Points of Departure-Roshanne Etezady

POINTS OF

DEPARTURE FOR CONCERT BAND AND SOPRANO SOLOIST

ROSHANNE ETEZADY 2009

POINTS

OF DEPARTURE

ROSHANNE ETEZADY 2009 **REVISED FINAL DRAFT: 12/17/2009** approximate duration: 15 minutes

INSTRUMENTATION: Piccolo Flute 1 & 2 Oboe English Horn E-flat Clarinet B-flat Clarinet 1-3 Bass Clarinet Bassoon 1 & 2 Soprano Saxophone Alto Saxophone Tenor Saxophone Baritone Saxophone C Trumpet 1-4 F Horn 1-4 Trombone 1-4 Euphonium Tuba Double Bass Piano Timpani Percussion 1-4 Triangle, Police Whistle, Wind chime, Hi-Hat, Suspended Cymbal, Cowbell “Telephone” Castanets, Maracas, Shaker, Woodblocks (H, L), Tambourine, Cabasa, Vibraslap, Ratchet, Whip, Bongos (H, M), Toms (M, L), Timbales, Bass Drum Glockenspiel, Crotales, Vibraphone, Marimba, Steel Drum

Soprano soloist

PROGRAM NOTE: Points of Departure is a fifteen-minute song cycle (movements performed without pause) that uses the theme of different modes of travel as a unifying factor through the voices of four different personae. The first character we hear from is a travel agent, which seemed fitting in a piece about motion and transportation. The piece begins by catching the agent during a busy day at the office – the phone keeps ringing, and she has to deal – politely! – with some rather difficult customers. Much of this movement is inspired by “true” stories I discovered in various travel agent blogs, including the fact that a surprising number of male callers to travel agencies apparently have the name “James.” In movement 2, we hear from the point of view of a teenage girl who is about to take her driver’s license test. This movement alternates between “quasi recitative” singing, when she recounts actual facts and events, and more melodramatic episodes, which are figments of her memory and imagination. The third movement begins with the protagonist, herself an amateur pilot, musing on famous female pilots (Amelia Earhart, Gertrude “Tommy” Tompkins Silver) who died tragically young, but achieved incredible goals at young ages. For her, learning to fly is a therapeutic escape from everyday life, and perhaps a metaphor for all that she has yet to accomplish in her own life. A cruise ship entertainer is featured in the final movement. Working as a musician on a cruise ship seems like it would be a fun, glamorous job – until you think about the extreme working conditions! Singers can bank on singing several shows every night, rehearsing during the day, and living for weeks in close quarters with a roommate whom they may or may not enjoy. While their audiences are there to enjoy themselves, singers are hard at work, away from home for weeks or months at a time, basking in the spotlight when time allows. Although I conceived of each of these movements separately, there are certain dramatic elements that tie them together. For example, it’s possible that the gentleman who telephones the travel agent in movement 1 to complain about his Orlando vacation may be the father of the young woman in the second movement, whose story begins in Orlando, on vacation with her family. The “cruise ships with round-the-clock gourmet buffets” described in the first movement seem like the type of ship the singer from the last movement is contracted on for three months. Family relationships are also an important theme throughout the piece: the young driver talks quite a bit about her mom and dad, while the pilot ruminates extensively about her role as a mom, and her sense of individuality after her divorce. It also seems fitting that the theme of freedom runs through the piece. The travel agent helps people realize their fantasies of getting away from it all; the teenager is on the brink of the freedom of adult life; the amateur pilot feels truly free only in flight; the cruise ship singer may be homesick for the liberty of her life on dry land. Special thanks to particular individuals who shared their own experiences with me as I was writing the text for this piece: Susan Doyle (of Mill Avenue Travel), Tara Fayazi, Jeff Siegfried, and Justin Reich.

