C h a m b e r S y m p h o n y

Lewis Krauthamer

C h a m b e r S y m p h o n y For 19-piece orchestra and mezzo-soprano

Ca. 35 minutes

- 2 -

Copyright © by Lewis Krauthamer

http://lewiskrauthamer.net

[email protected]

Second printing: 8/25/21

- 3 -

CONTENTS

Chamber Symphony (2017-2021) I. Fugue …………………….. 7

II. Storm …………………….. 39

III. Nocturne …………………….. 70

IV. Aria …………………….. 79

Instrumentation Flute 1 (double Piccolo)

Flute 2 (double Alto Flute)

Oboe (double English Horn)

B Clarinet

Bassoon

Contrabassoon

Horn in F

Perc. 1: Tom Drums (high, med., low), Bass Drum, Very deep Bass Drum, Wind effect Perc. 2: Susp. Cym. (high, med., low), Bongos (high, low), Snare Drum, Field Drum, Tam-tam (large), Thunder Tube

Trickeyboard 1

Trickeyboard 2

Mandolin

Guitar 1 (double Steel Guitar)

Guitar 2

Amplified (sent through a mixer run by an audio engineer)

Violin 1

Violin 2

Viola

Violoncello

Contrabass

Mezzo-soprano soloist (mvt. IV)

Score in C

- 4 -

Suggested seating plan (flexible)

Sixth-tone microtonality This piece is written in a sixth-tone microtonal scale. A sixth-tone is one-third of a half-step, or 33.3 cents. Since there are three pitches to every 12-TET chromatic pitch, a total of 36 tones to the octave are produced. In this scale, we not only have (for example) G-naturals and G-sharps, but also two tones in-between: a “sharp G natural” and a “flat G-sharp.” Notation: traditional accidentals are used, and up/down arrows attached to those accidentals indicate tones pitched a sixth-tone sharp (33.3 cents higher) or a sixth-tone flat (33.3 cents lower).

All accidentals, microtonal and conventional, apply to the note immediately following, and to any reiteration of that note within

the same measure.

Percussion key

* Wind (mvt. III): A recording or other means by which to mimic the natural sound of leaves blowing in the wind. The sound should not be ominous

(low) or spooky (whistly) – but rather a neutral, perhaps calming presence. Prerecorded, synthesized, or other acoustic solution (e.g. ocean drum)

may be used.

- 5 -

Trickeyboard A trickeyboard is a three-tier keyboard setup tuned as to accommodate sixth-tone microtonality. Many affordable, commercially

available keyboards may be set up this way. The upper keyboard is tuned 33.3 cents sharp (A 448.6 Hz), the middle is unaltered

(A 440 Hz) and the lower is tuned 33.3 cents flat (A 432.6 Hz). A single sustain pedal is then connected to all three keyboards

through the use of two TRS “Y” cables. Similarly, the audio output is joined into one signal through the use of TRS “Y” cables, then

fed through either a volume pedal controlled by the performer or fed directly to the mixer

(primary control of the dynamics is then given to the sound engineer). Keep in mind, use of a

volume pedal would then place two pedals at the keyboardist’s charge (in addition to the

sustain) – which may prove exceptionally “tricky.” Thus, the aforementioned option to send

keyboard signals directly to a mixer, ceding control of dynamics to a sound engineer (though,

keyboardists may still control their own levels manually from keyboards’ volume knobs), may

be preferred.

Two trickeyboards are called for in this piece (two players on three keyboards each = total 6

keyboards). Alternate microtonal keyboard setups capable of producing the desired

pitch/dynamic content are welcome.

Keyboard settings: Primary criteria for selecting sound bank voices are: 1. a non-intrusive timbre blending well with the ensemble,

2. Organ-like ADSR (full sustain without decay). Beyond this, settings are left to performers’ discretion.

Mandolin and Guitars Mandolin and guitars are to be amplified only for the sake of audibility; care should be taken to preserve these instruments’

warm, natural, “acoustic” sound.

Mandolin and Guitars 1 and 2 are tuned conventionally – microtonal passages are achieved through the use of a metal or glass

slide. Guitar 1 doubles on Steel Guitar, a separate instrument to be tuned unconventionally (see below).

Steel Guitar is defined here as either a pedal steel, lap steel or other steel string instrument played horizontally with a slide.

