R-3 Repository :: Browsing by Author "Cooper, Paul"

Browsing by Author "Cooper, Paul"

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Afterimages
(1979) Lavenda, Richard; Cooper, Paul; Milburn, Ellsworth; Brown, Richard
Afterimages, for soprano and chamber ensemble, is based on three poems by Carl Nagin. Rather than being a set of three detached pieces, it is a unified work, played from beginning to end without break. The motivation for this kind of organization comes from the poems themselves; they are related in style and imagery, and can be considered as a set. The music seeks to develop and explore the various kinds of connections within the poems. In this sense, Afterimages may be said to be inspired by the structure as well as the content of the poems. The music is based on four related motives. These are the generative devices which both unify and propel the piece. All four are short, and, depending on the context in which they are used, can sound forceful, reflective, introspective or out-reaching. The small number and brevity of the themes help make the piece unified. The instrumentation, however, is used to provide variety. Each of the three poems, plus the introduction and interlude, have different groups of instruments. This avoids sameness and the density that can occur if twelve instruments are constantly playing. The various combinations were chosen not only for their orchestrational potential, but for their relation to the poems and their possibility for illuminating various aspects of them. Afterimages is approximately twenty-one minutes in duration.
Angel Music. (Original composition);
(1989) Bradshaw, Mark Edward; Cooper, Paul
Angel Music is comprised of two contrasting movements for full orchestra and was written on the spirit of dance and celebration. Performance time is approximately thirteen minutes. The first movement is a conversational elaboration of three ideas: scalar, melodic/rhythmic, and harmonic. Formally, the composition suggests an A-B-C-B$\sp\prime$-A$\sp\prime$-Coda design. The proportions of the lettered sections are 1:2:4:2:1. The tempo throughout is sk10 = 132, except for the coda which retards to sk10 = 60. The second movement is a bipartite structure, the second half being a dramatic variation of the first. This A-B-A$\sp\prime$-B$\sp\prime$ plan utilizes the tempo scheme of sk10 = 60, sk10 = 120 then 132, sk10 = 72, sk10 = 144. Principles of symmetry govern the phrasal construction, particularly in the A and A$\sp\prime$ sections. The essence of symmetry, and of the movement itself, is embodied in the two melodic ideas which engage in symbolic dialogue. Disparate elements coalesce to form an intricate background for the action of the two melodic characters. A chorale is undermined by the chaotic forces of aleatoric percussion towards the end; the piece disintegrates into nothingness. Angel Music was finished in the summer of 1988. (Abstract shortened with permission of author.)
Approaching Iapetus. (Original composition);
(1989) English, Paul Bryson; Cooper, Paul
The work is in two movements and is composed in a bipolar fashion, attempting to exploit to their full advantage several binary relationships including texture (chamber vs. orchestral music, solo vs. ensemble), genre (jazz vs. contemporary symphonic music), harmonic vocabulary (tonality vs. serial and twelve-tone elements), and the idea of improvisation within an organized and fully notated structure. This work was commissioned by the Houston Symphony Orchestra and the Houston Composer's Alliance at the suggestion of Tobias Picker and received its first performance at the Miller Outdoor Theatre in Houston on June 24, 1987 under the baton of Nicklaus Wyss. The tenor saxophone soloist was Mr. Rob Lockhart. (Abstract shortened with permission of author.)
Concerto da camera
(1982) Ruffin, Rawslyn; Cooper, Paul; Tipton, Albert; Milburn, Ellsworth
Concerto Da Camera takes the form of a concerto grosso in that it incorporates a concertino, or solo instrumentalist, against a full orchestra, the concerto or tutti. This premise, however, is deviated from in measures 29-294 where the percussion section is used as a solo ensemble without orchestral accompaniment. The melodic material consists of a Primary tone row which is most noticeably used in the tutti sections, and two Secondary tone rows: The first tutti, or Prelude, is quiet and relatively static. The first three solos -- flute, trumpet, and clarinet -- are, respectively, fast, slower and even faster in rhythmic execution. The Interlude starts loudly but diminuendos into an animated bassoon solo. The percussion ensemble takes over and the double bass emerges to deliver an expressive line. The Postlude begins loudly and, after a final restatement of the theme in the trombones (soli), ends in a cluster chord marked sforzando.
