-The Orchel/ral MUlic

of Meyer

KUpnRMAN Vol. XII

coo Ka+ituI SvI,t,lY 0rcMttr~ PaullrtelW, ( ... '"

L U T N • A N R K

E S V

R

M II P • II L 0 L N V DDD

"'<JIllld'IN.'Il, (D130

[TIN IKER = ILL (li999) 'folr alto sax,opih'one obbliglat'o [& o[rchlesl'ra

The 'five, mOVQment ,ordhestwal cOliloe:ption 'for Tink"er Hiillhas a centralll al~o saxophone obb1li 'ga~o thal oomes ,and goes as 'he WQ'rk p roglresses, The abstract t[exlu res of the orcnes,t rati:on suggest to me She metallic oonf'gurations. o,f imn Be ,lptlJre, The c,onlrasting dramat­ic tensions iln~hB music emerge quite na1urally~ and cOl1lfiirm tie idea of a revo'il!.Itionary contemporary iron­workldeslign,

The openiing movement ,unveils a oOl'1lt,ernporary ... ~cathedlra l imagel' ; The saxophone, focuses on an ,attenuated me~ody tha.t is support.ed by a :s'low mO'Vli rig chant-like orchestral os~lnato,

The second movement is composed around a motiV1ic limage 0 medieval wings soar:h'1lg (r,om a tw91i1:tt

,e~n century ,edifice. An assembly ,of smalll motifs g'radlJi­aJllly feeds into ~l'1Ie ene'rgy of the music and emerges wilth I:ts own syncopaUol1.

The 4/4 ... ,318 meter I dhose for the thi rd move­ment Iteads US into a humorous scherzo, There is lo!s of bite a d accen ~hrolJghout the instrumentall assig[lil­ments1 with m, ch Iplayful percussion to ornament the lines.

The fou rlh moveme Ilt i8 a simple choralle. w'hicn bllJlillds to a climax near the, endl of tne mo~emen~,

The finale is mad<ed Alle,gro moI/o and is based on the repetil ion o~ a small interval and its inversion the thirdl and the sixth. The pattenn of eig . th notes that

eme'rges IS [contillued mrom the begilnning ~o the very end of the movemenlt - with one exc~p,tion " There lis a middle epi!sode in very sl'ow tempo! whe,re the saxoph one reta­p' ulates Ihe quasi,.cathedraJi music of the openingl. lhe dosing ac ion, In owever, qurcl!dy st'eams up energy and rlijlsl':les, to[ the [end lin great fire and fury.

Completed in 1999 1, Tin.ker Hill is an orchestral 'tribu~e to the gr[9at Ameflicarl sculptor Davi'al Smith. l iil1llker IHilll llltself is a place in Bolton Landilng, Nlew York, 'Where David used to keep his wronwo~ks sculptures on open exhibit for himself and! his, fri,emds. Also, it enaJb1led these' i ron pieces t,o take on th[e' patina of l1Ia1ur,aJl ex~ sure. Wherley,er 'I visited David here, he would poi,liIlt ou~ the new pieces he had mugJllt and tell me about their meaning and design. Although his work was essentially abstract and expressionist, Ulere were ,often lrecogniz" alJlle Ihilnts of tflings, of matum, ,even of people, hidden in 'theilr design. David himself was a ~alllPowerlhouse of a mal'l , with a deep, resonanlt voioe and an overwhel[mii ng warmUll and exuberanoe in his Ipersonal ity, I loved his work andl l loved him, and 1 was deep[ly saddened when he died.