POINTS OF DEPARTURE TEXTS WRITTEN BY ROSHANNE ETEZADY

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I’ve been a travel agent for thirty years I can say it’s a really terrific career For someone like me, who’s outgoing and quick Someone with a knack for the politic Even when faced with a customer who’s appalling

I was twelve years old My family was on vacation In Orlando, Florida And the rental car was an automatic! My dad let me get behind the wheel And coast around and around and around the hotel parking lot For what seemed like an hour. I don’t think I touched the gas pedal once But I felt wild, and free, and grown-up. We went to Disney the next day I don’t remember one thing about the park – Not one ride, not one smiling cartoon princess – But I remember everything about that car.

Amelia Mary Earhart July 2, 1937 Disappeared over the Pacific Ocean. She was forty

Though most of my callers are friendly and sweet Some of them, frankly, are less than a treat. Thousands and thousands of incoming calls I send them off, one and all With “have a nice day, and thanks for calling!” So many callers, so many names – How are so many of these men called James? Half of them won’t know their departure date Half of them will want the bereavement rate The other half won’t know the day that they want to return. Sometimes they’re not great with geography So all of the details are left up to me: A week in the city? A month by the shore? A luxury spa with inclusions galore? You know the logistics are purely my concern. Maybe sometimes they ask for the moon and the stars Four-star hotels and luxury cars Cruise ships with round-the-clock gourmet buffets Trips to the Congo for two or three days Walking tours traipsing through Amsterdam Bicycle tours of Viet Nam “Of course, I can help you out, with that, Ma’am!” I give them peace of mind. Everyone wants to get away The fantasy of the “come-what-may” It’s human nature to want to roam To search for adventure far from home We all have different points of departure The drum is different for every marcher But when I take aim like an Olympic archer You’ll leave your cares behind.

It was a tan Ford Tempo with gray interior It smelled like cigarettes, and mildew, And maybe just a hint of spoiled milk And it was awesome. And now, it’s years later I’m seventeen, and I’m taking my driving test soon. My dad seems pretty freaked out; It’s like he sees me behind the wheel, and pictures me On dates with boys or driving to college or carting my own kids around someday… But he doesn’t say that. Instead He says: “Gas is expensive! Cars are expensive! Cars are dangerous The road is dangerous Other drivers are dangerous Danger is dangerous Danger is dangerous! My mom is teaching me to drive. I’m not worried about the driving test. Maybe I’ll pass the first time, maybe I won’t. The thing I wonder about is the day after the test. Where will I go when I can go anywhere? I could go anywhere, with anyone… … don’t tell my dad I said that! Who will I be…? (It will be awesome!)

Gertrude “Tommy” Tompkins Silver October 26, 1944 Took off into the late morning fog Over Santa Monica Bay And was never seen again. She was thirty-two I’m 37 I’ve wanted to fly my whole life But my life got in the way So two teenaged kids And one divorce Later I’m ready to take to the sky In the air, it’s just me and the plane Skimming through the troposphere Floating on an ocean of sky Staring into infinite blue I may never fly solo across the Atlantic Or break the Transcontinental Speed record But before I go back to being Mom For a few hours I can be Captain of the sky

IV. Welcome aboard, sit back and relax Enjoy the cash bar, throw back a few snacks You’re all here on vacation, but I’m hard at work Life on a cruise ship can drive you berserk During the day I rehearse and sing scales and look for a place to check my email. Don’t get me wrong – it’s a beautiful trip But three months is a long time to live on a ship Three shows a night Six nights a week To sing on a cruise ship is really unique Six nights a week Twelve weeks so far – For a handful of hours, I shine like a star After shows I go back to my minuscule room Which I share with a girl Who wears too much perfume In the morning I start drinking gallons of tea To repair and prepare for the shows ahead of me We tear through our set list, we take some requests I pull them all off with panache and finesse The band is made up of some really great guys, But part of me can’t wait to say my goodbyes and go HOME…. Home to my family, home to my friends Home to routine of weekdays and weekends Home where the ground is solid and dry Until then I just have to try… to go get ready for Three shows a night Six nights a week To sing on a cruise ship is really unique Six nights a week Twelve weeks so far – For a handful of hours, I shine like a star

commissioned by the United States Military Academy Band, Lt. Col. Timothy Holtan, conductor