Concerto for Clarinet and Orchestra. (Original composition);
(1994) Nytch, Jeffrey Curtis; Cooper, Paul
Concerto for Clarinet and Orchestra was composed for Richard Stolzman and the Seattle Symphony, with a recording of the work planned for 1995 on the Master Musicians Collective Label. The work follows the Classical model of three movements (fast, slow, fast), with the first movement in a traditional sonata form. The second movement is a freer, meditative movement, and the final movement is a modified rondo-variations. The work attempts to reflect the Classical ideals of clarity of form, structure and orchestration, while the technical demands made on the players are within the idiomatic limits of their instruments. The concerto is sixteen and one-half minutes long and is scored for pairs of winds (with an additional clarinet), four horns, three trumpets, three trombones, timpani, percussion (three players), harp, clarinet solo and strings.
Francesco Geminiani's six cello sonatas: commentary and performing edition
(1980) Rennie, Ellen Judd; Cooper, Paul; Schnoebelen, Anne; Trepel, Shirley
Francesco Geminiani (1687-1762) was considered to be an eminent composer and one of the finest violinists of his day. Yet modern scholars have generally overlooked him in favor of other masters such as J.S. Bach and George Frederick Handel. The reasons for this neglect are multifaceted. Most present-day music historians have relied upon the accounts of Charles Burney and Sir John Hawkins as the sole source of their information concerning Geminiani's life and musical skills. While these two histories offer interesting insights into eighteenth-century musical practices, they are often biased and the facts frequently misleading since both authors depended heavily upon memory and hearsay evidence for their accounts. The criticisms of Geminiani found in these documents have undoubtedly tinged the attitudes of twentieth-century scholars toward the Italian master. The scarcity of readily available performing editions has greatly hindered the performance of Geminiani's works and has further impeded efforts to obtain a true understanding of Geminiani’s contributions to the development of music and musical style. Such an understanding is not easily attained since Geminiani represents an enigma in music history. His compositions and treatises obviously reflect his ties to the Baroque traditions of composition and performance. Many of his tenets, however, were so far in advance of their time that they required rediscovery in the nineteenth and twentieth centuries. Because he represents such an enigma, scholars have been unable to place him neatly in one of the accepted periods of music history. These same scholars have, therefore, considered Geminiani to be a "transitional” figure in music history and have relegated him to the rather nebulous domain of the pre-Classical era. As a "transitional" figure, Geminiani's works have not been judged upon their own merits but rather in comparison with the works of his more well-known contemporaries. Although his compositions and treatises are uneven in quality, they stand as important documents for any student of Baroque performance practices. The purpose of this thesis is to analyze Geminiani's contributions to the literature and development of Of music. This analysis will be effected by means of a study of Geminiani's Six Sonatas for Violoncello and Basso Continuo, Op. 5 which were originally published in Paris and at the Hague in 1746. These same works were subsequently printed in London in 1747. The second part of this project is a new performing edition of the six sonatas in which, it is hoped, the figures of the basso-continuo have been realized in such a manner as to reveal the composer's ideals of accompaniment and good taste in the performance of his works.
In the quiet saffron hour
(1982) Lindsey, Philip; Cooper, Paul; Milburn, Ellsworth; Ettelson, Meryl
"In the Quiet Saffron Hour" divides formally into three sections, slow-fast-slow, with each section having its own structure. The outer sections are related not only by tempo but also by mood, orchestration, and melodic materials. The harmonies and melodies of the entire piece are derived from a five-note chord, a ten-note scale using the five-note chord and its inversion, and by a whole-step melodic figure. Rhythmically, much use is made of the Scottish snap, particularly in conjunction with the two-note whole-step melodic figure. Rhythmic notation is traditional except in the case of certain repeated figures used to build textural backgrounds, and in a rhythmically "free" section near the end of the piece. In these instances a slightly less restrictive and less specific notation was used.
