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.
Cb.
cresc. 5
34 35 36 37 H un poco più mosso, with more intensity 39 Picc. ff ff
2 Fl. ff ff p
2 Ob.
ff ff p
2 Cl.
ff mp ff
B. Cl.
ff ff
2 Bsn. f p cresc. ff
Cbsn.
p cresc. ff
Hn. I, III
ff ff
Hn. II, IV ff ff
senza sord.
ff ff 3 Trp. senza sord.
ff ff
I. 2 Tbn.
ff
Timp.
f ff
SNARE DRUM change to Woodblock Perc. I ff ff f cresc. TAMBOURINE WHIP change to Whip change to Triangle Perc. II f ff ff SUSPENDED CYMBAL change to Brake Drum Perc. III pp p ff ff
BASS DRUM
Perc. IV f mf ff ff
GLOCKENSPIEL
Perc. V ff
ff p cresc. f Pno.
34 35 36 37 un poco più mosso, with more intensity H 39 Vln. I
sub. p cresc. ff
Vln. II
sub. p cresc. ff
Vla.
ff p sub. p cresc.
Vc. p sub. p cresc. ff arco pizz. Cb. mp ff sub. p cresc. 6
40 41I 43 44 45
Picc.
più f
2 Fl. mf più f
2 Ob. mf
2 Cl. p mf più f f
B. Cl. mf p f f più
Timp. pfp più f
WOODBLOCK Perc. I p
TRIANGLE Perc. II p f p più f
BASS DRUM Perc. IV p
GLOCKENSPIEL
Perc. V p
3 3 3 3 p p f f più f Pno.
3 3 3 3
40 I 41 43 44 45
Vln. I p
Vln. II p
Vla.
Vc.
Cb. 7
J 47 48 49 50
Picc.
2 Fl.
2 Cl.
mf
B. Cl.
2 Bsn. mf
con sord. Hn. I, III
mf con sord. a2 Hn. II, IV
mf
Timp. mf
WOODBLOCK Perc. I p
TRIANGLE Perc. II mf
BRAKE DRUM change to Suspended Cymbal Perc. III
BASS DRUM Perc. IV p
GLOCKENSPIEL
Perc. V mf
3 3
3 3 33 33 3 3 333333 f f Pno.
33 3 3 333
J 47 48 49 50
Vln. I p
Vln. II
Vla.
più f
Vc.
più f
Cb.
più f 8
K 52 53 54 55
Picc. f
2 Fl. p f f
2 Ob. p f f
2 Cl.
p f f
B. Cl. f ff
2 Bsn.
ff
Cbsn. ff
senza sord.
Hn. I, III
f sf
senza sord.
Hn. II, IV
f sf con sord.
f 3 Trp. con sord.
f
Timp. f ff
WOODBLOCK SNARE DRUM change to Snare Drum Perc. I ff TRIANGLE TAMBOURINE change to Ta m bo u r in e Perc. II p ff p SUSPENDED CYMBAL
Perc. III p BASS DRUM
Perc. IV p ff
GLOCKENSPIEL
Perc. V
3 33 f cresc. Pno. ff
333
K 52 53 54 55
Vln. I ff p cresc. f cresc.
Vln. II
p cresc. f cresc. ff
Vla.
p cresc. ff
Vc.
p cresc. ff
arco Cb.
p cresc. ff 9
L 57 58 59 60
Picc. f ff ff
2 Fl. ff mp ff f
2 Ob. ff ff mp f
2 Cl.
ff ff p cresc. mp
B. Cl.
ff p cresc. p cresc.
a2
2 Bsn.
p ff cresc. p cresc.
Cbsn.
ff f p cresc. p cresc.
a2
Hn. I, III p cresc. ff ff
a2
Hn. II, IV p cresc. ff ff
senza sord.
ff ff
3 Trp. senza sord.
ff ff
a2 2 Tbn. ff p cresc.
B. Tbn. ff p cresc.
Tba.
p cresc. f ff p cresc.
Timp. p cresc. ff ff
SNARE DRUM
Perc. I ff ff f TAMBOURINE WHIP change to Whip Perc. II f p f ff ff
SUSPENDED CYMBAL
Perc. III ff p cresc. ff pp
BASS DRUM
Perc. IV ff p cresc. ff
GLOCKENSPIEL
Perc. V p cresc. ff
333333 3 3 333333 33 33 3333 33 p cresc. Pno. 333 3 33 33 3 3
33 33 3 3 33
L 57 58 59 60
Vln. I ff p cresc.
Vln. II ff p cresc.
Vla. ff p cresc.
Vc. ff p cresc.
