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Qt2s37c5hk.Pdf UCLA Contemporary Music Score Collection Title Through the Windows on a Train Permalink https://escholarship.org/uc/item/2s37c5hk Author Allport, Christopher Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California CHRISTOPHER M. ALLPORT Through the Windows on a Train a French Triptych Excursion for Solo Piano and Orchestra 2016 SCORE arranged and orchestrated by DAVID FICK & JASON GAMER CHRISTOPHER M. ALLPORT Through the Windows on a Train a French Triptych Excursion for Solo Piano and Orchestra 2016 SCORE arranged and orchestrated by DAVID FICK & JASON GAMER INSTRUMENTATION --------------------------------------------------------------------------------- Piccolo 2 Flutes 2 Oboes 2 Clarinets (Bb) Bass Clarinet (Bb) 2 Bassoons Contrabassoon 4 Horns (F) 3 Trumpets (C) 2 Tenor Trombones Bass Trombone Tuba Timpani [4 drums = 23"(2) 26" (1) 31" (1)] 5 Percussionists 1 Snare Drum, Woodblock 2 Brake Drum, Tambourine, Triangle, Whip 3 Brake Drum, Suspended Cymbal 4 Bass Drum, Whip 5 Glockenspiel [written range: Db4 - G5], Vibraphone [range: F3 - D6] Solo Piano Violin I Violin II Viola Cello Contrabass approximate duration: 5 minutes PROGRAM----------------------------------------------------- NOTE Speeding northbound on a Bullet Train and settling into my first class observation deck seat, I had just departed Nice for the journey to Paris. Checking the speed app on my iPhone, I see that we are clocking more than 320 kilometers per hour —some 200 mph. There aren’t yet civil engineering marvels of this magnitude or locomotives capable of such velocity in America. I grin, self-satisfied that I am able to travel safely at such a rate —my senses are heightened at the thrill. We are floating. The train isn’t chugging, but rather gliding, and my mind drifts into a less-than-conscious state. Rounding into the underground Monaco station, I am awakened by the station chime, announcing our arrival with three distinct tones, each higher than the previous. Drifting back into a lull as the train accelerates from the station once again, I feel the rhythm created by nearly a million pounds of engineered, nuclear-powered steel as it begins moving effortlessly across the landscape, as the Mediterranean scenery gives way to a provincial quaintness. I drift off and am awakened several more times by the same synthesized chime. Through mere reiteration it becomes increasingly familiar, impressing itself indelibly on my mind as a fixed pattern, a sound-icon comprised of discrete pitches —a three-note motif. While still disembodied tones seeking a musical context, this motif seemed to hold the promise of compositional potential. Deferring to my mind's ear, I grabbed my laptop and transcribed into my music notation program what I had been hearing. As an ordered series of pitches —C leaping up to G followed by a perfunctory ascent to A-flat— these notes are reminiscent not so much of the Gallic landscape over which I am traveling, but rather of centuries of German and Austrian musical tradition: it is a figure that immediately establishes a tonal center, with its first and second notes respectively understood as the key-defining tonic and dominant in C. Furthermore, the motif's final A-flat clarifies a modality: these notes belong to C minor. The rhythm produced by several hundred tons of steel becomes the persistent heartbeat of the piece. A virtuoso piano solo scintillates in my head. My journey forward is what compels the repeated-note bass ostinato. Engrossed in the process of transcribing and composing, I find myself unable to quit working. With the arrival at each station along the way, this motivic figure is drilled even deeper into my psyche. -------------------------------------------------------------------- Upon reaching Paris, I felt I had something: it was the beginning of what would become Through the Windows on a Train. What I had written was not only a narrative of travel but a series of images and an encapsulation of the kinesthetic thrill of high-speed travel. It