Resounding Earth for percussion quartet and bells from around the world. Autograph sketches. Augusta Read b. 1964 THOMAS.
Resounding Earth for percussion quartet and bells from around the world. Autograph sketches
Resounding Earth for percussion quartet and bells from around the world. Autograph sketches
Resounding Earth for percussion quartet and bells from around the world. Autograph sketches
Resounding Earth for percussion quartet and bells from around the world. Autograph sketches

Resounding Earth for percussion quartet and bells from around the world. Autograph sketches

Three leaves containing autograph musical, diagrammatic, and textual sketches of movements 1-3 [of four].

Movement 1
Notated in black and multi-colored inks on 20-stave Judy Green music paper. 368 x 248 mm; 14.5" x 9.75."
Recto: "Resounding Earth for 300 Bells from around the world. Thoughts - Invocation Pulse Radiance"
Verso: Composer's autograph notes on performance, titles of the four movements and names of composers to whom each movement is written in homage:
I. Invocation - Pulse Radiance (Messiaen and Stravinsky)
II: Prayer - Star Dust Orbits (Berio and Boulez)
III: Mantra - Ceremonial Time Shapes (Harrison and Ligeti)
IV: Reverie - Crystal Lattice (Varèse, Partch, and Cage)
With "Composed for T.C.P. August (Homage to Messiaen + Stravo [Stravinsky]" in turquoise ink to foot of recto.

Movement 2
Notated in black and multi-colored inks on 20-stave Judy Green muisc paper. 368 x 248 mm; 14.5" x 9.75."
Recto: Resounding Earth (cont.) Prayer Star Dust (Thoughts Orbits)
Verso: Composer's autograph note: " ... Everything that we are made of, everything that we know and love, is made from the stars ... United-Nations-of-Resonances." The "thoughts" consist of both general compositional ideas (such as tuning, color, harmonic rhythm, and the overall architecture of the work) as well as specific details relating to tempo, instrumentation, etc.
With "Composed for T.C.P. Augusta R. Thomas (Homage to Berio and Boulez)" in turquoise ink to foot of recto.

Movement 3
Mantra-Ceremonial Time Shapes
1 leaf composed of 4 small sheets of paper (each ca. 4" x 5") with pitches of the various bells ("Gongs," "Noah," and "Burma") to be played in the third movement of the work notated in black ink, with names of performers and several pitches highlighted in pink or blue ink. Laid down to verso of a computer-generated photograph entitled "Sounding Pitches" depicting 3 percussion players performing the work, with pitches of the numerous bells and gongs in the photograph added in manuscript highlighted in yellow. Written in homage to Lou Harrison and György Ligeti.
Signed "A.R.T." in dark purple ink vertically at lower right margin.

A fourth movement was completed in 2012 and uses bells from various parts of the world, involving some 300 pieces of metal. The piece received its first performance by the group Third Coast Percussion at the University of Notre Dame in South Bend, Indiana on September 30, 2012.

"Resounding Earth can be heard and imagined as a United-Nations-of-Resonances. Scored for four percussionists playing bells from a wide variety of cultures and historical periods, the project is conceived as a cultural statement celebrating interdependence and commonality across all cultures; and as a musical statement celebrating the extraordinary beauty and diversity of expression inherent in bell sounds."

"Probing into bells' rich meanings and characteristics as carriers of history, ethnicity, societal and cultural connotations is a joy and wonder. Bells can be used to celebrate grand occasions, hold sacrificial rites, keep a record of events, give the correct time, celebrate births and weddings, mark funerals, caution a community, enhance any number of religious ceremonies, and are even hung around the necks of animals. As carriers of history and culture, bells, of numerous shapes, sizes, types, decorative patterns, weights, functions, and cultural connotations, enrapture and inspire."

"Bells are central to Augusta's music; bells permeate her music. For over 25 years, in every work for orchestra, and in many for smaller ensembles, she has been composing music frequently using percussion consisting of bell sounds (pitched metal percussion and all the mallet percussion instruments) many of which h=ave their origins in other than Western musical cultures. As such, her new piece is an extreme extension of work she has been doing for decades." The composer's website

Premiered on 22 July 2017 by Third Coast Percussion at DeBartolo Performing Arts Center at Notre Dame University.

"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 #34931

Price: $2,000.00  other currencies

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