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MOUNTAIN VIEWS for CHAMBER ORCHESTRA by Scott Anthony Mountain Views for Chamber Orchestra Item Type text; Electronic Dissertation Authors Amstutz, Scott Anthony Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 12:19:59 Link to Item http://hdl.handle.net/10150/333460 MOUNTAIN VIEWS FOR CHAMBER ORCHESTRA by Scott Anthony Amstutz ______________ Copyright © Scott Anthony Amstutz 2014 A Dissertation Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2014 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Scott Anthony Amstutz, titled Mountain Views for Chamber Orchestra and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Musical Arts. _______________________________________________________________________ Date: 7/22/2014 Daniel Asia _______________________________________________________________________ Date: 7/22/2014 Craig Walsh _______________________________________________________________________ Date: 7/22/2014 Pamela Decker Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________ Date: 7/22/2014 Dissertation Director: Daniel Asia 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Scott Anthony Amstutz 4 DEDICATION This dissertation is dedicated to my friend and life partner, Dennis W. Everette. 5 TABLE OF CONTENTS ! ABSTRACT…………………………………………………………………….…………6 Mountain Views for Chamber Orchestra……......………......…………..……….………..7 Early Morning Clouds Descending on the Catalinas………………......…….………..9 Cancion del saguaro (Song of the Saguaro)…………………..…………….………..33 Danzas de somber (Shadow Dances)…………………………………...……………41 APPENDIX – Proposal………………………………..…………….….………....…….67 REFERENCES..................................................................................................................75 ! 6 ABSTRACT Mountain Views for Chamber Orchestra is a three-movement piece that evokes various geographic and aesthetic attributes of the Catalina Mountains in Tucson Arizona. It makes use of musical elements such as time, theme, color/timbre, and texture from the chamber ensemble that are conducive to the evocation of contours, colors, and polyphonies necessary for the images found in the work. “Early Morning Clouds Descending on the Catalinas,” the first movement of Mountain Views depicts the picturesque Catalinas as they are often seen in the mild winter mornings of Tucson. The slow introduction conveys the early dawn and the episodic middle section uses ostinato-like repetitions and sudden juxtapositions of block- like figures that depict a hidden and secretive landscape. “Cancion del saguaro,” the second movement is much slower than the previous movement and features a more aria-like treatment yet, still with some repetitious accompanimental figures. This movement depicts a lonely cactus within the mountain landscape with chromatic glissandos that imply scale and incline. “Danzas de sombra,” the last movement depicts the mountain face at dusk using white-note collections and contrasting black-note collections that depict bright and shadowy sections of the mountain. This movement is more segmented or episodic with the different sections distinguishable not only by their key areas and modes but also registrally and metrically with a greater use of mixed meter and dance-like rhythms in the black-note shadowy sections. ! ! 7! Mountain Views for Chamber Orchestra by Scott Anthony Amstutz ! ! 