Tyshawn Sorey: For Olly Woodrow Wilson, Jr. by Edition Peters

Peters Contemporary Library

SOREY For Olly Woodrow Wilson, Jr. In Memoriam for Large Mixed Ensemble

Full Score

EP 68784

TYSHAWN SOREY

For Olly Woodrow Wilson, Jr. In Memoriam for Large Mixed Ensemble

Full Score

EDITION PETERS LEIPZIG

LONDON

NEW YORK

INSTRUMENTATION:

Bass Flute Cor Anglais B- Bass Clarinet Bassoon Horn in F Flügelhorn Bass Trombone Timpani (5) - 20, 23, 26, 29, 32 Mallet Percussion: Glockenspiel, Vibraphone, Tubular Bells (mallet types are indicated in italic font) Piano Harp Strings It is crusical that the Contrabass instrument used be a five string bass, where the B string is tuned down one whole step (lowest A on the piano).

Commissioned by the San Francisco Contemporary Music Players, Radio France, and Ensemble Intercontemporain Duration: approximately 20 minutes

PROGRAM NOTE: For Olly Woodrow Wilson, Jr. is a composition for ensemble in one movement. The music presented here is not necessarily a stylistic or mimetic homage to wilson’s music. Rather, the work is contemplative and stoic in mood and scope and takes its inspiration from two instrumental works composed by Wilson that have been of great importance for me Piece for Four (1966) and Akwan (1972). Fundamentally, the pitch materials employed herein directly dervie from both of these compositions in myriad ways (mostly unordered) while the overall structure of the music unfolds very slowly over time. The feeling of timelessness, somber fragmented melodic passages, and repetition are among the several features present in this composition. A performance lasts for twenty minutes. PERFORMANCE NOTES: 1) Tempo: This work is scored for only one tempo marking. It is crucial that the tempo of this work be performed as EXACT and ACCURATE as possible. The tempo (N = 36) is not mere suggestion, but rather an indication of the actual speed or the absolute fastest speed. The silences between “events” that are meticulously composed throughout is of critical importance here; these events should not occur in their succession too quickly, nor should they overlap unless suggested by how these overlaps are orchestrated. For these reasons, the piece must be performed at the indicated tempo and not faster than this. 2) All instrumentalists must play all passages with no vibrato and no attack/accent whatsoever for the duration on the performance, unless indicated otherwise. 3) Depending on room size and positioning of sections within the hall, all brass are encouraged to use straight or cup mutes for the duration of the performance if one encounters difficulty with balancing all brass instrumentalists with strings and winds. 4) Percussion: The vibraphone motor must be switched to the off position for the duration of the performance. The sustain pedals for the vibraphone, glockenspiel, and tubular bells must remain depressed throughout their respective passages (even during rests) until asked to switch to another instrument. Pedal releases may occur exactly where indicated. If the glockenspiel does not have a sustain pedal, the percussionist may perform all passages on a standard glockenspiel as written without dampening any of the bars on the instrument. 5) Piano: the pianist must keep the sustain and una corda pedals depressed for the duration of he performance (even during rests). The use of una corda is primarily a timbre concern and not necessarily that of volume; the pianist must play all sonorities fully and intently. Any revoicing of the sonorities written here is not allowed. 6) Harp: The use of the harp is similar to that of the piano for this composition. The harpist must refrain from dampening any strings (even during rests) for the duration of the performance unless it is absolutely necessary, in which case the harpist is required to navigate in between frequent sonorities (e.g., mm. 38-40). Any revoicing of the sonorities written here is not allowed. However, if there are difficulties with performing the sonorities in blocks, the harpist may break up the sonority in a way that is suitable for this piece. 7) Strings: Ensemble dynamics are generally very quiet with a few exceptions containing events at much louder volumes; e.g. the widened dynamic rage is a crucial point here. In the quieter sections of this piece it is very important that the string players’ passages are relatively balanced with the rest of the ensemble, even if this means that the string players perform louder by up to two dynamics from where they are indicated. The strings must be heard at the same level as the other instruments.

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Tyshawn Sorey

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.

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