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The Birth of the Eternal for String Orchestra, Piano and Percussion

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The Birth of the Eternal for String Orchestra, Piano and Percussion THE BIRTH OF THE ETERNAL FOR STRING ORCHESTRA, PIANO AND PERCUSSION A DISSERTATION IN Music Composition Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF MUSICAL ARTS by TATEV AMIRYAN B.F.A., M.F.A., Komitas State Conservatory in Yerevan, Armenia, 2007 Kansas City, Missouri 2016 © 2016 TATEV AMIRYAN ALL RIGHTS RESERVED THE BIRTH OF THE ETERNAL FOR STRING ORCHESTRA, PIANO AND PERCUSSION Tatev Amiryan Candidate for the Doctoral of Musical Arts Degree University of Missouri-Kansas City, 2016 ABSTRACT The Birth of the Eternal is a one-movement composition for string orchestra, piano and percussion. It is written as a centennial commemoration of the 1915 Armenian Genocide and honors the memory of the victims of the Genocide. The piece symbolizes rebirth and revival and accentuates the power of belief. The main aspects that contribute to the realization of the idea of the piece are its instrumentation, form, harmonic language and texture. In the piece, instrumental timbres play specific roles in regard to the message of remembering. The chimes, representing church bells, symbolize the undying memory of the martyrs of the Genocide. The static nature and the stretched sounds of the string section aim to create a feeling of the eternal and work in combination with the chimes. The piano serves as a narrator and through this part I express my own feelings and look to the past. The vibraphone aims to create a feeling of spiritual awakening in combination with the strings. It also supports the narrative function of the piano. iii The piece has a sectional, sequential structure that is similar to liturgy. The absence of contrasts and dramatic conflict is explained by the spiritual nature of the composition. The musical language is tonal and is based mostly on minor keys. A major key is established for the first time only at the very end of the piece, thus highlighting its main concept – moving through darkness to light. The texture is mostly light, transparent and ethereal, in accordance with the main message of the composition. iv APPROVAL PAGE The faculty listed below, appointed by the Dean of the Conservatory of Music and Dance, have examined a dissertation titled “The Birth of the Eternal,” presented by Tatev Amiryan, candidate for the Doctoral of Musical Arts degree, and certify that in their opinion it is worthy of acceptance. Supervisory Committee Dr. Chen Yi, D.M.A., Committee Chair Conservatory of Music and Dance Dr. Zhou Long, D.M.A. Conservatory of Music and Dance Dr. James Mobberley, D.M.A. Conservatory