SOLOIST FOR nNKER HILL ~ ... , h J' " K- '1'[" b<:txop one . .. , .... " . .... , .... , .. , .. ' Hl _ lUSev

LU AR SYMPH,O

Lunar Symphony is, ,a very btgl work [1111 three movemeni s. I have been obsessed wiUl images of the moon for many years and have dedicated a chain of symphon ic aJnd ,ch amber wOl'lks 10 irnpress'ions of the moon. I eV$n have a ne CD (Soundspelils CD 1r29)' caU'ed Moon Music 2000'~ , ,and all the pieces included in that group are based on my own special thoughts about t e moon. Th,i'S kindl of thinking I believe begl8!n to emerge When I was a. c'hitdl and had fantasies about spaceships going to 1he moon~ wars o~ ~he planets and tales of ~he gods. I n trying to recall some ,of my recent titles based on moon images, I ~ind ~hat lney' vary great­Ily In style, rirnstrumentation al1ld form. Hisrs1 IPsrhEl!PS, lis a alii too gene rou s reflec~ion ,of my moon miles: MOON­CHILD AND THE DOOMSDAY TROMBONE; MOON­FLOWERS~ BABYI- A SOUL FOR THE MOON' A CRU­CIBLE FOR THE MOON; MOONTREK FANTASY' M'OONJAZZ, BABYFACE!; MOONFtNGERS DEMON; MOONRISE; MOONSTIGKS,' THE WAXING MOON; 0 LUNA 0 SOL; TIGER MOON;- MOONGAMES; and FJVEMOONS,

Tlhe 1ilrsl movemel'M of lunar Symphony is a sym~ phol1lY in itse,lf (27 !minutes [Iongl!). The work begins with a series of so~loistic cadenzas, hricl1 ,are supported by different types of cur~:ous osiinatl[ in the! orches1ra. A varrety of thematic ma ,er~a~$ ,are seques.1:ered illl ~hese soloistic wnes, . hiehl are first heal~d in the ollari[net and

th,e flute. Th ese create an exposit'ory opening[ imag'e for the symphollY. The string orcl1estra emer'ges soon with Qln im po:rtant IYriical res~atement of' these me'lodic i· . as,,, ,establishing a to nail mel~ocIlc image.

An e)(plos~ve danos-like seh,erzancf,Q fdll'ows_ This bui[lds in power aind reaches a IPo,i n~ where ,a larger orchestral dimensi,on is discernab e. Since this. move­ment was conce1jved as 1he longest of the mhr'ee', i~. was deS1igned to contain a pleth,ora of materials hl i;ts chalilg ing modalities. Tine frequent: aJlitemations between fast and slow tempi are constantly in eVidence, Als'Dt there· s much boun cingl back and forth behveen 'tonal ,and aton­al voicings, melodic and athematic Iphrases, Sol'oistic and big O'Ii"Che'stral passages.

As thi'6 'first movement continues, the' odllll'S and moods chal1ge. Severs!11 slow oontempllat've sections fol­low. 'These begin with a weave of atonal fantasies ibeMeen ~he . inds andl strings. A passionat1e sostenuto melody in the violins [provides a high point in this are'a. of ~he work, llhe Iline i~'seU reaches out over long intervaU!c distances and jiB backed up by a gentle lrepe'sted note acoompani ment in '~he lower strings. To me this is all like ~he reUections at the moon, reachingl out over the end­IhiSS space around us Later on this sameimooll cantabile'! ~s repeated [in ~e oboe wal1 lharp aocom,pani­ment.

A retum to fast tempo energ,ies throws th e 'Work

diloocUy into its s1ructu -211 Irecapitu Ilatioo. Ollce agai:n the dance spilrit emerges as m ~he earlier pad of 'the symph any. I decided to attack ~he easygoing tonality of 'the soherzo 1his time wi iii! more tr,e nahant ha./i'lmonies -those of my Infinities twelve-tone row - thus ending the movement with a 'triemendouiS p,ow-ar blow!

The second movement begill,s with the twinkling o,f celesta laying ~he foundation for a huge Fr,ench horn cadenza marked Linea espressivc. After a brief transition, a melodiolLls cello and clarinet cadenza follows. At ~his point] we ~earr motivic reflections on the openin,g tunes of ' he symphony's first movement Suddenly and WmlOut. w.aftl'11ing., we an~ thrown linto a Macedol1ian street festival. The musliC dances awat'l happily in sevens, fIves and thlrees in near ,er.6,phantine' tuttis - like all1he Gods have 9:one crazy'! I

Wi1houl transijtio n, I revol~ed 1he movement back to its Jargo i l' age'. The tonallities remain essen­tially ,atonal and dissonan.. Te~ res of orchestral ch,ord clusters bound together w,i~h a'tonal contrapuntal lines provldle h.6 basic gamut for the rest of 1he move­ment III caJI! this episode ... 'lMy Moon S\pace'~ .