8! Mountain Views for Chamber Orchestra by S. Anthony Amstutz i. Early Morning Clouds Descending on the Catalinas ii. Cancion del saguaro (Song of the Saguaro) iii. Danzas de sombre (Shadow Dances) INSTRUMENTATION: Piccolo Flute (doubling on Alto Flute) Oboe Clarinet in Bb Bass Clarinet Bassoon Contrabassoon 2 Horns in F Trumpet in C (doubling on Flugelhorn) Trombone Tuba 3 Percussion players: Gong, Glockenspiel, Marimba, Claves, Timpani, Vibraphone, Crash Cymbals, Xylophone, Crotales, Chimes, Suspended Cymbals (Medium and China), Wind Chimes, Triangle, Claves, Conga Drums, Bongo Drums, and Bass Drum Harp Violin I Violin II Viola Violoncello Double Bass This score is written as sounding. Piccolo Contrabassoon, Crotales, Xylophone, Glockenspiel, and Double Bass use transposed clefs. Early Morning Clouds Descending 9 on the Catalinas C Score S. Anthony Amstutz Ponderously Più mosso q = 52 q = 56 Alto Flute 4 7 2 5 3 r 4 3 2 Ó j j " ‰ œ œ œ œ. œ œ. œ œ œ. œ œ œ ˙. " " & 4 ˙ 8 œ bœ œ~~~ œ 4 ˙ 8 ˙ œ 4 J R J 4 4 4 $ n $ P # Bass Clarinet ? 4 " 7 2 5 j 3 Œ Œ 4 " 3 " " 2 4 8 œ. ˙ 4 ˙ 8 ˙ œ 4 ˙. nœ 4 4 4 # Bassoon ? 4 " 78 " 42 " 85 " 43 " " 4 " 43 42 ˙. ˙. # Contrabassoon t 4 " 78 " 42 " 85 " 43 " " 4 " 43 42 ˙. ˙. # Horn in F 2 b˙. ? 4 " 7 " 2 " 5 " 3 ˙ 4 œ Œ Ó 3 " " 2 4 8 4 8 4 4 n 4 4 Con sord. $ Trombone ? 4 7 2 5 ˙ œ 3 ˙. œ 4 3 2 4 " 8 " 4 " 8 J 4 Œ Œ 4 " 4 " " 4 # n Con sord. Tuba ? 4 7 2 5 j 3 4 3 2 4 " 8 œ. ˙ 4 ˙ 8 ˙ œ 4 ˙. œ Œ Œ 4 " 4 " b˙. 4 # n # Claves Gong L.V. L.V. Gong œ œ œ œ œ œ œ ã 4 Œ Ó 78 " 42 " 85 " 43 " Œ . Œ 4 ‰ Œ Ó 43 Œ Œ " 42 P $ F mallet arco L.V. L.V. L.V. arco L.V. Glockenspiel 4 ˙. Œ 7 " 2 " 5 " 3 " ‰ œ Œ œ œ. 4 œ ‰ Œ Ó 3 ˙. " 2 † 4 8 4 8 4 J 4 J 4 4 p f p p f Ponderously Ponderously q = 52 ! q = 52 wo ˙. œ ˙ ˙ œ ˙. ˙. w ˙. ˙. Violin I & 4 78 J 42 85 J 43 4 43 42 Ø Viola 4 7 2 5 3 4 3 2 B 4 " 8 " 4 8 j 4 Œ Œ 4 " 4 " " 4 ˙ ˙ œ ˙. œ # n Cello ? 4 7 2 5 3 4 3 2 4 8 4 8 j 4 Œ Œ 4 " 4 4 w œ. ˙ ˙ ˙ œ ˙. nœ ˙. ˙. # # Contrabass t 4 7 2 5 3 4 3 2 4 8 4 8 j 4 Œ Œ 4 " 4 4 w œ. ˙ ˙ ˙ œ ˙. nœ ˙. ˙. # # Early Morning Clouds Descending 10 on the Catalinas 10 B. Cl. ? 2 " 3 " " " 4 " 3 " 4 " 3 Ó ‰ j œ- œ- œ- bœ- œ- 4 4 4 4 4 4 œ J J $ p Bsn. ? 2 3 4 3 4 j 3 4 4 4 " 4 Œ Œ œ 4 ˙ œ. œ 4 œ " ˙ ˙. ˙. ˙. p ˙ p C. Bn. t 2 3 4 3 4 3 4 4 4 " 4 " 4 " 4 " " ˙ ˙. ˙. ˙. 10 p Hn. 1 ? 2 3 b˙. ˙. ˙. 4 n˙. 3 > 4 3 4 " 4 4 Œ 4 ˙. 4 w 4 ˙ Œ " # p $ # Hn. 2 ? 2 3 b˙. ˙. ˙. 4 3 > 4 3 œ œ œ œ œ 4 " 4 4 Œ ˙. 4 ˙. 4 w 4 ˙ J J # p $ # Flghn. & 42 " 43 " 4 43 4 43 Œ " . œ b˙ w ˙. w ˙ #˙ > $ P p # Tbn. ? 2 b˙ 3 ˙. ˙. ˙. 4 Œ 3 4 3 Œ " 4 4 4 ˙. 4 ˙. 4 w 4 ˙ > # p $ # Tuba ? 2 3 4 3 4 3 4 ˙ 4 ˙. ˙. ˙. 4 Œ 4 4 4 œ œ. œ. p ˙. ˙. w ˙ $ # 10 arco L.V. Timpani Glock. 2 3 4 3 4 ? 3 † 4 " 4 " " " 4 Œ ˙. 4 " 4 " 4 Ó œ@ ˙@. 10 p f $ ? 42 " 43 " " " 4 " 43 " 4 " 43 Ó œ œ œ œ œ œ œ Mrb. $ ? 2 3 4 3 4 3 4 " 4 " " " 4 " 4 " 4 " 4 Ó œ œ. œ. 10 ˙. ? 2 3 4 ˙˙. 3 ˙. 4 3 4 " 4 " " " 4 Œ ˙. 4 ˙˙. 4 " 4 " " Hp. P p ? 2 3 4 3 4 3 4 " 4 " " " 4 Œ ˙ 4 4 " 4 " " ˙. ˙. 10 (!) ˙ ˙. ˙. ˙. ! Vln. I ˙. ˙. w ˙ & 42 43 4 Œ 43 4 43 Œ " # Vc. ? 2 3 4 3 4 3 - - - 4 4 4 " 4 " 4 " 4 Œ Œ œ œ œ œ ˙ ˙. ˙. ˙. P $ Cb. t 2 3 4 3 4 3 4 4 4 " 4 " 4 " 4 Ó œ ˙. ˙ ˙. ˙. ˙. $ P Early Morning Clouds Descending 11 on the Catalinas 19 poco rit. a tempo B Cl. b 4 3 & " " " Ó ‰ j j j . 4 Ó 4 œ œ œ œ bœ œ n˙ #˙ nœ-. œ-. p $ # B. Cl. - - - - - - - - - - - ? - - - œ œ œ œ œ œ œ œ œ œ. œ. œ 4 3 nœ œ œ œ œ œ œ œ Ó 4 " 4 J J # Bsn. ? œ œ 4 3 " " " " " Œ ‰ J 4 " 4 " # C. 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