Method and style in the string quartets of Roger Sessions: an interview and analysis
(1982) Lovekin, Charles B.; Milburn, Ellsworth; Cooper, Paul; Hanson, Alice
Analysis and comparison of the String Quartet in E minor (1936) and the Second String Quartet (1951) (which are the only two string quartets written by Roger Sessions) reveals important aspects of Sessions’ compositional style and how certain of these aspects undergo change over the fifteen years separating the quartets. The two quartets have more similarities than differences in style. In both works form is clearly demarcated by very traditional associations of musical ideas, the music depending upon developmental procedures for its direction. Tension is controlled through careful contrasts of tempo, motion, texture, rhythm, consonance and dissonance, melodic contour and range, etc. The various climaxes and cadences in the two pieces also reveal the same procedures. Finally, both works display long, often-elided phrase constructions. The most important stylistic difference between the two quartets is that the Second String Quartet presents and develops fewer ideas per movement and has more movements (although approximately the same number of bars). In broad terms the quartet may therefore be described as embodying greater control of fewer resources than its predecessor. One of the principle differences between the two quartets might seem to be the use of key in the String Quartet in E minor but not in the Second String Quartet. In fact, this difference is of little significance to the writing style common to both works, since each is highly chromatic. In the earlier piece only large-scale harmonic progressions may be analyzed with any degree of accuracy; chord-by-chord analysis is virtually impossible because the tonal relationships are too complex. In comparison to the String Quartet in E minor, the Second String Quartet represents not a turning away from, but a growth beyond the use of tonality. Thus, in its own way, Sessions' development as a composer parallels that of Arnold Schoenberg in the early years of the twentieth century, and reinforces the example of artistic craftsmanship that serves, rather than hampers, expression.
Notturno
(1982) Hwang, Charlotte; Cooper, Paul; Milburn, Ellsworth; Ettelson, Meryl
Notturno is a single movement composition for orchestra. The instrumentation: winds in pairs, 2 horns, 2 trumpets, 2 trombones, timpani, bass drum, suspended cymbal, vibraphone, celesta and strings, was chosen in order to facilitate performances, as it is often more difficult to have performances when a more elaborate instrumentation is required. Notturno is in ABA’ form -- slow, fast, slow. Section A deals mainly with static chord textures and small melodic fragments in various instruments. Section B uses three different characters: string and wind "flurries," brass static chords, and double bass driving rhythms in an agitated dialogue Section A' again uses static chord rotation as accompaniment with three different duets between contrasting instruments: flute and celesta, trumpet and vibraphone, and cellos and timpani. The composition also utilizes six pillars that divide the piece into five sections as follows: m.1-42, m.42-83, m.84-187, m.188-258, m.259-286, and m.286-end. Not only do the pillars unify by using a similar gesture, but also act as transitions to different sections throughout the piece. The pitches are derived from the row which has eleven different pitches with D shared in both hexachords. Chords are chosen from the row and the melodic fragments are derived from both the row and the harmony. Melodic fragments are also generated in the B section by activating the chords, as seen in the woodwinds, m.116. The title Notturno is Italian for nocturne and was chosen for its implications of night. The outer two sections depict physical night, while the inner section deals with psychological night. Notturno is approximately 14 minutes in length.
Novas. (Original composition);
(1991) Nytch, Jeffrey Curtis; Cooper, Paul
Novas is a work for orchestra which attempts to portray unbounded energy. It is not in any sense a programmatic work about novas. It is, however, about the energy in such things as novas. Similar energy is exhibited, on a much smaller scale, in things such as a seed sprouting forth. It is no less a revolutionary event for the seed sprouting as it is for the star going nova. The nature of the energy is the same: outward-directed, unbound, exuberant, transforming. This piece attempts to portray, through various musical lenses, the numerous guises of this energy which is present throughout the cosmos.
