIIIIMMIKA.IMM=^ 1■■•1,( JIM•r .MI^  111111111111.r  ."-----...-11111111111-111111:-  1■11•1111—_-_—•••1 _^  im^ EK:PLTIIINhi^114.11ffil^=ow M^ EMIIIM:1.= M^M=IMIMIIIMIA111=1•1=^MINN---IIIME NEON■1  If  MINIM^AIN Am=  pp pp^I  if Pp ffiv  145  .3+^ )71= PP  -01  -27 PP  F-7." 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RwIth ntil pnotte nshav aneds to ube e.fec uruttedr with the lingers.^  sempre i •  Y• — pp  1iv  P ..  15  •  5 secs. ^ Soprano Saxophone 1  if ^ Soprano Saxophone 2  PPsii ^— PPP  if  PPP—  Percussion 1  •  2 Tam-Toms 2 Conga Drums  ••  ^- Pp .pp  ▪  ^PpP  Percussion 2  onl,hand  Snore Drum (on) Bag Drum  PP ^  ^  -^ if  V.V  if  PP'P^pp —^  4.  • • 0.44  if  5 secs. ^ 165 Soprano Saxophone 1  Soprano Saxophone 2  Percussion 1 2 Tom-Toms 2 Conga Drums  Percussion 2 Snure Drum (on) Dats Drum  -p  —PP's 2 seconds ..... — — —  ^  PPP  170 Soprano Saxophone 1  -  i  Soprano Saxophone 2  if^-pp - PP^- PP  7.'  ?  ^  Percussion 1 2 Tom-Toms  to  .0.^  2 Conga Drums  .^. .. . PP ff _ ^-^  PP  Percussion 2 Sm.  •  i  DISIM (C.)  Baas Drum  if  1VP  5 secs. ^  Soprano Saxophone 1  Soprano Saxophone 2  A^ V  MP* -  PP  I  ... PPP  P -.fPC fp ^  i  . il,  . , .  L.,,^id .___.^._. --p Z:  .  PP<i>PP if J7---. PP  •  ,w ,ff >- PP_ .  if _  - pp .t:  if PP --C if > PP-C if >- P13 < if  Percussion 1 2 Tom-Toma 2 Conga Drums  Percussion 2 Snare Dnun (on)  Dna Drum  ff p ff>P  ffp- ff  ppz ff >- pp  5 secs ^  i  II175  2  is _  Soprano Saxophone 1  pp ^  0  if _^  ___  ^1  V PP --C  pp  a ^  La  Soprano Saxophone 2  _  ri  _ VPP C  ^  •J.. I  __if  if —pp ^C -  Percussion 1 2 Tom-Tams 2 Comm Daum  "1 1ol:C:et 5 pp  Percussion 2 Snare Drum OM Baas Drum  4 A )9.91 A  I II;^iS ex; e ^ .— pp  ^ "--- PP  )1  ...... if-  Anr,r  PP  5 secs.  Soprano Saxophone 1  Soprano Saxophone 2  4^-2,^.-.  ■, -a, _.. _ .  PP <^  <  _  -1.— -4.— • ...■  Percussion 1 2 Tom-Toros 2 Conga DILLIN  Percussion 2 Snare Drum (oa) Bass Drum  pp <  El :  if  ■  ll'' ..  a  PP <^PP < .ff.-1211.<^PP  N.  180^  Soprano Saxophone 1  Soprano Saxophone 2  Percussion 1 2 Tom-Toms 2 Conga Drums  5 secs. ^  ri IM Lail^/1./11•11.11 E. PP >- PP 12111 •AN II AM -  1 ;  19'  El  I^;1•• PIN  cz^1.1•1^  •Al• i  -  ii  I:  la^rril  ^—PP —^  fr  •  Es. 1  it,M; ,  i  • ^r CIO=OM  a  • .  .__^_..  in  •  pp < -PP<  ppff-  PPif  fif  play as quickly as possible  ^  pp< if --.Pp< if -pp<ff  Percussion 2^  )3 J •)11.1^  Snare Dnun (m)^ Bass Drum  1  ^■■■  if  PP <if PP< if -.P22.<.& as  ^I.  .ffPP -^  PP < if>— PP < ff-PP< he-PP PP < if PP <^-^ 1^  5 secs.  fif  185  41)=72  Soprano Saxophone 2  6  •  Soprano Saxophone 1  if . 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