"#$ %#&#'(#) ERIC WHITACRE
!"# %"&"'(") ERIC WHITACRE CARPE RANAM PRODUCTIONS GRADE THREE
NATIONAL STANDARDS: 1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising melodies, variations, and accompaniments. 4. Composing and arranging music within specified guidelines. 5. Reading and notating music. 6. Listening to, analyzing, and describing music. 7. Evaluating music and music performances. 8. Understanding relationships between music, the other arts, and disciplines outside the arts. 9. Understanding music in relation to history and culture.
INSTRUCTIONAL OBJECTIVES:
SCORE ANALYSIS THE COMPOSER Eric Whitacre is one
of the most popular and performed composers of our generation. His first experiences singing in his Las Vegas college choir changed his life, and he completed his first concert work, Go, Lovely, Rose, at the age of 21. Eric went on to the Juilliard School (New York), earned his Master of Music degree and studied with Pulitzer Prize and Oscar-winning composer, John Corigliano. Recent and forthcoming commissions include works for the London Symphony Orchestra and Chorus, Julian Lloyd Webber and the Philharmonia Orchestra, Rundfunkchor Berlin, The King’s Singers and Conspirare. His musical, Paradise Lost: Shadows and Wings, won both the ASCAP Harold Arlen award and the Richard Rodgers Award, and earned 10 nominations at the Los Angeles Stage Alliance Ovation Awards. A versatile composer, he has also worked with legendary film composer, Hans Zimmer, co-writing the mermaid theme for feature film Pirates of the Caribbean: On Stranger Tides. Eric’s ground-breaking Virtual Choir 1.0, Lux Aurumque, on YouTube received over a million views in just 2 months, featuring 185 choir members from 12 countries. Eric Whitacre’s Virtual Choir 2.0 Sleep, released in April 2011, involves over 2,000 voices from 58 countries. An exceptional orator, he was honored to address the U.N. Leaders’ programme (2010) and give a TED Talk (TED.com, March 2011) earning the first full
choral and symphonic music in the US, Japan, Australia, China, Singapore, South America and much of Europe. In October 2010, Whitacre conducted the world premiere of Songs of Immortality, a work commissioned by the London Symphony Chorus with the London Symphony Orchestra at The Barbican Centre in London. Conducting engagements in 2010-11 include appearances in Auditorium Theatre (Chicago), Carnegie Hall (NY), Disney Hall (LA), in Japan, Germany and other European cities including London. Many of Whitacre’s works have entered the standard choral and symphonic repertories and have become the subject of several scholarly works and doctoral dissertations. His works Water Night, Cloudburst, Sleep, Lux Aurumque, A Boy and a Girl are among the most popular contemporary choral works. His Ghost Train, Vegas and October have achieved equal success in the symphonic wind community. Whitacre has received composition awards from the Barlow International Composition Competition, the ACDA and the American Composers Forum. In 2001, he became the youngest recipient ever awarded the coveted Raymond C. Brock commission by the ACDA. Eric Whitacre is one of four judges for the Abbey Road 80th Anniversary Anthem Competition and will conduct the recording of the winning entries with professional singers and the London Symphony Orchestra at Abbey Road studio one this autumn. Eric Whitacre was born in Nevada (U.S.) and currently lives in Los Angeles with his wife (Grammy award winning soprano, Hila Plitmann) and their son. (Information taken from ericwhitacre.com)
THE PIECE
THE TEXT Light, warm and heavy as pure gold and angels sing softly to the new-born babe. Edward Esch
Lux, calida gravisque pura velut aurum et canunt angeli molliter modo natum -translated to Latin by Charles Anthony Silvestri
After deciding upon the poem by Edward Esch (I was immediately struck by its genuine, elegant simplicity), I had it translated into the Latin by the celebrated American poet Charles Anthony Silvestri. A simple approach was essential to the success of the work, and I waited patiently for the tight harmonies to shimmer and glow. -- Eric Whitacre (from ericwhitacre.com)
THE STYLE & TECHNIQUE Lux Aurumque is not a technical piece in terms of rhythm, fingerings, or agility. On the contrary, it is an intense study in dynamics, intonation, articulation, balance, ensemble motion, and tone.
THE FORM A section
m. 1-8
A‘
m. 9-16
transition
m. 18-21
B section transition
m. 22-29 m. 30-35
A’‘ Coda
m. 36-43 m. 44-end
statement of 2 bar phrase, repeated only in woodwinds; oboe solo m. 4 brass enters and elaborates, horn solo descent into B section, tremolos in woodwinds ‘Bliss’ theme from Paradise Lost full band softens into low brass and woodwinds to prepare for return of A theme Shift to major tonality, hints of original A theme
RESOURCES • Teaching Music Through Performance in Band, Vol. 6 • www.ericwhitacre.com •http://web.mac.com/anthonysilvestri/Poetry/Nox_Aurumque.html
WARM-UP ACTIVITIES BREATHING EXERCISE Lux Aurumque has a natural, breathing flow throughout the piece, especially in the opening section. Practice breathing by inhaling for four counts and exhaling for four counts. Quickly assess correct breathing technique by watching for rising shoulders and listening for audible inhaling and exhaling. It may help for students to stand up at first - correct posture is extremely important for proper breathing. By gradually increasing the number of beats for exhalation and decreasing the number of beats so that this pattern is eventually reached: inhale for one beat, exhale for seven beats. This is the breathing pattern for m. 1-8 as well as many other places within the piece.