Passage. (Original composition);
(1989) Sharpe, John Carlyle; Cooper, Paul
Passage consists of six main sections, a prelude and postlude. Each section is unified through the continual variation of one main motive as well as the chord progression from which the motive is derived. The head of the motive consists of the notes G Ab Eb which are varied through different transpositions and combinations. Invariably this one motive is capable of creating the different moods specified by the text through the orchestral variations of timbre and the imposition of rhythmic variations. The underpinning chord progression from which the motive is derived is based on a polychord. This polychord consists of the two chords (major and minor). However, almost every appearance of the progression is presented with the two chords intersecting to form a minor second as an interlocking point. All of these elements are thus realized throughout the work through the use of ethereal textures and spacious orchestrations.
Shadow in light
(1984) Martin, Andrea; Milburn, Ellsworth; Cooper, Paul; Kurtzman, Jeffrey
Shadow in Light is a composition for full orchestra that explores the variation principle. The primary motivation is the continuous evolution of two themes within a large time frame. While the overall structure is ABACABA, the C section may be further divided into 3 B sections to yield a structure of AB1A1B2B3B3JA2B1A. The tonal areas and timing in minutes for each major section are shown below. Melodicaily, the work integrates two different themes. Theme 1 is a melody based on thirds that occurs in the A sections. Theme 2 is a 12 tone row with a quartal orientation that provides the basis of the variations. Appearing in the B sections, this theme has several manifestations. The first quote occurs in measure 17 as pillar chords that separate major sections (2.1). The next variant appears as a harp solo in measure 25 (2.2), followed by a horn solo in measure 34 (2.3). The flute solo in measure 97 (2.4) and the vibraphone solo in measure 138 (2.5) represent other variations. As the work progresses, the thematic variants are subject to further mutation. Harmonically, the interval sets of the two themes generate a rich spectrum of combinations. With regard to orchestration, the use of chamber ensemble and solo playing is explored against a changing background of orchestral colors.
Sketches of elegy and praise
(1982) Jones, Kerry Nelson; Milburn, Ellsworth; Cooper, Paul; Jones, Samuel
Sketches of Elegy and Praise is an orchestral work, approximately twenty minutes in duration, cast in five movements of nearly equal length. Each movement is a miniature portrait of a person (or persons) now deceased, who was influential in the composer's life. The first movement, A Forgotten Graveyard, uses air sounds from the brass, sinuous melodic lines in the oboe and alto flute, and sustained harmonies in the strings and winds to evoke images of the weed-choked graveyard which is all that remains of Buchanan, Texas. Movement two, A Friend» uses block brass and woodwind choral effects to convey the solidity of a reliable friend. This movement is interrupted by an elegiac chorale for solo winds and string quartet, after which the previous material is recalled in a com¬ pressed form. The Sages, the third movement, commemorates several men who were advanced in years when the composer was quite young. The use of polyphonic and canonic technique, framed by brass and percussion fanfares at the beginning and end, contrasts the wisdom and dignity of age with the exuberance of youth. The middle section, in addition to canonic technique, employs a Renaissance formal procedure - the use of overlapped points of imitation. Movement four, A Young Athlete, uses driving motor rhythm, tutti unisons and brass choir block effects to evoke the perpetual motion and lean muscularity of a young athlete. The abrupt ending and truncated form suggest the tragedy of a life cut short. The final movement, Of Yesterday, utilizes multiple ostinati to suggest the continuity from generation to generation in commemorating several people whose death preceded the composer's "birth hut who were very influential nonetheless. The movement ends with a section recalling the opening of the piece. Harmonically and melodically, the work is generated from two series of pitches. Sketches is scored for a moderately large orchestra, using flutes, oboes and clarinets in threes (with the third player doubling on alto flute, English horn and bass clarinet, respectively), two bassoons, four horns, three trumpets (in C), three trombones, tuba, timpani, percussion (bass drum, tam-tam, xylophone, tom-toms, four suspended cymbals (small, medium, large and sizzle), crash cymbals, celeste, vibraphone, temple blocks, wind chimes) and strings.