of Music and Dance Dr. William Everett, Ph.D. Conservatory of Music and Dance Dr. Mara Gibson, Ph.D. Conservatory of Music and Dance v CONTENTS ABSTRACT.............................................................................................................................iii INSTRUMENTATION..........................................................................................................vii PROGRAM NOTES…..........................................................................................................viii THE BIRTH OF THE ETERNAL............................................................................................1 VITA……...............................................................................................................................17 vi INSTRUMENTATION: Percussion (one player): Vibraphone, Chimes Piano Strings: Violin I (12) Violin II (10) Viola (8) Cello (6) Double Bass (4) Duration: 16 min. vii PROGRAM NOTES In 1915 the Ottoman Turks massacred 1.5 million Armenians. The Ottoman government’s systematic extermination of its own non-Turkish and non-Muslim minority is marked in history as the Armenian Genocide; in fact, the very word "genocide" was coined to describe this particular event and the intentions behind it. As time passed, even after a hundred years, the pain of such an immense human loss remains alive among the Armenian people, a pain that they carry in their blood from generation to generation. Having survived this attempt at extermination in 1915, the Armenian people today also mark that year as a time of revival. Much like the myth of the Phoenix, this dark page in history gave a new birth, and a new life to the Armenian people, who proved their great strength and resilience. It also established a stronger belief among Armenians in their ability to endure. This piece is a musical tribute to my perished ancestors. It is also a look back to this most tragic period of Armenian history from a descendent of Genocide survivors and from a twenty-first century perspective. My work is also a call for peace, with a hope that atrocities of this kind will never again happen anywhere in the world. viii In commemoration of the centennial of the Armenian Genocide 1915-2015 The Birth of the Eternal For string orchestra, piano and percussion 2015-2016 Adagio TATEV AMIRYAN q = 100 Vibraphone & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Chimes & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Piano & 4 ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙ w w œ-. œ ˙. w œ ˙. w w w w Violin I w w w ˙ & 4 cresc. p P Violin II w ˙ ˙ w w w w w w w w œ ˙. & 4 ∑ ∑ ˙ w w w w w w w w œ ˙. P cresc. w ˙ Viola ˙ w w w w w w w ˙ - B 4 ∑ ∑ w w w w w w ˙ ˙ w P cresc. œ > Cello ? 