For additional practice, have students exhale in the manner that they would play these parts in the piece. Have them crescendo for four beats and decrescendo for three. To stabilize attacks and releases, add a syllable to their breathing such as “doo.” Conduct this exercise as you would conduct this piece. It may even be helpful to conduct larger portions of the piece or even the entire piece while students just breath with you. This can isolate ensemble attack and release problems without the additional worries of instrument problems. This is a great exercise for the beginning of a rehearsal before students even begin playing their instruments - they can begin using their air correctly and working as one
To show why Whitacre used open syllables, first have the ensemble sing the first two measures on “ah,” then move to “loo.” The darkness of the “loo” is what the ensemble should focus on transferring to their instruments.
LONG TONES Start the entire band on a concert C at a comfortable mezzo forte. When a solid, in-tune mezzo forte C is achieved, motion to the band to decrescendo. Establish mezzo piano. Continue this process all the way to pianissimo, all while focusing on a dark, open and balanced tone, solid attacks and releases. Next, divide the band to form a C minor triad and repeat the process. This is a great transition into the softer passages of the piece.
ARTICULATION EXERCISE Point out to the band that Whitacre did not include any articulation notation beyond slurs in his piece. This is somewhat common in adaptations from vocal scores. Correct articulations are easy to identify in softer passages - no tongue, vocal, but present. But what about the more triumphant excerpts such as the ‘Bliss’ theme at measure 22? I suggest a “pillow attack” - give sustained emphasis to the initiation of the pitch, but not with a harsh, tongued, fortepiano sound (like hugging a pillow).
ASSESSMENT See the students’ online activities at www.ksu.edu/cmenc/CMENC/Webquest.html
TEXT/HARMONIC ANALYSIS Students will listen to the choral version of the piece ( http://www.youtube.com/ watch?v=D7o7BrlbaDs&feature=related) while reading the choral score and write the Latin text in their own instrumental parts. In addition, students will watch Eric Whitacre’s Conducting Track of his Virtual Choir for Lux Aurumque (http:// www.youtube.com/watch?v=uh1c2xWVWiA ). Students will write in Whitacre’s comments and suggestions for the vocalists. In addition, after participating in a lesson that addresses consonance and dissonance, students will write a “C” above parts in their music that are consonant and a “D” above chords that are dissonant. After the assignment is due, their parts will be checked for completion and the parts of the piece that include text will be sung in class.
TRANSLATION POETRY Students will read Charles Anthony Silvestri’s account of his translation of the text into Latin (http://web.mac.com/anthonysilvestri/Poetry/Lux_Aurumque.html). They will also read his account of writing the piece’s counterpart, Nox Aurumque (http:// web.mac.com/anthonysilvestri/Poetry/Nox_Aurumque.html). Students will look at the differences between the processes of writing both pieces. The text for the traditional song, Amazing Grace, will be provided for the students. They will take this text and translate it into a different language. Students will be given a variety of selected resources, from translation tools (translate.google.com) to a thesaurus (thesaurus.com) and will secure help from the foreign language teachers at the school. Like Silvestri, students may not be able to directly translate the poem word-for-word, but will have to take artistic liberties to make the poem into a holistic musical unit. Grading will be based on the following rubric:
Category
10 points The student has translated the complete first verse of
5 points 0 points - REVISE The student has translated The student has not the first verse of Amazing translated the correct
ARRANGING ACTIVITY
Students will also take a traditional, four-part arrangement of Amazing Grace and arrange one verse for either woodwind or brass ensemble. A transposing Sibelius template will be provided so that students do not need to input instruments or transpose - all they have to do is use the correct pitches and voice them in a manner that is befitting of their ensemble. Grading will be based on the following rubric:
Category
Completion
Proper Notation
Melody
10 points The student has arranged a complete verse (16 bars minimum) of Amazing Grace for the prescribed ensemble. The student’s score exhibits correct usage of musical notation and includes proper articulations, phrase markings, dynamics, and a tempo marking.
5 points The student has arranged a verse of Amazing Grace, but it is either incomplete or is written for the incorrect ensemble. The student’s score exhibits correct usage of musical notation and includes 2 out of 3 of the aforementioned markings.