Strings may be plucked with the fingers and/or with a plectrum/fingerpicks. At times, the guitarist is asked to strike the string

with a medium hard mallet (dulcimer mallet is ideal).

Tuning for the Steel Guitar in mvt. I:

Following movement I, string 6 of the Steel Guitar must be tuned up to a D natural.

Following movement II, string 6 must be tuned down to a C natural (used in both movements III and IV).

Despite the unconventional tuning, the Steel Guitar part is written as sounding.

- 6 -

Audio engineer The audio engineer is provided with a part (short score) containing the music all amplified instruments, trickeyboards, mandolin,

guitars and part of percussion 1 (in mvt. III only). The audio engineer must coordinate with musicians and conductor to ensure

proper dynamic levels are achieved throughout. If volume pedals are not used by trickeyboardists (see above), primary control

of keyboard dynamics is then given to the audio engineer on the mixer. Thus, the audio engineer must follow the music and

adjust levels in real time as necessary. Finally, care should be taken to ensure proper balance between amplified instruments and

the rest of the ensemble (this may be coordinated with the conductor, etc.).

Composer’s Note

I began this piece in July, 2017, originally projecting two-movements for smaller ensemble. Through time, the piece grew in

duration and ensemble size, eventually taking the form of a symphony. The broad narrative trajectory of the four movements

may be summed up as follows: private/inward unrest (I. Fugue), outward eruption/upheaval (II. Storm), transcendence in

disembodied spirit (III. Nocturne), and finally, transcendence in selfless love (IV. Aria). In this last movement, the storm has

passed, the wind has subsided – dawn is yet to come. The words are taken from a traditional Salvadoran lullaby:

Text and translation (mvt. IV) Dormite, niñito, no llores chiquito, Vendrán angelitos, las sombras de la noche. Dormite, niñito, Rayitos de luna, rayitos de plata, Alumbran a mi niño, que está en la cuna. Rayitos del sol, [El] cielo azul, Dejan de dormir, [y] empiezan a vivir. Dormite, niñito, con ojos diamantes, Estrellas brillantes, florido el cielo.

Sleep, little child, don’t cry, little boy, Little angels will come, the shadows of the night. Sleep, little child, Rays of the moon, rays of silver, Illuminate my child, who’s in the cradle. Rays of the sun, [the] blue sky, They sleep no longer, [and] they begin to live. Sleep, little child, with diamond eyes, Shining stars, blossom of heaven.

As heard on Smithsonian Folkways’ “Lullabies of the World,” © 2004/1963 (Folkways Records)

English translation by the composer

Italicized portions added by the composer; [bracketed] portions omitted by the composer.

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Vln.1

Tkbd.2

Tkbd.1

Perc.1

FHn.

Cbsn.

Bsn.

B♭Cl.

E.Hn.

Fl.2

Fl.1

sempre

pizz.

Bassdrums

dim.pocoapoco

dim.pocoapoco

dim.pocoapoco

dim.pocoapoco

dim.pocoapoco

dim.pocoapoco

dim.pocoapoco


8079787776757473

Cb.

Vln.2

Vln.1

Tkbd.2

Perc.2

Perc.1

FHn.

Cbsn.

Bsn.

B♭Cl.

E.Hn.

Fl.2

Fl.1

Fast=180

Highcym.

(staggerbreathingwithA.Fl.)

(staggerbreathingwithCl.)AltoFlute

(dim.)

(dim.)

(dim.)

(dim.)


87868584838281

Vla.

Vln.2

Vln.1

Tkbd.2

Perc.2

Perc.1

Cbsn.

Bsn.

B♭Cl.

E.Hn.

A.Fl.

Fl.1

Highcym.

VerydeepB.D.


9594939291908988

Vc.

Vla.

Vln.2

Vln.1

Tkbd.2

Perc.2

Perc.1

Cbsn.

Bsn.

B♭Cl.

E.Hn.

A.Fl.

Fl.1

VerydeepB.D.


10210110099989796

Cb.

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Tkbd.2

Tkbd.1

Perc.2

Perc.1

FHn.

Bsn.

B♭Cl.

E.Hn.

A.Fl.

=96Moderateandsteady

()pizz.

()()arco

()()

pizz.

()()()

()()

Lowcym.Bongos

B.D.

Toms

B.D.

CFl.


108107106105104103

Cb.