Spheres. (Original composition);
(1990) Trautmann, Steven David; Cooper, Paul
Spheres is an orchestral composition consisting of five major sections. The first section is a slow, loud introduction which introduces the major theme in the low strings and winds. The second section is only slightly faster and introduces the second major theme which is passed throughout the orchestra. The third section is a combination of development and exposition, as an important motive and other new ideas are introduced. The fourth section is purely developmental, using counterpoint primarily. Near the end of the fourth section the climax is reached with a tutti statement of the motive from the third section. The fifth section resolves the tension by restating the major ideas in a more relaxed fashion.
Symphony No. 1. (Original composition);
(1991) Ochoa, Reynaldo Enrique; Cooper, Paul
Symphony No. 1 is built on a chromatic melodic line. This melody first outlines larger intervals and gradually turns in on itself. The only complete statement of this structural line appears late in the second movement in the bass flute solo. Both movements are projections of the harmonic and linear implications of the primal line. Although the language is chromatic, the developmental procedures and architecture are well within the traditions of symphonic writing. The first movement is a ternary form. The opening gesture is crafted from intervallic subsets of the primal line. The ABA format is amplified by various transitional statements; first from the solo violin, and then from solo viola. The second movement employs an updated version of the ritornello principle. A three measure gesture that fluctuates in tempo serves as a unifying link between larger sections of contrasting character.
The compositional process in four symphonies by Igor Stravinsky
(1990) Yin, Feng; Cooper, Paul
This thesis discusses Stravinsky's Symphonies of Wind Instruments, Symphony of Psalms, Symphony in C and Symphony in Three Movements which were composed throughout his neoclassical period. The discussion is focused on the compositional process--the way the composer builds the logical flow of musical materials. Based on the analysis of the technical details of works the composer himself rarely discussed, the process observed in these four symphonies illustrates a unifying method of organizing musical materials; it proves to be a typical Stravinskian construction of musical architecture; it demonstrates a logical development of music, which is comprehensible and easy to follow; it provides a concrete musical illustration which accounts for Stravinsky's structural esthetics.
The oboe d'amore in the works of Georg Philipp Telemann with critical editions of selected unpublished works
(1983) Collins, Dana Cristle; Milburn, Ellsworth; Schnoebelen, Anne; Cooper, Paul
The oboe d'amore, the alto member of the oboe family, enjoyed its most popular period between the years 172 and 176. While no date for the invention of the instrument has been established, the first known composition to use the oboe d'amore can be dated from as early as 1717. Composition for the instrument was restricted to composers living in the area bounded approximately by Hamburg, Munster, Vienna, and Berlin. The earliest known works which use the instrument are sacred vocal works and reflect an association with alto and tenor voices and texts dealing with love. Gradually, the instrument filtered through every aspect of early eighteenth-century musical society and works which utilized the oboe d'amore include cantatas, passions, operas, solo concerti, concerti grossi, orchestra suites, and chamber works. Georg Philipp Telemann (1681-1767), one of the most prolific and respected composers of his time, wrote extensively for the oboe d'amore -- at least twenty-two works which use the instrument can be attributed to Telemann. One of the first to write for the instrument, Telemann, unlike his contemporaries, composed in every medium available. Through an examination of Telemann's works for oboe d'amore, which comprise a central part of the instrument’s repertoire, it is possible to observe the development of composition for oboe d'amore, the dissemination of the instrument through musical society, and the style of writing which brought the instrument to the peak of its popularity. The writing is particularly instructive in regard to utilization of the instrument's color, range, and technical ability. In addition, consideration of the instrument helps shape the form of each work. Relatively few of Telemann’s works which use oboe d'amore are available in published editions. As a result, an overview of Telemann's writing for the instrument has been unavailable. Previous research regarding the oboe d'amore has centered in the sacred cantatas of J.S. Bach and in compiling repertoire lists, leaving an inaccurate impression of the general style and methods of writing for the instrument. The critical editions of four works provided in this thesis represent the various genres in which Telemann wrote for the oboe d'amore. In addition, each work displays Telemann's technical and aesthetic handling of the instrument. The analysis of these works, and description of the rest of Telemann's writing for the oboe d'amore provides a better understanding of the instrument in the context of the period of use from its invention to its virtual demise, an exploration of some of Telemann's best and most conscientious writing, and an insight into performance practice.