Cb. ff p cresc. 10
M with even more intensity and urgency
62 63 64N 66
2 Fl. f
2 Ob. f
2 Cl.
f
B. Cl.
p mp cresc. ff
a2 2 Bsn.
p ff p
Cbsn.
p p ff
B. Tbn.
p p ff
Tba.
p p ff
Timp.
p ff p
TRIANGLE
Perc. II p cresc.
BRAKE DRUM change to Brake Drum Perc. III p cresc.
33 33 3333 3 f Pno.
3
3 3
with even more intensity and urgency
M 62 63 64N 66
Vla.
p
Vc.
mp cresc. p ff
pizz. Cb.
p p ff 11
67 68 O 70 71 5 Picc. 4 p f f
5 2 Fl. 4 p f f
5 2 Ob. 4 p f
5 2 Cl. 4 p f p f
5 B. Cl. 4 p f
5 2 Bsn. 4 f
5 Hn. I, III 4
f
5 Hn. II, IV 4 f
5 4 f 3 Trp. 5 4 f
5 Timp. 4
f p
TRIANGLE TAMBOURINE change to Tambourine 5 Perc. II 4 p più f
BRAKE DRUM SUSPENDED CYMBAL change to Suspended Cymbal 5 Perc. III 4 p p
GLOCKENSPIEL 5 Perc. V 4 p f p f
5 4
p f p f Pno. 5 4
67 68 O 70 71 5 Vln. I 4 p p cresc. f 5 Vln. II 4
p p cresc. f
5 Vla. 4
p 5 Vc. 4
p
pizz. arco 5 Cb. 4
p cresc. 12
P 73 74 75 76 5 4 Picc. 4 4
5 4 2 Fl. 4 4
5 4 2 Ob. 4 4 f p
5 4 2 Cl. 4 4
mf p 5 4 B. Cl. 4 4
5 4 2 Bsn. 4 4
f mf
5 4 Cbsn. 4 4
p
con sord. 5 4 Hn. I, III 4 4
mf
con sord. 5 4 Hn. II, IV 4 4
mf
5 4 Timp. 4 4 f
SNARE DRUM WOODBLOCK 5 change to Woodblock4 Perc. I 4 4 f
WHIP TRIANGLE 5 change to Whip 4 change to Triangle Perc. II 4 4 f mf
SUSPENDED CYMBAL BRAKE DRUM 5 4 change to Brake Drum change to Suspended Cymbal Perc. III 4 4 f mf
5 BASS DRUM 4 Perc. IV 4 4 p
GLOCKENSPIEL 5 4 Perc. V 4 4 mf
5 4 4 4 3 33 3333 3 3 3 33 3333 f Pno. 33333 5 4 33 4 4
P 73 74 75 76 5 4 Vln. I 4 4
5 4 Vln. II 4 4
5 4 Vla. 4 4
5 4 Vc. 4 4
arco 5 pizz. 4 arco Cb. 4 4 13 Q 78 79 80 81
Picc. sf f ff
2 Fl.
f ff sf p
2 Ob.
f ff sf p
2 Cl.
f ff p sf
B. Cl.
p f sf a2 2 Bsn.
f p cresc. ff
Cbsn.
p cresc. f ff
senza sord. Hn. I, III sf p f ff senza sord.
Hn. II, IV
ff p f sf
f ff f sf 3 Trp. meno
sf f ff meno f a2
2 Tbn.
p cresc. f
B. Tbn.
p cresc. f
Tba.
p cresc. f
Timp.
ff
WOODBLOCK SNARE DRUM change to Snare Drum Perc. I p ff
TRIANGLE TAMBOURINE change to Tambourine Perc. II p p ff SUSPENDED CYMBAL
Perc. III p p BASS DRUM
Perc. IV p ff GLOCKENSPIEL
Perc. V p
333 f
Pno. ff
333 f
Q 78 79 80 81 (non-div.) non-div. Vln. I
p cresc. f ff (non-div.) non-div. Vln. II
p f cresc. ff
Vla.
cresc. ff
Vc.
cresc. ff
Cb.
ff cresc. 14 R 83 84 85 86
Picc. 33 333333 33333333 33333 ff mp p cresc. f cresc.
a2 2 Fl. 33 333333 33333333 mp cresc. ff p cresc. f a2 2 Ob. 33 3 333 3 3 3 33333 mp cresc. ff 3 3 f p cresc. a2 2 Cl.
3 3 33333 3 333 3 333 3 ff mp cresc. p cresc. f
33 333333 3 3 33333 3 B. Cl.
ff p cresc. p cresc. f a2 2 Bsn.
p cresc. f p cresc. ff
Cbsn.
p cresc. f p cresc. ff
a2* Hn. I, III s. is gl ff ff f
a2 * s. lis Hn. II, IV g f ff ff
ff ff 3 Trp. f II.
ff f ff
a2
2 Tbn. p ff p f cresc.
B. Tbn.
ff p f p cresc.
