Tyshawn Sorey: For Marcos Balter

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Peters Contemporary Library

SOREY For Marcos Balter for Violin and Orchestra

Full Score

EP 68781



TYSHAWN SOREY

For Marcos Balter for Violin and Orchestra

Full Score

ALLE RECHTE VORBEHALTEN

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ALL RIGHTS RESERVED

EDITION PETERS LEIPZIG

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LONDON

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NEW YORK


INSTRUMENTATION: Alto Flute Cor Anglais 2 B- Clarinets Bassoon 2 Horns in F (straight mute or hand stopped) B- Trumpet (straight mute required) Bass Trombone (straight mute required) Timpani (23", 26", 29", 32") 1 Percussionist: Vibraphone, Medium Suspended Cymbal, Large Tam-tam, Bass Drum (requires soft marimba mallets, timpani mallets, and two cello/double bass bows) Piano (lid half stick or no lid if no una corda pedal is available) Solo Violin Violin I (3 players) Violin II (3 players) 2 Violas 2 Violoncelli 1 Double Bass (5 string, or 4 string with C extension)

DURATION: approximately 38 minutes


PROGRAM NOTE: For Marcos Balter is the second of two single movement compositions for soloist and orchestra composed during the politically and environmentally tumultous year of 2020 and draws a great deal of inspiration from my friendship and colleagueship with the composer over the years. This composition could be viewed as a “concerto for violin,” but in many senses it is anything but a “concerto.” I would call such a work a subtle critique of the genre: a “non-certo” (to coin a term), in that while this composition does feature the violin, it does not do so in a way that is traditionally done in similar works. Rather, the violin is more subtly present throughout the entirety of the piece. Unlike many concertos which often contain three or more movements (usually, but not always in a fast-slow-fast tempo schema), For Marcos Balter is a single movement work for violin and orchestra that is in many ways evocative of meditation and timelessness. Like For Roscoe Mitchell (2020) for cello and orchestra, this piece calls for both the soloist and the orchestra to be heard together as a single unit in conversation with itself and not as a duel between the two. The typical soloist-orchestra hierarchy that is often demonstrated in the concerto genre is not present anywhere - the soloist is not the protagonist; the orchestra is not the antagonist; there are no flashy, technical passages to listen for; and, finally, there is no cadenza to close out the piece for a “heroic” ending. This is what one might call a “spectral work” that is more about the love of sonorities (sounds) existing as themselves, and the near to total absences of these sounds; put another way, the object of the piece is really about staying in the moment with each sound and sonority heard - not about “what’s next.” Disclaimer: As I often do not like to publish program notes (a dislike that has long been widely noted), I believe that the perspective of the person experiencing the music should not be for me to concern myself with too much. What the person hears is solely informed by their own experiences - musical and unmusical (In fact, this is true of all music). However I felt it perhaps neccesary to publish notes here, given the nature of what is “expected” in this composition, ad nauseum. This is all to request for the performers and listeners to put all expectations aside, expect nothing, and simply let the piece do what it does. I hope that this music speaks to the listener in some way or another. This work was commissioned by the New Jersey Symphony Orchestra and the Detroit Symphony Orchestra with assistance from the ARCO Collaborative.

PERFORMANCE NOTE: 1) All instrumentalists, excluding the soloist, must play all passages with no vibrato and no attack whatsoever for the duration of the performance. 2) Depending on room size and positioning of the section within the hall, all brass may/must use mutes for the duration of the performance. 3) Vibraphone motor must be completely switched off for the duration of the performance. The sustain pedal must remain depressed for the duration of the performance. All sonorities must be played fully and at the same dynamic level as the pianist and soloist. 4) The pianist must keep the sustain and una corda pedals depressed for the duration of the performance, even while not playing. The use of una corda is primarily a timbre concern and not necessarily that of volume; the pianist must play all sonorities fully and (mostly) at the same dynamic level as the vibraphonist and soloist. 5) All accidentals apply only to the notes which they precede and carry through a given measure. Cautionary accidentals are also provided in several passages. 6) Dynamics are generally very quiet with rare instances of events at louder volumes; e.g. P should be the resulting dynamic heard for most of this piece; the string players’ passages must be relatively balanced with the rest of the orchestra and simultaneously under the soloist (marked P). 7) In an ideal performance, it is preferred that the soloist is seated near or within the orchestra (next to concertmaster, on a chair or a stool) - not standing in front of the orchestra. During the Covid-19 pandemic, however, all safety measures supercede this preference; the position of the soloist may be handled at the soloist’s and/or the conductor’s discretion.



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Tyshawn Sorey

Photo © John Rodgers

Described by the New York Times as 2020’s “composer of the year,” Newark-born composer and multi-instrumentalist Tyshawn Sorey (b. 1980) is celebrated for his incomparable virtuosity, his effortless mastery and memorization of highly complex scores, and an extraordinary ability to blend composition and improvisation in his work. His highly acclaimed and prolifically recorded work as a jazz composer, bandleader and performer is intertwined with a growing catalogue of his music written for many of America’s most celebrated classical ensembles and soloists. He has composed works for the L.A. Philharmonic, the International Contemporary Ensemble, JACK Quartet, Jennifer Koh, Alarm Will Sound, the Seattle Symphony, and Lawrence Brownlee. Sorey joined the composition faculty of the University of Pennsylvania in the fall of 2020. Tyshawn Sorey wurde 1980 in Newark (New Jersey) geboren und 2020 in der New York Times als „Komponist des Jahres“ bezeichnet. Sorey, ein Komponist und Multinstrumentalist, wird für seine unvergleichliche Virtuosität, sein müheloses Einstudieren und Auswendiglernen von sehr komplexen Partituren und seine außergewöhnliche Fähigkeit, Komposition und Improvisation in seinen Werken zu verbinden, gepriesen. Seine hoch gelobte Musik, die er als Jazzkomponist, Bandleader und Interpret schuf, wird häufig eingespielt und er komponiert mehr und mehr Werke für die renommiertesten klassischen Musikensembles und Solisten in Amerika. Er komponierte Werke für die Los Angeles Philharmonic, das International Contemporary Ensemble, das JACK Quartet, Jennifer Koh, Alarm Will Sound, die Seattle Symphony sowie für Lawrence Brownlee. Im Herbst 2020 übernahm Sorey einen Lehrstuhl im Fachbereich Komposition an der University of Pennsylvania.

EDITION PETERS GROUP L E I P Z I G

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L O N D O N

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N E W

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