1. An early diagrammatic plan mapping out the elemental form of the composition including tempi, rhythmic combinations, dynamics, "vertical high registers," "horizontal low registers," etc. 1 leaf, ca. 350 x 345 mm., cut from a larger sheet of music manuscript paper. Notated in black ink and pencil on one side of the leaf only. With a note at the foot of the sheet indicating that the piece was initially designed to be 13 minutes long; the final composition is between 17 and 18 minutes in length. With 4 cancelled measures of full score manuscript to verso and additional annotations in 5 columns in orange ink detailing various instrumental combinations. With a small yellow "post-it" note to the recto identifying the work: "Early Sketch - Starting to map out the form of Words of the Sea" in purple ink in Thomas's autograph.
2. Chordal sketches of portions of the work in groups of related numbered measures marked "Prime," "Tops" and "Middles," the various groupings outlined in coloured inks, with an outline of an initial plan of tonal progressions. 1 leaf, 550 x 344 mm. Notated on music manuscript paper in black ink on one side of the leaf only. With performance notes on percussion instruments, etc., to blank verso. Creased at folds; one long tear to central fold, not affecting notation. With a small yellow "post-it" note to the recto identifying the work: "These are Chords that I was sketching for Words of the Sea for Orchestra" in purple ink in Thomas's autograph.
3. Large autograph musical manuscript sketch leaf consisting of chordal groups and melodic lines demonstrating the composer's compositional methodology. 1 leaf, 478 x 350 mm. Notated on music manuscript paper in black ink on one side of the leaf only with portions highlighted in pink and red ink. With a small yellow "post-it" note to the recto identifying the work: "Chords & Lines from Words of the Sea" in purple ink in Thomas's autograph. An interesting manuscript documenting the building blocks of the work.
4. Large autograph musical manuscript sketch leaf for the first movement of the work in condensed score. 2 pp. Oblong folio, 356 x 432 mm. Notated on music manuscript paper in black, green, red, and blue ink and pencil. A working manuscript with autograph changes and corrections. With a small yellow "post-it" note to the recto identifying the work: "This is a sketche[!] from Words of the Sea for orchestra Mov. #1" in purple ink in Thomas's autograph.
5. Autograph musical manuscript sketch leaves from the second movement of the work. 4 pp. Oblong folio, 355 x 432 mm. + 2 pp. folio, ca. 205 x 240 mm. Notated on music manuscript paper in black, blue, red, and green ink. With numerous corrections, alterations, cuts, etc. Some portions in condensed score, others in piano score, and some simply melodic ideas. Each leaf signed by the composer. With a small yellow "post-it" note to the recto of the first leaf identifying the work: "These are first sketches from Mov. #2 of Words of the Sea for Orchestra These 3 pages [leaves] were stapled together in this order..." in purple ink in Thomas's autograph. A significant portion of the movement.
6. Autograph musical manuscript sketch leaves for the second movement of the work. 5-1/2 pp. Oblong folio, 350 x 432 mm. Notated on music manuscript paper in black, red, pink, blue, orange, and green ink, mostly in full score. With corrections, cuts, and composer's directions. Each leaf signed by the composer. With a small yellow "post-it" note
to the recto of the first leaf identifying the work: "These 5 Pages are the second sketchs[!] of Words of the Sea Mov. #2. 5 pages were stapled together..." in purple ink in Thomas's autograph.
7. Autograph musical manuscript sketch leaf for the third movement of the work. 2 pp. Oblong folio, ca. 280 x 350 mm., unevenly torn at lower portion. Notated in black and red ink and pencil. With an early sketch, partly diagrammatic and partly notational, with textual notations regarding instrumentation, timing, and structure to recto and notation in full score to verso, with deletions. With a small yellow "post-it" note to the recto identifying the work: "Early Sketch of Mov. #3 of Words of the Sea" in purple ink in Thomas's autograph.
8. Autograph musical manuscript sketch leaf for the third movement of the work. 2 pp. Folio, 355 x 265 mm. Notated in black, red, and sepia inks. With a small yellow "post-it" note to the recto of the first leaf identifying the work: "This is a sketch of Words of the Sea Mov. #3" in purple ink in Thomas's autograph. A preparatory sketch of melodic and rhythmic material.
9. Autograph musical manuscript sketch leaf for the third movement of the work. 2 pp. Oblong folio. 353 x 432 mm. Notated in black, blue, red, yellow, and orange ink and pencil. Five separately-developed extended melodic passages, including chordal references. With corrections, cancels, and composer's textual notes. With a small yellow "post-it" note to the recto identifying the work: "This is a sketch of Words of the Sea Mov. #3" in purple ink in Thomas's autograph.
Words of the Sea, in 4 movements inspired by the poem by Wallace Stevens entitled "The Idea of Order at Key West," was composed in 1995. The work was premiered and recorded by the Chicago Symphony Orchestra under Pierre Boulez in December of 1996 (Nimbus Alliance NI 6258).