Tba.
p ff f p cresc.
Timp. p cresc. ff ff
SNARE DRUM
Perc. I ff p cresc. ff TAMBOURINE WHIP change to Whip change to Triangle Perc. II p cresc. ff ff
SUSPENDED CYMBAL Perc. III p ff cresc. ff pp
BASS DRUM
Perc. IV ff p cresc. ff
GLOCKENSPIEL
Perc. V p cresc. ff
33 33 3333 p ff Pno. cresc.
33
(non-div.) R 83 84 85 86
Vln. I ff f p cresc. ff (non-div.)
Vln. II
ff ff f p cresc. (non-div.)
Vla.
p cresc. ff
Vc.
p cresc. ff
Cb. p cresc. p cresc. ff
* The noteheads shown in parentheses denote a partial which occurs above one or more possible fundamentals --fundamentals that also produce the pitch an octave higher (the eighth-note on the downbeat). This effect should be performed as one would a lip glissando. The choice of fundamental is left to the performer's discretion. While a forceful crescendo into the downbeat is the intended effect of the glissando, accurately executing the downbeat (the given pitch and f dynamic) must take priority over everything else. 15
q = 120 rall.
S 88 89 90
2 Fl.
2 Ob.
2 Cl.
2 Bsn.
Hn. I, III
Hn. II, IV
3 Trp.
2 Tbn.
B. Tbn.
Tba.
Timp.
change to Vibraphone VIBRAPHONE change to Glockenspiel Perc. V
f
p f Pno.
rall. q = 120 martelé (upper half) S 88 89 90
Vln. I f p
martelé (upper half)
Vln. II
f p
martelé (upper half)
Vla.
f p
martelé (upper half)
Vc.
f p
martelé (upper half)
Cb.
f p 16
q = 102 96 97 T 92 93 94 U
Picc. mp f
2 Fl. mp f
2 Ob. p f
2 Cl. p f
B. Cl.
f
a2 2 Bsn.
ff
Cbsn.
ff
Hn. I, III
mp f
Hn. II, IV f p mp
f f f 3 Trp.
f f
2 Tbn. f p
B. Tbn. f
Tba.
f
Timp. p
SNARE DRUM Perc. I p ff
TRIANGLE Perc. II p p
SUSPENDED CYMBAL Perc. III p ff
BASS DRUM change to Whip Perc. IV ff
GLOCKENSPIEL
Perc. V p ff
Pno. p ff
q = 102 96 97 T 92 93 94 U
Vln. I p ff mf
Vln. II p ff mf
Vla. p ff meno f
Vc. p ff meno f
Cb. p ff meno f 17
rall. poco a poco
98 99 100 V 102 103
Picc. f
a2
2 Fl. f
a2 2 Ob. f
2 Cl.
f
B. Cl. f
a2 2 Bsn. f
Cbsn. f
Hn. I, III
Hn. II, IV
f 3 Trp.
f
2 Tbn.
B. Tbn.
Tba.
Timp. f
SNARE DRUM Perc. I f p
change to Tambourine TAMBOURINE Perc. II f
SUSPENDED CYMBAL Perc. III p
WHIP change to Bass Drum Perc. IV f
GLOCKENSPIEL change to Vibraphone
Perc. V
gliss. 9 f Pno.
98 99 rall. poco a poco 100 V 102 103
Vln. I
Vln. II
Vla.
Vc.
Cb. 18 subito più mosso q = 120
104 105 111 112 113 W 107 108 109 X 3 Picc. 4 mf ff 3 a2 2 Fl. 4 mf ff
3 2 Ob. 4 ff
mp
3 2 Cl. 4 ff
p 3 B. Cl. 4 ff p p ff
3 2 Bsn. 4
ff p p ff
3 Cbsn. 4
ff ff p p
3 Hn. I, III 4
ff f p 3 Hn. II, IV 4
f p ff 3 4
mp ff 3 Trp. 3 4
ff mp
3 2 Tbn. 4 ff p dim. ff p 3 B. Tbn. 4
ff p ff dim. p 3 Tba. 4
ff p ff dim. p 3 Timp. 4
ff p p ff
SNARE DRUM 3 Perc. I 4 p ff
TAMBOURINE 3 Perc. II 4 p ff
SUSPENDED CYMBAL 3 Perc. III 4 p ff BASS DRUM 3 Perc. IV 4 p ff
VIBRAPHONE 3 Perc. V 4
ff p 3 4
pp ff Pno. ff dim. p 3 4
subito più mosso q = 120 104 105 111 112 113 W 107 108 109 X 3 Vln. I 4 pp ff mp 3 Vln. II 4 pp mp ff 3 Vla. 4 pp ff p ff dim. mp div. 3 Vc. 4
p ff pp dim. p ff 3 Cb. 4
ff p pp p ff dim.