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Tkbd.2

Tkbd.1

Perc.2

Perc.1

B♭Cl.

Fl.2

()()()

()()

pizz.

()()

()()()

T.t.

(low)

Toms(med./high)


114113112111110109

Cb.

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Perc.2

Perc.1

FHn.

Bsn.

B♭Cl.

E.Hn.

Fl.2

Fl.1

()()(pizz.)

()()

arco

() ()

()()

Bongos

B.D.

Ob.


120119

118117116115

Cb.

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Tkbd.2

Tkbd.1

Perc.2

Perc.1

FHn.

Bsn.

B♭Cl.

Ob.

Fl.2

Fl.1

()arco

()

()()()()

()()()()

Lowcym.

B.D.

Toms

()


127126125124123122121

Cb.

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Tkbd.2

Tkbd.1

Perc.2

Perc.1

FHn.

Bsn.

B♭Cl.

Ob.

Fl.2

Fl.1

()

pizz.

()

()

T.t.

()


131130129128

Cb.

Vc.

Tkbd.2

Perc.1

Cbsn.

Bsn.

B♭Cl.

Ob.

Fl.1

3

Suddenlyfaster=160

arco

VerydeepB.D.


135134133132

Cb.

Vc.

Vla.

Tkbd.2

Perc.1

FHn.

Cbsn.

Bsn.

B♭Cl.

Ob.

Fl.2

Fl.1

33


144143142141140139138137136

Cb.

Vc.

Vla.

Vln.2

Vln.1

Tkbd.1

Perc.2

Perc.1

FHn.

Cbsn.

Bsn.

B♭Cl.

Ob.

Fl.2

Fl.1

2222

=180Faster

Med.cym.

VerydeepB.D.

E.Hn.


152151150149148147146145

Cb.

Vc.

Vla.

Vln.2

Vln.1

Tkbd.2

Tkbd.1

Perc.2

Perc.1

FHn.

Cbsn.

Bsn.

B♭Cl.

E.Hn.

Fl.2

Fl.1

0

0

0

2222

AltoFlute


158157156155154153

Cb.

Vc.

Vla.

Vln.2

Vln.1

Tkbd.2

Tkbd.1

Perc.2

Perc.1

FHn.

Cbsn.

Bsn.

B♭Cl.

E.Hn.

A.Fl.

Fl.1

222222

333

333

()


164163162161160159

Cb.

Vc.

Vla.

Vln.2

Vln.1

Tkbd.2

Perc.2

Perc.1

Cbsn.

Bsn.

B♭Cl.

A.Fl.

Fl.1

222222

()


173172171170169168167166165

Cb.

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Tkbd.2

Tkbd.1

Perc.2

Perc.1

FHn.

Cbsn.

Bsn.

B♭Cl.

E.Hn.

A.Fl.

Fl.1

sub.

sub.

sub.

sub.

sub.

222

33

=56TempoI

T.t.

VerydeepB.D.

molto

molto

()


182181180179178177176175174

Cb.

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Mdn.

Tkbd.2

Tkbd.1

Perc.2

Perc.1

FHn.

Cbsn.

Bsn.

B♭Cl.

E.Hn.

A.Fl.

Fl.1

Slightlyfaster=60

(cresc./dim.adlib)

Thundertube

B.D.

Strings2,3,4


190189188187186185184183

Cb.

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Mdn.

Tkbd.2

Tkbd.1

Perc.2

Perc.1

FHn.

Cbsn.

Bsn.

B♭Cl.

E.Hn.

A.Fl.

Fl.1

33

T.t.Lowcym.

VerydeepB.D.

Imperceptiblyslowingdown

(Strings2,3,4)


199198197196195194193192191

Cb.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Tkbd.2

Tkbd.1

Perc.2

Perc.1

FHn.

Cbsn.

Bsn.

B♭Cl.

E.Hn.

A.Fl.

Fl.1

Lowcym.

Med.tom

riten.


207206205204203202201200

Cb.

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Tkbd.2

Tkbd.1

Perc.2

Perc.1

FHn.

Cbsn.

Bsn.

B♭Cl.

E.Hn.

A.Fl.

Fl.1

00

000

3

3

3

3

3

3

3

3

3

3

Verybroad=34

solo

steel.

T.t.

VerydeepB.D.

,

rit.Recoverabit

CFl.