is music that represents the melding of cultures and peoples, the traversing of great distances, and my visual memory of the French landscape in its various guises. The work's subtitle, "A French Triptych Excursion," acknowledges the work's formal alliance with the tradition of European painting, namely the three-paneled triptych, which forms the core of the work. A bold introduction is followed by music that represents the gradual acceleration of the locomotive as it approaches optimal travel speed. The first of the three adjacent panels of the triptych ensues with a perpetuum-mobile like ostinato in the low strings. Subsequent to the triptych, a brief transitional passage featuring the piano, vibraphone and strings serves in place of a full-fledged cadenza. The following coda is music of contentment and the joy of arrival. In response to the dizzying music of the triptych proper, this a passage that conveys stability and reflective interior repose. Finally, we hear the deceleration and arrival of the train at its terminal destination in Paris. Through the work and vision of David Fick and Jason Gamer the original solo piano work was orchestrated and transformed into a vibrant and dynamic concertino for piano and large orchestra. —Christopher M. Allport SCORE IN C Through the Windows on a Train a French Triptych Excursion for Solo Piano and Orchestra Christopher M. Allport orchestrated and arranged by David Fick & Jason Gamer accel. rhythmic and deliberate q = 88-92 meno mosso q = 72 245678910121314A B 3 4 5 Piccolo 2 4 4 f ff 3 4 5 Flutes I, II 2 4 4 f ff 3 4 5 Oboes I, II 2 4 4 f ff 3 4 5 Clarinets I, II 2 4 4 f ff 3 4 5 Bass Clarinet 2 4 4 f ff 3 4 5 Bassoons I, II 2 4 4 f ff 3 4 5 Contrabassoon 2 4 4 sfp ff 3 4 5 Horns I, III 2 4 4 f ff 3 4 5 Horns II, IV 2 4 4 f ff 3 4 5 2 4 4 f ff 3 Trumpets 3 4 5 2 4 4 f ff 3 4 5 Trombones I, II 2 4 4 sfp ff 3 4 5 Bass Trombone 2 4 4 sfp ff 3 4 5 Tuba 2 4 4 sfp ff 3 4 5 Timpani 2 4 4 sfp ff SNARE DRUM 3 4 change to Woodblock 5 Percussion I 2 4 4 p f ff BRAKE3 DRUM 4 change to Triangle 5 Percussion II 2 4 4 pp p mp mf SUSPENDED CYMBAL 3 4 5 Percussion III 2 4 4 p ff BASS DRUM 3 4 5 Percussion IV 2 4 4 f ff VIBRAPHONE 3 4 5 Percussion V 2 4 4 pp p mp mf 3 4 5 2 4 4 Piano pp cresc. ff 3 4 5 2 4 4 rhythmic and deliberate q = 88-92 meno mosso q = 72 accel. A 245678910121314unis. B 3 div. 4 non vib. 5 Violin I 2 4 4 f ff pp cresc. f non vib. 3 div. 4 5 Violin II 2 4 4 f ff pp cresc. f non vib. 3 non-div. 4 5 Viola 2 4 4 sfp cresc. ff pp cresc. f 3 non-div. 4 non vib. 5 Cello 2 4 4 pp cresc. f sfp cresc. ff 3 4 non vib. 5 Contrabass 2 4 4 sfp cresc. pp ff cresc. f © 2016 by Christopher M. Allport. All Rights Reserved. 2 < h = q > q = 132 accel. q = 90 C 16 17 18 D 20 21 22 5 4 2 Fl. 4 4 mf 5 4 2 Ob. 4 4 mf 5 4 2 Cl. 4 4 mf 5 4 B. Cl. 4 4 mf p cresc. f 5 4 2 Bsn. 4 4 p cresc. f 5 4 Cbsn. 4 4 f p cresc. 5 4 B. Tbn. 4 4 p cresc. f 5 4 Tba. 4 4 p cresc. f 5 4 Timp. 4 4 p f p cresc. WOODBLOCK5 4 Perc. I 4 4 p TRIANGLE5 4 Perc. II 4 4 p mp BASS5 DRUM 4 Perc. IV 4 4 pp mp change to 5 Glockenspiel 4 GLOCKENSPIEL Perc. V 4 4 p 5 4 4 4 p f cresc. f Pno. p 5 4 4 4 q accel. = 132 q = 90 D C 16 17 18 20 21 22 5 4 div. Vln. I 4 4 mf f div. 5 4 unis. Vln. II 4 4 p cresc. f p 5 4 Vla. 4 4 p cresc. f p 5 4 Vc. 4 4 p p cresc. f 5 4 pizz. Cb. 4 4 p f p cresc. 3 23E 25 26 27 28 2 Fl. mf 2 Ob. mf con sord. mf 3 Trp. con sord. mf Timp. mp WOODBLOCK Perc. I mf TRIANGLE Perc. II BASS DRUM Perc. IV p p GLOCKENSPIEL Perc. V mf mf f Pno. 23E 25 26 27 28 Vln. I p Vln. II Vla. Vc. Cb. 4 G F 30 31 32 Picc. f f cresc. 2 Fl. p f f f cresc. 2 Ob. f f cresc. 2 Cl. p f f f cresc. B. Cl. f cresc. a2 2 Bsn. f cresc. a2 Hn. I, III f cresc. a2 Hn. II, IV f cresc. Timp. f cresc. WOODBLOCK change to Snare Drum SNARE DRUM Perc. I f p TRIANGLE change to Tambourine TAMBOURINE Perc. II f f p f p SUSPENDED CYMBAL Perc. III pp BASS DRUM Perc. IV f meno f mp GLOCKENSPIEL Perc. V p f mf cresc. 333 Pno. cresc. f F 30 31 32 G Vln. I cresc. Vln. II cresc. Vla. cresc. Vc. cresc.
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