Run for the Sun.

Orchestra;Symphony;Music and Dance;Arts;Music: Composition

Dooley, Paul MichaelGeary, Jason ;

University of Michigan

关键词: Orchestra;    Symphony;    Music and Dance;    Arts;    Music: Composition;   

Others  :  https://deepblue.lib.umich.edu/bitstream/handle/2027.42/102377/pmdooley_1.pdf?sequence=1&isAllowed=y

瑞士|英语

来源: The Illinois Digital Environment for Access to Learning and Scholarship

【 摘 要 】

Run for the Sun (2013) is a composition written for orchestra with an instrumentation of piccolo, two flutes, two oboes, english horn, two Bb clarinets, Bb bass clarinet, two bassoons, contrabassoon, four F horns, three C trumpets, two tenor trombones, bass trombone, tuba, timpani, percussion (three players), and strings.The piece is seven and a half minutes in duration and was premiered March 24, 2013 at Carnegie Hall, New York City, performed by the New York Youth Symphony, conducted by Joshua Gersen.The music of Run for the Sun follows a protagonist on foot, chased by an antagonist, dashing towards the setting sun as it beams down long boulevards, interrupted by skyscrapers.Two menacing melodies, initially heard in the horns (m.1) and trombones (m.23), represent the two characters, and become the themes of a double variation.They snake their way through the orchestral choirs, undergoing a harmonic and timbral expansion, using orchestrational strategies used by electronic dance music composers.Development of the variation themes, through interval doublings in the strings (m. 45), winds (m. 62), and brass (m. 120 & 195), was inspired by monophonic synthesizers, which have the ability to interpolate new sound partials and formants.  Industrial sounding percussion accompanies the variations: woods and metals create a skewed drum set, just as electronic composers might use digital clicks instead of hi-hats, or white noise in place of a snare drum to create an acoustically referenced electronic drum set.During the course of the composition, I use harmonic progression as a way to reflect the relentlessness of the chase scene.  The work opens in D minor and struggles to escape by moving upward to E (m. 33), F (m. 45) and G (m. 62).  D minor partially re-emerges throughout the work (m. 100 & 120, 195), while a mysterious slow middle section (m. 151) evokes a feeling of temporary safety.   Following a ;;heroic;; theme played by the horns (m. 224) and climactic pre-dominant and dominant harmonies (m. 248 & 254), the work heroically concludes in the key of D major (m. 258), as our protagonist escapes.