The Auditions. Ballet for chamber orchestra. Autograph map of form. Augusta Read b. 1964 THOMAS.
The Auditions. Ballet for chamber orchestra. Autograph map of form
The Auditions. Ballet for chamber orchestra. Autograph map of form
The Auditions. Ballet for chamber orchestra. Autograph map of form

The Auditions. Ballet for chamber orchestra. Autograph map of form

- 1f. map of form. 480 x 375 mm. Built on a timeline in black numbered from 0-5. A pair of vertical lines at 2' divides the map into two sections, each labeled at the top of the page: "Arc 1 / Resonant, Elegant, Spacious, Clean + Crystalline," "Arc 2 / Majestic + Energized." Immediately above the timeline are colorful graphic elements to represent musical quality, e.g., jellyfish shapes, combinations of dots, arcs, lines, hatches, floating dots, etc. With explanatory text in various colours immediately above graphics, mostly oriented perpendicular to the timeline. With composer's statement below the line in black and green: "Thought: Polished and nuanced sounds that always spark and catch fire from my spontaneous improvisations. My works are organic and, at every level, concerned with transformations and connections. / Embodied and spriited sound."

- 2ff. map sketches, one 216 x 395 mm., the other 216 x 278 mm. Sketches, both dated "Jan 2 [2c] 2019 / Ballet" at head of page. Both sketches show a roughly executed timeline executed in blue ink with various other colors. Farily specific durational notes are assigned to each section of the timeline along with basic tempo information. Composer's note attached to middle section of first sketch: "I worry that the energy flow gets confusing and less convincing."

- 1f. long map of form. 280 x 820 mm. 2 sheets of paper taped together to form one long horizontal sheet. One long timeline in black divided into 27 parts representing the 27 minute duration of the work. Above the timeline are 7 arcs of varying size representing the 7 movements of the work. Below the timeline, the composer has added the time each movement takes to perform. Each movement is numbered and designated "slow" or "fast."

In very good condition overall.

The Auditions was premiered on 14 November 2019 by the ICE Ensamble conducted by Vimbayi Kaziboni with the Martha Graham Dance Company directed by Janet Eilber.

"The Auditions takes place in two worlds - one ethereal, one grounded. It follows its musical framework closely, which, in a cyclical nature, pulses between two very distinct, imaginative sonic and dramatic worlds: “ethereal landscape” or “landscape paradise” and “the audition room.” Designed in seven arcs: slow, fast, slow, fast, slow, fast, slow, the work has a duration of 26 minutes, and is performed without a pause. We set out to make an agile and energized artwork whose flexibility would allow for a continually evolving braid of harmonic, rhythmic, lyrical, athletic, and contrapuntal elements, both in terms of music and movement. We collaborated closely for 18 months on the creation of this artwork. At every level, we are concerned with transformations and connections. The Auditions unfolds a labyrinth of musical and movement interrelationships and connections that showcase the dancers and musicians in a virtuosic display of rhythmic agility, counterpoint, skill, energy, dynamic range, clarity and majesty. At times gentle, delicate and spacious and at times vivid, virtuosic, and blazing, the ballet culminates in music and dance of enthusiastic, intrepid (almost Stravinsky-like) spirits while never losing their sense of playfulness and effervescence." Program notes by Troy Schumacher and Augusta Read Thomas

"The music of Augusta Read Thomas (b. 1964 in New York) is nuanced, majestic, elegant, capricious, lyrical, and colorful — "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 #34977

Price: $7,500.00  other currencies

See all items in Autographs & Manuscripts
See all items by