The six string quartets of Paul Cooper: an analysis and interview with the composer
(1979) Bennett, Elizabeth Ann (b. 1963); Kurtzman, Jeffrey; Schnoebelen, Anne; Cooper, Paul
By analysis, certain aspects of compositional process and style are discovered- Cooper’s works have grown from the pandiatonic style of his early years to an open style characterized by clear structure, however veiled, by lyrical themes of eleven or twelve notes, by free twelve-tone and contrapuntal techniques, by use of some unusual and effective textural sonorities, and by a logic, growth and unity of ideas throughout each work. Interviews with the composer allcry careful questioning and cross-examination of his compositional process and his aesthetic and philosophical views, as well as provide factual data on the background and reasons for writing a particular work. In the interview. Cooper reveals that basic structure is the initial consideration in his compositional process. When he has settled that issue, he can begin to develop the melodic motives of the quartet. Sketches are used to work out complex contrapuntal passages, but are rarely necessary otherwise. Notating a work is relatively rapid once its composition is more or less complete in his head. A few notes or markings may change from the original draft to the final copy; however, these are usually minor. An exception occurs when an intellectual premise may have prevailed over musical instincts. In this case, Cooper feels the ear must be the final judge. Variation, proportion, and unity are important philosophical or psychological concepts that Cooper incorporates into his works. More often they figure in the composer's instinct rather than in a deliberate or programmed manner. In addition, Cooper answered questions on the historical background of each work. Studies on works by significant living composers present the obvious appeal of personal discussion with the composer in an effort to understand his processes and preferences. Very few composers have made an effort and many are reluctant to describe the fundamental aspects of their style and the reasons or inputs behind it. While in-depth analysis may reveal stylistic qualities, the findings are greatly enhanced by responses to the penetrating questions that surface in such an analytical study -- responses that can only be rendered by the composer. Current history and current musicology can supply information for present understanding and vital resources for future considerations.
The use of Scordatura in Heinrich Biber's Harmonia artificioso-ariosa
(1982) Mitchell, Margaret Kehl; Schnoebelen, Anne; Fliegel, Raphel; Cooper, Paul; Kurtzman, Jeffrey
Violin scordatura, the alteration of the normal g-d'-a'-e" tuning of the instrument, originated from the spirit of musical experimentation in the early seventeenth century. Closely tied to the construction and fittings of the baroque violin, scordatura was used to expand the technical and coloristlc resources of the instrument. Each country used scordatura within its own musical style. Although scordatura was relatively unappreciated in seventeenth-century Italy, the technique was occasionally used to aid chordal playing. Germany and Austria exploited the technical and coloristlc benefits of scordatura to produce chords, Imitative passages, and special effects. England used scordatura primarily to alter the tone color of the violin, while the technique does not appear to have been used in seventeenth century France. Scordatura was used for possibly the most effective results in the works of Heinrich Ignaz Franz von Biber (1644-174), a virtuoso violinist and composer. Scordatura appears in three of Biber's works -- the "Mystery Sonatas", Sonatae violino solo, and Harmonia Artificioso-Ariosa -- although the technique was used for fundamentally different reasons in each set. In the "Mystery Sonatas", scordatura was used to produce various tone colors and to facilitate certain technical feats. In Sonatae violino solo, scordatura appears to have been used as one of the many visual and technical experiments of the set Harmonia Artificioso-Ariosa, a set of seven trio sonatas, used scordatura primarily to increase the sonority of the work. All the tunings make the solo instruments more resonant, and the use of scordatura effects, such as unisons and multiple stops, increase the amount of sound produced. Biber's choice of key, instrumentation, and texture also contribute to the greater sonority of the set. Unfortunately, no reliable modern edition of the work is available. The only modern edition, published in the PenkmHler der Tonkunst in Usterreich series, is handicapped by numerous transcription errors and an incorrect statement of the title of the work. A corrected edition is necessary, for future scholarship and performance of Harmonia Artificioso-Ariosa require an accurate reproduction of the work. Historically, Harmonia Artificioso-Ariosa is one of the rare examples of two solo instruments in scordatura, and the work deserves further scholarly attention. For the modern performer, Harmonia Artificioso-Ariosa would expand the repertoire and provide a challenging and rewarding musical experience.