I aliso have a title forr 'he third movement bu~

Ie ,IS ,keep it Ibetween us .. . f Blast Off on IFour lNotes!1. This, ~Inale opens with, a tuba solo in a bouncy scherzo rhythm. Ttl e' tuba. solo reveals, the notes IB, C sharpM F; ,and G as being ul'1Iusually importal1t to their Domposer. He proceeds ~o whill1 them around Ii n an endless array of 'tra spositions, j st so ha~ they don1t get too, cocky. lhe entire move me nit may be perce1ived as a rh~m machine, dancing fn~neti£ally from bagi nning to end. The o,riginal ~uba tune goes througn the ordeal ,o'f aug ..

- -

men tation" (Ii minutian inver.si on and other 1un instru­ments ot tm1ulre ~oo often used by compose rs of my generation. I must confess 1ha~ composed my very noisy finale to simulate a d(ieame(s voyage to an e'f'!l~rc­

ing planet seductively distant. Thus" so faf away; 'tillY but t'9rrifying lunar thoughts may be seeking tlle.ilr own ima'ge .. ;, again and agSJin ... the muslic ~'Ioats on ... the mating of moon'S conUnrues .. .

SOLOIST FOR LUNAR SYMPHONY Colleen: Mas1er . . . . . . . . . . . .. AJ,exande'f lBalll'e!k Prin cipaJll Cello . . . . . . ., . , . . , ... ;. Milos Jahooa 11 at Flu~e . . . .. .. . , •• ... ...... ' .. .. Robert Heger 1 st Oboe . . . .. . . . . . , . . . ; . . . . . .. Robert Vabinci 1 sf Clari net ,+ ~ , • • • • • • • .' • • • • •• Lubos Ileg;elilza 1 st IBass"O-oll ., .. . .. . .. . .. ... . • ., IEmi111 Po'lach IEnglUsh Homl ..... . . , . . . .. . . Ji~ka lomslckova 1 st IHom .. ...,.. ,. ,... . .... . .. . Zdenek TyilaJr Tuba . ... .....• .. . .• .• ,.. . . lubomilr lMaryska

Jiri Gemrot Producer Jan Kotzmanl1 1 Engineer

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Kupferman Notes by VcUentine Fabian

-

THE ORCHESTRAL MUSIC OF

MEYER KUPFERMAN, YOLo XII [I;] TIHKfR HILL (1999 )

for alto saxophone obbligato 8< orchestra Jiri KuIOOv. alia saxophone $Ok)

@;] LUNAR n /ltPHO"' 119981 Paul Freeman. COnductOf Lento (27:03)

Paul Freeman, cooductor

Lento expressivo (02:41)

[!;1 Moderato (04:13)

lliJ Scherzando (02:16)

~ Do/oroso (02:16)

!hl Allegro moIto (06:56)

Tinker Hili total: 19:57

~ Os/inati (12:25)

[!;I Medium bounce (09:08)

Lunar Symphony total : 48:48

(OMPUTE <0 DURATION: 681H

CZECH NATIONAL SYMPHONY ORCHEITRA Paul Freeman, conductor Jiri Kulisev, alto saxophone solo

co """""",,, Meyor KL!*trlWl; eo... .. 1 ~ rnogo rr 12O'Xl), oi "'~ ty ~~: eo- Oeo¢ Char1es Caris«l; A.&A: MeIer I<J.,pIerman 1lf'Id_ ,I,gimkas: _ tlof leN ~, Po<l ....., 21. 14(1 00 Pr ..... . - ..,. 2000; ~ _ :.Iii c..rr.a. E~' Joo I<.oIzrnom _ by ...... ~

m .""",,-- 1000 1 CD'" The music and CDs of M1lyer Kupferman arO available at §ou.d~ 86l.Mngstoo Siroot. Rhiooilcck, NY ' 2572, t.lL/lax 1914) 876-6295 lruchK:l~ e -ma~: mkupfermanOwcbpc,dcllnel.com