Large oblong folio (483 x 889 mm; 19" x 35" ); two sheets taped together to make one large leaf. Executed in various colors of ink including black, brown, green, red, orange, yellow, and pink. Title, subtitle, and dedication to head of page: "Hemke Concerto / 'Prisms of Light' / Dedicated with admiration nd gratitude to William Boughton, Fred Hemke and the New Haven Symphony / Comissioned to honor the legacy of Dr. Frederick L. Hemke from his students, colleagues and friends." Title decorated with prismatic shafts of colored ink around and behind writing.
Map of form anchored on a timeline in black numbered from 0 to 20 extending across horizontal center. Above timeline, layers of arcs denoting both large and sub-sections, with uppermost layer showing four main sections with distinct colors and titles: "Part I: Illuminations" in pink, "Part II: Sunrise Ballad" in green, "Part III: Chasing Radiance" in orange, and "Part IV: Solar Rings" in pink; two sections marked "Transition" in red between parts I-II and parts III-IV. Between large colored arcs and timeline are additional arcs in black pen marking smaller sub-sections, with graphic representation of musical material below; graphics include rhythmic pattterns and articulations, colored lines, squiggles, hatch-marks, bubbles, and color blocks. Some limited textual indications of instrumentation and character descriptions are also included above the timeline. Below the timeline are textual descriptions of the musical character of each sub-section, e.g., "Energetic + Spirited," "Dramatic," Energized Driving Capricious," etc., each separated by vertical solid or dotted lines. Below character descriptions are tempo indications and total durations corresponding to large sections.
Diagram of orchestral stage layout to upper left; composer's note to upper right: "There are only 6 dynamics: 'pp p mp mf f ff" so that each 'level' of volume has a clear meaning."
In good condition. Some creasing to right margin and lower right corner.
- Sketch of form. Oblong quarto (214 x 276 mm; 8.5" x 10.9"). Executed in black and blue ink on verso of page of printed music. Title and date in manuscript to lower left corner "Messy sketch of Prisms of Lights / Map of Form / 2013." Signed and dated by composer at lower right "Augusta Read Thomas / (2013)." Quite creased; left edge ragged; dampstained.
- Musical sketches: 2 ff. (368 x 247 mm). Executed in black, red, purple, and yellow ink on 20-stave beige Judy Green P-522 music paper, rectos only.
Page 1: section title, main title and date to head of page: "Opening - Illuminations - / Prisms of Light - Hemke Concerto / (2013).". Signed and dated by composer at lower right margin in pink "Augusta Read Thomas / 2012." Musical sketches notated in short-score form with saxophone solo and treble melodic line. Corrections and amendations in purple ink, additional conceptual notes in green and brown ink with yellow highlights.
Page 2: title to head of page: "Prisms of Light, cont." Initialed and dated by composer to lower right corner in pink "ART (2012)." Premiere notes to lower left margin, boxed in red ink: "Premiered by Fred Hemke, William Boughton, conducting, New Haven Symphony. Musical notation in four numbered collections of pitches with instruction "each chord shimmers + then melts" with an arrow leading to graphic representation of chords diminishing in black, yellow, and pink ink.
The Hemke Concerto premiered on 27 February 2014 by the New Haven Symphony with Frederick L. Hemke (saxophone), conducted by William Boughton.
"The dramatic Hemke Concerto, Prisms of Light (2014) was commissioned as a retirement gift for legendary saxophonist and pedagogue Frederick L. Hemke by many of his students past and present. (Hemke was Thomas's colleague during her years on the faculty of Northwestern University). Hemke Concerto represents a new high point for Thomas's pursuit of the luminous — the music truly explodes with sun-infused vigor. The four sections bear typical Thomas titles: Illuminations, Sunrise Ballad, Chasing Radiance, and Solar Rings. The work overall possesses a fast — slow — fast shape, with the duration of the first, second, and third/fourth (combined) sections forming equal thirds of about seven minutes each. The opening "Illuminations" begins with a blaze. The orchestra and saxophone interact spiritedly, with the orchestra often merging the saxophone into its glittering texture. The second section begins slowly and lyrically, and gradually builds in intensity to a sonorous climax. The short third section is a scherzo-like caprice and leads into the final "Solar Rings" — music that raises the energy and luminosity of the opening to a new height, before ending in one of Thomas's most ecstatic blazes. This concerto is music that almost requires the listener to wear sunglasses — exploring fully the saxophone's capacity for both lyrical, human expression and glorious, otherworldly color." Carson Cooman, on 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.
Price: $12,500.00 other currencies