Tropos
(1981) Applebaum, Allyson Brown (b. 1955); Gottschalk, Arthur; Cooper, Paul; Ellison, Paul
Tropos is a single-movement composition for orchestra. The title is Greek for turning, which as a concept is utilized in this piece in two ways. First, the introduction is a rapid presentation of events, each one turning quickly to another in the manner of the images which change as a kaleidoscope is turned. The second aspect of the title's relationship to the piece involves one of the principal motives, which is a slightly expanded turn or cambiata figure. It first appears in the 'cellos in measure nineteen; its harmonized version appears in the horns in measure forty. Each version plays a significant role in the work. The instruments called for in Tropos are four flutes (the second doubling on piccolo), four clarinets (the fourth doubling on bass clarinet), four horns, three trombones, tuba, timpani, triangle, cymbal, glockenspiel, marimba, snare drum, timbales, tom-toms, celesta, and strings. Considerations in choosing this instrumentation were, primarily, the need to set off the 'cellos and the horns as the two important sections and, secondarily, the desire to have an orchestral sound that was somewhat unusual. Tropos utilizes the sonata-allegro principle, with an introduction and coda. The exposition begins in measure eleven. Its first theme, which is lyrical in character, is in two sections. The first opens with the 'cellos' presentation of the theme, which, when joined by the other strings, eventually weaves into a rich interplay of melodies. The cellos emerge from this texture during measures thirty-four through thirty-seven to help to transfer the functional role to the horns. Their thematic presentation begins in measure thirty-eight and is joined by the trombones and tuba in subordinate melodic roles. Accompanying figures during the first theme are taken from the events of the introduction. The second theme, beginning in measure fifty-six, is rhythmic rather than melodic. Its pitches are always clusters -- except in one special case, which is the unison, legato statement of the turn figure by the trombones in measure fifty-nine. The development contains three distinct parts. The first, which is the longest, is generally an evolving variation of the first theme, accompanied by quiet rhythmic quotations of the second theme. During measures 139 through 143» however, these rhythmic accompaniments actually dominate; it is only the violas who remain steadfastly melodic. The second part of the development is at measure 167, the first cue of an unmetered section in which eight solos, joined at 168 by an additional eight, all play quietly, freely, and simultaneously little "music box" melodies. These melodies together represent an ultimate statement of the "intermelodic" aspects of the first-theme section. The third part of the development, beginning at measure 17, is the culminative statement of the rhythmic second theme. Now, devoid of the pitch clusters, and with nonfunctional timpani pitches, the statement of the theme is finally purely rhythmic. The recapitulation is generally subdued, for the statements have all been made and therefore, metaphorically, only the shadows, echoes, and memories remain. In the first-theme section (measures 178 through 21 ) the turn motive never appears melodically. Instead, its only manifestation is in the four horn chords (measures 183, 187, 193, and 198) which are the harmonized version of the motive in extreme augmentation. The second-theme section utilizes rhythmic and cluster elements, with the rhythms now slower and always varied among the instruments. The only melodic movement is the turn motive, itself turned into inverted form. The coda is directly related to the introduction, making use, however, of materials presented during the course of the piece. In addition to the sonata-allegro principle, two other principles are used in the construction of Trottos These are symmetry, regarding principal tonal areas, and the golden section, regarding placement of events in time.

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