211210209208

Cb.

Vc.

Vla.

Vln.2

Guit.2

Guit.1

Tkbd.2

Tkbd.1

Perc.2

Perc.1

Cbsn.

Bsn.

B♭Cl.

33

3

arcopizz.

arcopizz.

poco

poco

Shortbreak


111098765432

Contrabass

Violoncello

Viola

Violin2

Violin1

Guitar2

Guitar1

Mandolin

Trickeyboard2

Trickeyboard1

Percussion2

Percussion1

HorninF

Contrabassoon

Bassoon

B♭Clarinet

Oboe

Flute

Piccolo

sempre

sempre

sempre

3

3

333

3

33

3

33

3

3

33

33

=69

consord.

pocovib.moltolegato

consord.

pocovib.moltolegato

consord.

moltolegatopocovib.

consord.

moltolegatopocovib.

consord.

moltolegatopocovib.

Med.cym.Highcym.

Wind

Asageneralrule,mvt.IIIshouldbeplayedasquietlyaspossible.Amutemaybeemployedthroughtheentiretyofthemovement,orconfinedtotheindicatedpassages(attheperformer'sdiscretion).

solo

solo

III.NocturneFlowing

ChamberSymphony(III) -70-

21201918171615141312

Cb.

Vc.

Vla.

Guit.2

Guit.1

Mdn.

Tkbd.2

Perc.2

Perc.1

Cbsn.

Bsn.

B♭Cl.

Ob.

Fl.

Picc.

434345

3

3

3

3

33

33

3

pizz.

()

()

()

Steel.

()()

WindMed.tom

atempopocorit.

-71- ChamberSymphony(III)

302928272625242322

Vc.

Vla.

Vln.2

Guit.2

Guit.1

Mdn.

Tkbd.2

Perc.1

FHn.

Bsn.

B♭Cl.

Ob.

Fl.

Picc.

3

3

()

()

()()

Hightom

mute


4140393837363534333231

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Mdn.

Tkbd.2

Perc.2

Perc.1

FHn.

Bsn.

B♭Cl.

Ob.

Fl.

3

4

3

0

33

3

3

3

solo

solo

()

bell-like

Med.cym.Highcym.

atempoHoldingbackslightly


504948474645444342

Cb.

Vc.

Vla.

Vln.2

Guit.2

Guit.1

Mdn.

Tkbd.2

Perc.2

Perc.1

FHn.

Bsn.

B♭Cl.

Ob.

Fl.

25

2

545

00

arcopizz.

()()()

()()

()()()

Tam-tam

WindMed.tom


6160595857565554535251

Cb.

Vc.

Vla.

Guit.2

Guit.1

Mdn.

Tkbd.2

Tkbd.1

Perc.1

FHn.

Cbsn.

Bsn.

B♭Cl.

Ob.

Fl.

Picc.

43

3

3

3

3

3

3

=63

()()

()

()

Lowtom

(mute)

Slightlyslowerpocorit.Don'tdrag


6968676665646362

Cb.

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Tkbd.2

Tkbd.1

Perc.2

Perc.1

FHn.

Bsn.

B♭Cl.

Ob.

Fl.

Picc.

0

=60

Takeoffmute.

Takeoffmute.

pizz.

med.hardmallet

Tam-tam

Wind

Takeoutmute.

(cresc./descresc.solo)

StillslightlyslowerthantempoI.Holdingback


7776757473727170

Vln.1

Tkbd.1

Perc.2

Perc.1

B♭Cl.

Ob.

Fl.

Picc.

maesp.

sempre!!

sempre!!

3

Med.cym.

solo


8887868584838281807978

Vla.

Vln.2

Vln.1

Tkbd.2

Tkbd.1

Perc.2

Perc.1

Bsn.

B♭Cl.

Ob.

Fl.

Picc.

sempre!!

3

3

3

3

3

3

Bowbodyofinstrument.



riten.

riten.

Highcym.

riten.

riten.,

(Attacca)Slowpocorit.


IV.Aria

98765432

Mezzo-soprano

Contrabass

Violoncello

Viola

Violin2

Violin1

Guitar2

Guitar1

Trickeyboard2

Trickeyboard1

Percussion

HorninF

Contrabassoon

Bassoon

B♭Clarinet

EnglishHorn

AltoFlute

sempre

sempre

sempre

sempre

sempre

sempre

sempre

sempre

sempre

to,quichiresno lloto;ni ñitedor miñi to,nimi teDor

=34=42Slow

Takeoffmute.