0 points - REVISE The student has not arranged the correct piece of music or the piece is not easily recognizable. The student’s score does not exhibit correct usage of musical notation and includes 1 or none of the aforementioned markings. The melody can be clearly The melody can be heard The melody was not heard throughout the piece for the majority of the correctly written or is and is notated so that it can piece, but it is obscured by not recognizable. be heard. other instruments or
PERFORMANCE REVIEW After performing Lux Aurumque in concert, students will review their performance based on the criteria provided in the following rubric: Category
Evidence
Conventions
Details
10 points 5 points The student states his/ The student states her opinions about the his/her opinions performance and about the evidences them by performance and citing specific cites some specific measures in the piece. references. The student’s work The student’s work exhibits correct has a few spelling or spelling and grammar grammatical errors and is at least two and/or is less than pages double-spaced. two pages doublespaced. The student addresses The student matters related to addresses at least 3 balance, energy, flow, of the 6 tempo, intonation, and aforementioned concert etiquette. details.
0 points - REVISE The student fails to accurately evidence his/her opinions.
The student’s work does not exhibit correct spelling or grammar and does not meet the length requirements. The students fails to address the aforementioned details. Total: _________/30
Composition: Lux Aurumque Composer: Eric Whitacre Measure # Form
1
2
3
4
5
6
7
8
A
Phrase Structure Adagio; Molto Legato (quarter note = 56)
Tempo Dynamics Meter/Rhythm
Tonality Harmonic Motion
p
Whitacre's comments
p
mp
p
mp
p
mp
Common time half and (throughout) whole notes consonance
dissonance
consonance
dissonance
consonance
dissonance
consonance
dissonance
C minor
C, D,E-flat, G, B-flat (v +4 +min. 6)
C minor
C, D,E-flat, G, B-flat
C minor
C, D,E-flat, G, B-flat
C minor
C, D,E-flat, G, B-flat
WOODWINDS ONLY
Orchestration Text
mp
Lux,
Lux,
oboe solo (still woodwinds only) Lux,
Lux,
Notice the crescendo and decrescendo - permeates the piece. "Teach the audience how to breath." Pure and perfect "oo" in Lux with the tiniest "x."
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Composition: Lux Aurumque Composer: Eric Whitacre 9
10
11
12
13
14
15
16
17
18
A'
mf
19
20
transition
f
mf
f
mf
mp
p
p
mp
p p
p
mf
mp
tremolos in woodw
consonance
dissonance
consonance dissonance descending motion...........................
suspended harmonies
consonance dissonance
A-flat Major
F, A-flat, Bflat, C, D, Eflat
A-flat Major
F, A-flat, Bflat, C, D, E- descending motion........................... flat
suspended harmonies
A-flat Major
FULL ENSEMBLE ca -li Nice solid "ca"
da
ca -li
(no flutes or oboes) da
gra
vis-que
gra-vis-que gra-vis-que
Slight roll of the "r" and on the"vi" - a little string bow (emphasize). Smallest crescendodecrescendo even on the last "gravisque"
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F, A-flat, Bflat, C, D, Eflat
horn solo pura sopranos take a little time
cluster
cluster no double reeds (saxophones la clarinets m. 20)
Composition: Lux Aurumque Composer: Eric Whitacre 21
22
23
24
25
26
27
28
29
B - "Bliss" theme from Paradise Lost
30
f
mf
ound
Major tonality, but filled with suspensions (progressions in fourths and fifths) B-flat major
E-flat major
D-flat major
F major
34
35
A-flat major
mf
mp
half, quarter, quarter
quarter notes are important!
F major
33
relaxing in preparation for return of A
inds
ound
32
transition
slightly more energy mf mp
31
E-flat major
D-flat major
A-flat
or tuba/euph; ered in with
B-flat
A-flat
minus flutes and oboes pura velut aurum
ca-
nunt
ca-
B-flat
A-flat
minus saxophones and trumpets nunt
ca-
Accent "ca" and decay in "nun.t" Tenors and basses are the celli
"Fill your sound with wonder and with awe"
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B-flat
nunt mol
Composition: Lux Aurumque Composer: Eric Whitacre 36
37
38
39
40
41
42
43
A"
p
44
45
46
47
CODA
mp
p
mp
p
mp
p
pp
p
pp
p
quarter (rest) x3
consonance dissonance
C minor
C, D,E-flat, G, B-flat (v +4 +min. 6)
KEY CHANGE to parallel Major
consonance dissonance consonance
C minor
C, D,E-flat, C minor G, B-flat
C minor
C minor
ONLY bassoons (no contra), clarinets, and saxophones throat register A until end of piece) li - ter
na -
tum
na-
C minor C Major
(clarinet 1 holds
tum
FULL ENSEMBLE minus na-
not glottal "um" - add an h
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tum
na-
tum
Composition: Lux Aurumque Composer: Eric Whitacre 48
pp
49
p
50
51
pp quarter (rest) REST quarter (rest)
52
53
54
ppp
tied whole notes
flute 3-4, oboes, contrabassoon,and trumpets na-
tum. slowly fading away...no glottals!
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