"It is a vibrant series of aquatic images that had no difficulty standing alongside favorite pieces by Barber and Prokofiev..." Donald Rosenberg, The Cleveland Plain Dealer.
"Heart and soul in the breathtaking music of a thoughtful contemporary composer...reveals a lively, probing mind allied to a beating heart." Donald Rosenberg, Gramophone Magazine
"Augusta Read Thomas’s impressive body of works embodies unbridled passion and fierce poetry. Championed by such luminaries as Barenboim, Rostropovich, Boulez, and Knussen, she rose early to the top of her profession. Later, as an influential teacher at Eastman, Northwestern and Tanglewood, chairperson of the American Music Center, and the Chicago Symphony’s longest-serving resident composer, she has become one of the most recognizable and widely loved figures in American Music." American Academy and Institute of Arts and Letters
"a true virtuoso composer." The New Yorker
"Bliss out to Ms. Thomas's transfixing shimmer." The New York Times
"The music of Augusta Read Thomas (b. 1964) is majestic, it is elegant, it is lyrical, it is "boldly considered music that celebrates the sound of the instruments and reaffirms the vitality of orchestral music" (Philadelphia Inquirer). Her deeply personal music is guided by her particular sense of musical form, rhythm, timbre, and harmony. But given this individuality, her music is affected by history — in Thomas's words, "Old music deserves new music and new music needs old music." For Thomas, this means cherishing her place within the musical tradition and giving credit to those who have forged the musical paths she follows and from which she innovates. "You can hear the perfumes of my metaphorical grandparents," Thomas states. "There is a wonderful tradition that I adore, I understand, and care about, but I have my two feet facing forward." Thomas's vision toward the future, her understanding of the present, and her respect for the past is evident in her art. Most striking in her music, however, is its exquisite humanity and poetry of the soul. The notion that music takes over where words cease is hardly more true than in her musical voice."
"Born in Glen Cove, New York, Thomas was appointed University Professor of Composition at the University of Chicago in 2011. University Professors are selected for internationally recognized eminence in their fields as well as for their potential for high impact across the University. Thomas will become the 16th person ever to hold a University Professorship, and the fifth currently at the University. Additionally, she was the Mead Composer-in-Residence with the Chicago Symphony Orchestra (CSO) from May 1997 through June 2006, a residency that culminated in the premiere of Astral Canticle — one of two finalists for the 2007 Pulitzer Prize in Music. During her residency with the CSO, under the direction of Daniel Barenboim, Thomas not only premiered nine commissioned works, but also founded, along with Cliff Colnot, and curated the MusicNOW series. In addition to Barenboim, Thomas's music has been championed by other leading conductors including Pierre Boulez, Esa-Pekka Salonen, Oliver Knussen, Seiji Ozawa, Mstislav Rostropovich, Leonard Slatkin, David Robertson, Christoph Eschenbach, Ludovic Morlot, and Xian Zhang. Her music has been commissioned by leading ensembles and organizations around the world including: Love Songs (Chanticleer); Chanting to Paradise (NDR [German Radio] Orchestra); Song in Sorrow (The Cleveland Orchestra); Orbital Beacons, Aurora, In My Sky at Twilight, Ceremonial, Carillon Sky, Words of the Sea, Trainwork, Tangle, and Astral Canticle (Chicago Symphony Orchestra); Prayer Bells (Pittsburgh Symphony); Bells Ring Summer (La Jolla Chamber Music Society); Galaxy Dances, and Cello Concerto (National Symphony); Violin Concerto (Radio France and the BBC Orchestra); Helios Choros I (Dallas Symphony); Helios Choros II (London and Boston Symphony Orchestras); Helios Choros III (Orchestre de Paris); Pulsar (BBC); Terpsichore's Dream (Utah Symphony); Canticle Weaving (Los Angeles Philharmonic); and Cantos for Slava (ASCAP Foundation)."
"From 1993 to 2001, Thomas was an assistant professor, then associate professor of composition at the Eastman School of Music, and from 2001 until 2006 she was the Wyatt Professor of Music at Northwestern University. In 2007-2008, Thomas was a Visiting Scholar in the Department of Music in the Division of the Humanities at the University of Chicago. Frequently, Thomas undertakes short-term residencies in colleges, universities, and festivals across the United States and in Europe."
"Thomas studied composition with Jacob Druckman at Yale University, with Alan Stout and Bill Karlins at Northwestern University, and at the Royal Academy of Music in London. She was a Junior Fellow in the Society of Fellows at Harvard University (1991–94) and a Bunting Fellow at Radcliffe College (1990–91), and often teaches composition at Tanglewood. Thomas has also been on the Board of Directors of the American Music Center since 2000, as well as on the boards and advisory boards of several chamber music groups."
"In addition to the numerous commercial recordings of her music available on major record labels, Thomas has released five of her own albums independently." musicsalesclassical.com/composer/long-bio/Augusta-Read-Thomas, December 2013. Item #28318
Price: $7,500.00 other currencies