Change for Orchestra and Soprano

“Change” is a 16-minute composition for soprano soloist and orchestra. It uses shifting timbres, colours and the cyclic use of motives and harmonic ideas to evoke notions of the resiliency of human spirit. “Change” sets Raymond Knister’s poem of the same title, which is in the public domain. The orchestral instrumentation comprises of: piccolo, two flutes, two oboe, three clarinets (third double bass clarinet), three bassoons; four horns, two trumpets in B flat, two tenor trombones, bass trombone, tuba; timpani, three percussion (bowed vibraphone, bass drum, tubular bells, bowed crotales, glockenspiel, marimba, handbells); harp, and strings (suggested 16 14 10 10 6). “Change” uses a linear form in seven sections (relating to the structure of the text). The work in some sense is one large blossoming and decaying musical gesture; the composition slowly develops into a full tutti musical gesture which then gradually decays away into similar music to that which opened the work. “Change” explores various changes in orchestration and colour with most sections of the work exploring a variation in timbre or instrumentation. The music moves from hushed delicate gestures to a darker rich harp and marimba colour, and then to a full shimmering brass hue. The music shifts away from the brass texture to a more sparse colour; glissandi trombones, delicate string writing on harmonics with fleeting flute flutterings and lip bends above. Then the music beings to combine instrumental families as it builds to tutti writing for the orchestra. A chorale melody begins to drive the music to the climactic phrases. The piece ends in a similar style as it began, with delicate, hushed gestures, though developed through inversion and slight variations in retrograde: motifs are re-interpolated and transformed as if upon reflection they have grown and evolved, akin to how humans grow and reflect at certain stages in our lives; we may continue to live a similar life as we did years ago, but we change and reorientate ourselves. The music is left open-ended, peacefully evaporating into nothing, it’s as if moments of our life pass us by and are now only a memory.

Department dc:contributor.department

Music

Year dc:date.issued

2020

Author dc:creator

• Emery, Matthew

Advisors dc:contributor.advisor

• Hatzis, Christos
• Palej, Norbert

• Orchestra
• Orchestra and Voice
• Voice

Handle dc:identifier.uri

http://hdl.handle.net/1807/103677

OAI identifier oai:identifier

oai:utoronto.scholaris.ca:1807/103677