Oblong folio (482 x 737 mm; 19" x 29"). Executed in various bright colors on heavy ivory paper. Title to center of upper margin: "!hope / (for SSSAA Choir)" with premiere, commission, and dedication surrounding title: "World premiere took place on October 20, 2017 on the occasion of the dedication of the Cynthia M. Sargent Concert Salon"; "Commissioned by the Wellesley College Music Department for the Chamber Singers, directed by Dr. Lisa Graham;" "Dedicated with admiration and gratitude to Cynthia M. Sargent; "Text by E.E. Cummings."
Map of form built along horizontal timeline stretched across center of page numbered from  to 8. Above timeline, a combination of colorful graphics, lyric text, pitches (given in letter names), music notes, and rhythmic stems with beams depicting the progression of the musical work. Text in pink attached to vertical lines pointing to specific moments along timeline provide instruction and description of musical character, e.g., "Crystaline and transparent;" "As if restarting," "Gradually getting more intense," etc. Immediately below timeline, brackets and text denote sections of counterpoint or homophony/homorhythm. Below that, a map of the general dynamic changes with instructions regarding vibrato. Behind and surrounding the dynamic and vibrato instruction, towards the right side of the page, is a colorful "starburst" shape composed of dots and lines. To the left of the starburst, a drawing of two hands clasped with the text "Wellesley's Motto: 'Non Ministari sed Ministarel.' " To the upper right and left corners of page, drawings of the night sky with bursting fireworks (left) and the moon with stars (right).
In near-fine condition.
Premiered on 20 October 2017 by Wellesley College Chamber Singers under Lisa Graham.
"An elegant, musical braid of the E. E. Cummings text between the five (SSSAA) equally important vocal parts starts very delicately on quiet and poetic perfect fifth. Gradually, across an 8-minute duration, the vocal colors and lyric imagery unfold with passionate energy to a radiant and intense climax. This is followed by a peaceful, optimistic coda which brings !HOPE to a still, meditative culmination. Members of the Wellesley College Chamber Singers describe the song with these words: “reflective, grounded, ethereal, reminiscent, purposeful at how it takes its time to express the poem, suspension of time and place with a contrast of contraction and movement, glassy, fluid, and efflorescent.” 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: $12,000.00 other currencies