Takeoffmute.

Takeoffmute.

ClassicalGuitardoublingSteelGuitar(slideisnotusedoneitherinstrumentinthismovement).

VeryslowMoltolegatoeespressivo

solo

-79- ChamberSymphony(IV)

181716151413121110

Mzs.

Vc.

Vla.

Vln.2

Vln.1

Guit.1

Tkbd.2

Tkbd.1

Bsn.

B♭Cl.

A.Fl.

più

no che.de lasom braslasli tosan gedránVenqui to.chiresllono

33

=60

,

,

,,

atempopocorit.Nowflowing(butnotfast)

solo

ChamberSymphony(IV) -80-

25242322212019

Mzs.

Cb.

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Tkbd.2

FHn.

Cbsn.

Bsn.

B♭Cl.

A.Fl.

(asbefore)

to.ñinimi teDor

=46

withslide(steadytone)

,,

,

rit.Broader

solo

solo


3332313029282726

Mzs.

Cb.

Vc.

Vla.

Vln.2

Guit.2

Tkbd.2

Tkbd.1

FHn.

Cbsn.

Bsn.

B♭Cl.

E.Hn.

A.Fl.

Ra

99

3

3

333

333

3

3

=50

(projectasmuchasposs.)

esp.

,

bringout

,,esp.!

bringout

esp.!

bringout

esp.!

(nonrit.)NowmoderatelyslowPressingforward...Veryslow

solo


4443424140393837363534

Mzs.

Cb.

Vc.

Vla.

Guit.2

Guit.1

Tkbd.2

Tkbd.1

Perc.

FHn.

Cbsn.

Bsn.

B♭Cl.

A.Fl.

sub.

sub.

sub.

sub.

na.en culaque'es táñomi niaa branlumde pla tayi tosrana,tos de luyi

35:45:4

5:4

=60

solo.esp.

slow,freetrem.

(withmallet)(strikingstringwithmallet)Steel.

slow,freetrem.

Med.Cym.

,

bringout

atempo(nonrit.)SlightlyslowerFlowing


535251504948474645

Mzs.

Cb.

Vc.

Vla.

Guit.2

Guit.1

Tkbd.1

Perc.

Cbsn.

Bsn.

B♭Cl.

E.Hn.

A.Fl.

zul,acie lodel sol,yi tosRa

33

=46Movingabitmore(stillslow)

=30

Extremelyslow.

Classical.

pocoaccel.Senzamosso;concuoreeconinfinitadelicatezza!


60595857565554

Mzs.

Cb.

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Tkbd.2

Tkbd.1

Perc.

FHn.

Cbsn.

Bsn.

B♭Cl.

E.Hn.

A.Fl.

virvizan apieemmir,dordejande

=60Flowing

esp.!

solo.

VerydeepB.D.

,solo.

pressingforward

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.

cresc.


6867666564636261

Cb.

Vc.

Vla.

Guit.2

Guit.1

Tkbd.1

Cbsn.

Bsn.

B♭Cl.

,

,,,,

Imperceptiblyslowingdown

dim.

dim.

dim.

dim.

dim.

dim.

dim.

dim.

dim.


747372717069

Cb.

Vc.

Vla.

Vln.2

Guit.2

Guit.1

Tkbd.2

Tkbd.1

FHn.

Cbsn.

Bsn.

B♭Cl.

E.Hn.

A.Fl.

rit.Abitslower


8281807978777675

Mzs.

Cb.

Vc.

Vla.

Vln.2

Vln.1

Tkbd.2

Tkbd.1

Bsn.

B♭Cl.

E.Hn.

A.Fl.

cie lo...do elflo rites,bri llantre llasestes,mandiao josconñi to;nitedor mito,ni ñiteDor mi

5:433

3

3

=34Asinopening

,

Imperceptiblyfaster


89888786858483

Cb.

Vc.

Vla.

Vln.2

Vln.1

Guit.2

Guit.1

Tkbd.2

Tkbd.1

FHn.

Cbsn.

Bsn.

B♭Cl.

5:4

5:4

solo(cantabile)

,

,,,

,,Slow,heartfeltPocorit.


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