Selene (Moon Chariot Rituals). Octet for percussion quartet and string quartet. A large and exceptionally dynamic original diagrammatic map drawing by the composer in brightly-coloured inks, accompanied by a number of graphic elements and drawings. Signed by Thomas in the right margin. Augusta Read b. 1964 THOMAS.

Selene (Moon Chariot Rituals). Octet for percussion quartet and string quartet. A large and exceptionally dynamic original diagrammatic map drawing by the composer in brightly-coloured inks, accompanied by a number of graphic elements and drawings. Signed by Thomas in the right margin.

1 leaf. Large oblong folio, ca. 19" x 29.5" (432 x 749 mm.). Printed on Judy Green music paper P-564.

The central element of the map consists of an illustrated timeline of the composition in 18 minutes accompanied by annotations in brightly-coloured inks relating to various elements of the work including instrumentation, dynamics, tempi, and harmonic concepts ("outlining harmonies are Interlocking Chasing lines").

These ideas are further developed with additional text expanding performance indications, including such idiosyncratic directives as "Playful & Optimistic," "Capricious & Energized Like a chase," "Dancing on tip-toes," etc.

With bright bands of colour extending along the timeline parallelling specific tempo markings and performance directives and additional graphic elements woven along the timeline including wavy lines, dots, dashes, etc. and a text block including the autograph notation "Formal Concerns: Braiding, twing, twisting... encircling interplaiting...," incorporating interlocking lines of colour.

The pictorial elements include an image of Selene in her chariot being drawn by a waxing crescent moon in the lower right corner, with accompanying text reading: "In Greek mythology, Selene, goddess of the moon, drives her moon chariot across the sky and the heavens. She is the sister of Sun-god Helios and of Eos, goddess of the dawn" and an image of the Earth surrounded by stars in the upper left corner.

With the composer's calligraphic autograph notes on the commissioning and premiere of the work by Third Coast Percussion & Jack Quartet on March 5, 2015 at the Miller Theatre at Columbia University in New York and at the Tanglewood Music Center on June 25, 2015 at head.

Interestingly, Thomas notes "To be performed with dancers when feasible," an intriguing additional dimension of the work.

An highly attractive example of the graphic representation of a musical composition, both manuscript and visual art.

"Selene... is scored for the unusual combination of string quartet and percussion quartet, and specifically for a collaboration between two of the more intrepid and adventurous performing groups in the country today: the JACK Quartet and Third Coast Percussion... In classical mythology, Selene was the moon's charioteer, as Helios was the sun's. Selene (Moon Chariot Rituals) develops a narrative arc that features the string quartet and percussion quartet as opposed ensembles; as individual personalities in solo roles against the rest of the ensemble; and as a kind of meta-quartet, the two groups melding their timbres as closely as possible. The beginning of the piece establishes frenetic, unstable energy, which levels out and calms briefly before locking into propulsive, dancing motion. Kaleidoscopic combinations of instrumental colors focus our attention alternatively on rhythm or pitch, with brief moments of repose."

Thomas composed this piece for Third Coast Percussion, who won the 2017 Grammy in the Best Chamber Music/Small Ensemble Performance category.

"Heart and soul in the breathtaking music of a thoughtful contemporary composer...reveals a lively, probing mind allied to a beating heart." Donald Rosenberg in 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.", December 2013.

Item #28319

Price: $5,000.00  other currencies

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