AUREOLE For orchestra. Commissioned by the DePaul University School of Music on the occasion of their Centennial ... conceived to precede a performance of the Beethoven Synmphony No 9 in D minor, Op. 125. Augusta Read b. 1964 THOMAS.

AUREOLE For orchestra. Commissioned by the DePaul University School of Music on the occasion of their Centennial ... conceived to precede a performance of the Beethoven Synmphony No 9 in D minor, Op. 125

Original art map drawing executed in black and various brightly-colored inks. Signed by the composer at upper right corner: "Augusta R. Thomas." 1 leaf. Oblong folio (11" x 17", ca. 280 x 432 mm).

A dynamic visual representation depicting the nine sections of the work, each consisting of text, symbols, and/or musical notation defined by upright rectangular blocks, each outlined in a different color, with specific times relating to the stages of the work's progression indicated, the whole anchored by a single horizontal line representing the 8-1/2-minute duration of the piece.

With metronome markings, explanatory notes, and performing directions above and below each block indicating pitch, dynamics, etc., and with various additional notes including "F# is hinted at ... because Beethoven is in D minor & later D major." With printed dedication to Dr. Donald E. Casey, Jr. at head.

First performed in Chicago on May 29, 2013 by the DePaul University Orchestra, Cliff Colnot conducting.

"The title, AUREOLE, refers to an encircling ring of light; radiance surrounding the head or the whole figure in the representation of a sacred personage or saint; a halo of concentric circles of light seen around a lumninous body, especially around the sun or moon. AUREOLE alludes tangentially to certain fundamental tonal centers of Beethoven Symphony Number 9 in D minor Op. 125." Augusta Read Thomas, program note

"Surely the sacred personage in this situation is Beethoven himself. Thomas' use both of tonal centers and intervals crucial to the Ninth Symphony is a musical aureole around the earlier composer's work." Michael Lewanski, program note

"While ... she didn't write the music specifically considering that most people would hear it for the first time through a computer speaker - believing that it will work just as well in a concert hall - she did acknowledge considering how performing alone might present different challenges for the mnusicians than performing in the same room ... In no way do I want this to be thought of as the COVID piece, she says. I feel I'm reaching for miuch broader themes, something that could be played for years to come ... Beyond the details of the work, she emphasizes a spiritual component of continuing to create art in a difficult time ... And that perhaps there's a particular beauty for writing something that unites musicians in performance from their individual homes." From the composer's website

"The music of Augusta Read Thomas ... 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

"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 became the 16th person ever to hold a University Professorship. 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, Lorin Maazel, David Robertson, Christoph Eschenbach, Ken-David Masur, William Boughton, Vimbayi Kaziboni, 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); Gathering Paradies (New York Philharmonic); Sweet Potato Kicks the Sun (Santa Fe Opera in association with San Francisco Opera and 7 other opera houses); Far Past War (The Washington Choral Arts Society); Sun Dance (Indianapolis Symphony); Prayer Bells (Pittsburgh Symphony); Bells Ring Summer (La Jolla Chamber Music Society); Galaxy Dances, and Cello Concerto (National Symphony); Violin Concerto #3 (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. She taught for many years at the Tanglewood Music Festival and at the Aspen Music Festival. 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 is Vice President for Music, The American Academy of Arts and Letters; member of the Board of Directors of The Aaron Copland Fund for Music, Inc.; member of the Board of Directors of the Koussevitzky Foundation; member of the Board of Directors of the Alice M. Ditson Fund at Columbia University; and member of the Conseil Musical de la Foundation Prince Pierre de Monaco.

She was on the Board of Directors of the American Music Center for 11 years from 2000 to 2011; Chair of the Board of the American Music Center, a volunteer position, from 2005 to 2008; on the board of the ICE (International Contemporary Ensemble) for many years; on the boards of several chamber music groups; and was Director of the Festival of Contemporary Music at Tanglewood in 2009.

In 2013, Nimbus Records embarked on a project to record her complete works and has released 8 CDs to date; 89 CDs containing her music have been released by commercial record companies.

Thomas is a member of both the American Academy of Arts and Letters and the American Academy of Arts and Sciences.” The composer’s website.

Item #34926

Price: $3,800.00  other currencies

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