4 w w w w w ˙ ˙- w w 4 ∑ ∑ ∑ ∑ Ó. ‰ J w w w w w ˙ P cresc. > Double Bass ? 4 œ w w w w ˙. 4 ∑ ∑ ∑ ∑ Ó. ‰. R œ w w w -cresc. P ª 14 œ Vib. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó. ° Chm. P & ∑ ∑ ∑ ∑ Ó ˙ ∑ Œ ˙ Œ ∑ ∑ ∑ ∑ F œ ˙. w w w U Vln. I #˙. w w œ O. O O O O & ˙. œ w ˙ œ ‰ Œ ∑ dim. J div. F p π U ˙ æw Vln. II w w œ ˙. w w w w ˙. œ w & w w œ ˙. w w w w ˙. œ ‰ ∑ Ó æ dim. J p p F U Vla. j B w w œ ˙. w w w w ˙. œ ‰ ∑ ∑ ∑ ˙ w w w w ˙ œ . dim. F p U j Vc. ? w ˙. œ ˙ w w w w ˙ œ œ œ ˙. w w w w ˙. œ ‰ ∑ ∑ ∑ > . F dim. p U j D.B. ? . r w w w w w ˙. œ w ˙. ‰ œ w w w w w ˙. œ ‰ ∑ ∑ ∑ > dim. F p Copyright © 2016 by Tatev Amiryan The Birth of the Eternal 2 25 œ ˙ œ œ œ œ œ œ œ ˙ Vib. ˙ œ ˙ ˙ & J ‰ Ó. J ‰ ∑ Ó. Œ Ó div. ° ° ° æ æ æ æ æ ˙ œæ #˙æ˙. #wæw #œæw ˙. #œw œ œ œ ˙. œ #œ wæ w Vln. I . ˙. ˙. œ w w Ó æ æ æ æ æ æ æ æ æ æ & Œ P æ æ æ æ æ ˙æ. œæ æ wæ wæ Vln. II ww ww w˙. œ ww wœ w ˙. w w & æ æ æ æ æ æ æ æ P ª 33 rit. ˙ ˙ œ œ Vib. ˙ & ∑ Ó Ó ∑ Ó Ó. Œ Ó ∑ Ó °* °* °* ° 33 p æw wæ wæ wæ wæ æw wæ wæ wæ Vln. I w w w w w w w w œ æ æ æ æ æ æ æ æ J & dim. ‰ p Œ Ó j ˙æ #˙æ #wæ #wæ #wæ #wæ #wæ #wæ æw œ Vln. II w w # w # w # w # w # w #w œ ‰ Œ Ó & æ æ æ æ æ æ æ æ J p ª 42 con pedale œ 3 œ 3 œ #˙ œ 3 Ó Ó œ œ Ó Ó #œ Œ Ó Ó #œ Œ œ #˙ ∑ & 3 œ œ œ œ ˙ Pno. œ P œ #œ F ˙ œ ? #œ œ Œ 3 ∑ Œ Ó ∑ Œ Ó ∑ Œ Ó ∑ Ó œ œ œ œ œ 3 42 Unis. - - - - w w ˙ #˙ ˙. #˙ ˙ ˙ Vln. I œ w w w ˙ & Unis. F #w ˙ ˙ œ œ œ œ #œ w ˙ ˙ ˙ ˙ œ #œ œ w ˙ #˙ Vln. II œ œ & 3 3 P F ˙ w œ #˙. w œ ˙. w ˙ ˙ ˙ ˙ ˙ Vla. ˙. w œ #˙. w ˙ ˙ ˙ #˙ ˙ œ B Ó ˙ w œ Œ Œ3 P F ˙ Vc. ˙. œ #˙. ˙ ? Œ #˙. w w w #w w œ ˙. œ ˙. ˙ œ ˙ ˙. w w w w w œ 3 P F D.B. ? Œ ˙-. ˙-. w w- w w- w w- w- œ P F The Birth of the Eternal 3 51 œ- #˙ œ œ- #˙ œ œ- œ œ œ- ˙ œ œ- œ œ œ #œ œ Vib. & J ‰ Ó. J ‰ Œ Ó Œ Ó ∑ J ‰ Ó ‰ J Œ ‰ J ° ° ° ° ° ° F œ- #œ œ- #œ œ- œ œ- œ œ- œ #œ œ œ œ & œ #œ Ó Ó Œ œ #œ Œ Ó Ó œ ∑ Ó. œ Œ Ó Ó œ œ J ‰ Œ #œ Œ Pno. #œ œ œ œ œ œ œ ? ∑ Ó #œ Œ ∑ Ó ∑ Ó Œ ∑ Œ œ œ J ‰ Œ Ó œ œ w œ œ #˙. w ˙ #˙- ˙. #œ œ - Vln. I œ ˙. w w w & œ ˙. ˙. #˙ œ Vln. II #œ ˙ #˙. œ ˙. ˙. & w œ #˙. w œ ˙. w ˙ #œ ˙ #˙ œ ˙. w ˙ #œ w Vla. w #˙ œ ˙ ˙ œ ˙ w ˙. œ w B Œ Œ3 ˙. w ˙ ˙ w ˙. w ˙ ˙ ˙ #˙ Vc. ? w ˙ #œ ˙ ˙ # ˙ #w w œ ˙. w ˙ ˙ w 3 w w œ ˙. w ˙ ˙ w D.B. ? w w œ - ˙ w w #w w w œ #˙. w w œ œ ˙ w ª 60 a tempo rit. œ #˙ œ œ œ œ œ Vib. J & Ó. ‰ Œ ∑ Ó. Œ Ó Ó. Œ Ó ∑ ∑ ∑ ° ° ° P p œ #œ œ œ Ó œ œ #œ ‰ Œ Ó Ó Ó œ œ Ó Ó Ó œ œ Ó ∑ ∑ ∑ ∑ & 3 J 3 Pno. P p œ ˙ ˙ ? Œ œ #œ œ ∑ Œ #œ ∑ Ó #œ ∑ ∑ ∑ ∑ ∑ 3 3 -œ œ #œ #œ ˙ w ˙. #œ w w w w ˙. œ ˙ Vln. I J #˙ ˙ & 3 ‰ Ó P p π p Vln. II ˙ ˙ ˙ . ˙. ˙. #œ w w ˙. œ #˙ & ˙ #œ œ #˙. ˙. #œ œ #˙. ˙. J ‰ ∑ Ó P p π p ˙ Vla. ˙ #œ w ˙ ˙ w w ˙. œ B ˙ #œ œ w ˙ œ #œ w ˙ J ‰ ∑ Ó 3 p π p 3 3 œ ˙ w w ˙. œ Vc. ? Œ œ ˙ w Œ œ ˙ w Œ #œ œ ˙ w w ˙. œ ‰ ∑ ∑ #œ œ ˙ w #œ œ ˙ w J P p π 3 3 - #˙ ˙ w w ˙.
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