Transposed Score

POINTS OF DEPARTURE

**revised final draft**

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&

ã

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C Tpt. 3

Perc. 2

bœ

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Y

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‰ œj œ œ

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solo

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ã

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17

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Perc. 4

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C Tpt. 2

Timp.

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Pno.

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D.B.

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Euph.

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Œ

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&

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C Tpt. 1

Tbn. 2

Ó

‰

∑

years.

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j œ. P

j œ.

‰

∑

17 Sop.

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j b œ. P œ. J P b œ. J P

∑

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for

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4

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B b Cl. 2

&

B b Cl. 3

B. Cl.

25

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S. Sx.

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T. Sx.

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&

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B b Cl. 1

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friend

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C Tpt. 2

&

∑

∑

∑

∑

∑

∑

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C Tpt. 3

&

∑

∑

∑

∑

∑

∑

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C Tpt. 4

&

∑

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∑

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25

&

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Œ

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Tbn. 1

Tbn. 2

Tbn. 3

Tbn. 4

Euph.

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n˙

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bœ

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j œ

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ly

C Tpt. 1

Hn. 1

‰

Œ

∑

∑

∑

∑

∑

∑

∑

∑

bœ

j œ

5 32 Picc.

Fl. 1

Fl. 2

∑

& & &

w w w

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π

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&

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&

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B b Cl. 2

&

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B b Cl. 3

&

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B. Cl.

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S. Sx.

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A. Sx.

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T. Sx.

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E. Hn.

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π

32 Bsn.

32 Bsn. 2

Ó

32 Sop.

Œ

& ˙.

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j Ó œ.

b œ. ‰ Œ J

them, frank

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ly,

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are

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&

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C Tpt. 2

&

∑

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C Tpt. 3

&

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Tbn. 1

Tbn. 2

Tbn. 3

Tbn. 4

Euph.

Tuba

?

Pno.

j b œ. ‰

‰

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32

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p

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a treat.

C Tpt. 1

C Tpt. 4

j œ. ‰

œ œ ˙

than

˙

Ṗ

Œ

œ

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Ṗ

j œ. ‰ Œ

bw p

bœ nœ Nœ œ œ bœ œ œ

P

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&

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Ob.

bœ bœ bœ bœ Nœ bœ œ bœ P

RATCHET

TRIANGLE

b b ˙˙˙˙ .... >

j bœ >

j bœ >

˙ ˙

˙

œ ∑ ∑ ∑

f

œ

40 Picc.

Fl. 1

Fl. 2

Ob.

E. Hn.

E b Cl.

B b Cl. 1

B b Cl. 2

B b Cl. 3

B. Cl.

Bsn.

& & & &

b >œ

# >œ

b >œ

# >œ

b >œ >œ

& &

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3

>œ

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b >œ

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3

3

b >œ

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3

b >œ

b >œ bœ >

3

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# >œ

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3

# >œ

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>œ > œ

# >œ

# >œ

? œ > >œ

40

S. Sx.

A. Sx.

T. Sx.

B. Sx.

& &

# >œ

> bœ

>œ

b >œ

#œ > # >œ

b >œ

C Tpt. 2

C Tpt. 3

C Tpt. 4

3

>œ

& & &

b >œ

& ˙

Hn. 2

& w

Hn. 3

& ˙

Hn. 4

& œ

Tbn. 1

Tbn. 2

Tbn. 3

Tbn. 4

Euph.

Tuba

Pno.

Perc. 2

Perc. 3

Perc. 4

‰

Œ

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C Tpt. 2

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C Tpt. 4

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