RICE UNIVERSITY

Distorted Visions for Wind Ensemble

by

Karl Eric Blench

A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE

Doctor of Musical Arts

APPROVED, THESIS COMMITTEE

--=---~------+-~--------~-Arthur ottschalk, Ch ir Profes r, Composition and Theory

~--~ ~~ llrttaHm Associate Professor, Composition and

~~e~~ Peter Loewen Assistant Professor, Musicology

Donald Morrison Professor, Philosophy and Classical Studies

HOUSTON, TEXAS April 2011

Abstract

Distorted Visions for Wind Ensemble

by

Karl Eric Blench

Distorted Visions is a two-movement piece that marks my return to writing for

large wind ensemble. Much of my recent work has been stimulated by issues

concerning the human mind. Topics ranging from mental disorders to the ability of the

mind to project imagery provided impulse for my work. Distorted Visions continues

along that vein, focusing on recollection and how the mind may remember something

differently than actually occurred. It may be compared to looking at an image, and then

looking at that same image through the bottom ofa drinking glass. The image is

recognizably there, but it is greatly distorted. Each movement ofthis work thus focuses

on the distortion of a different musical idea.

The first movement, Broken Memory, features a solo bassoon that attempts to

recall a distant melodic memory. It first emerges from a haze of material in the

marimbas and low brass, and begins to materialize, only to be interrupted by another

memory. The movement then begins to solidify as these two ideas overlap. The

principal melody of the bassoon desperately tries to develop and sing, but is constantly

interrupted by a stronger, more violent idea. The music continues until the interruptions

overtake the melody completely, forcing the memory to fade back into another haze at

the end.

The second movement, Malfunctioning Process, is concerned with the process

of building an ostinato, one that disintegrates and takes off in different directions. I

think of this movement as an "ostinato machine" that keeps breaking down. The

movement begins with an initial process that builds the musical material into a

recognizable form, a melody. The music is then overwhelmed by the first malfunction,

heard in the low brass. The process begins anew, distortedly attempting the creation of

another melody but leading only to another breakdown. The final process takes place in

the woodwinds, leading to a return of the opening material, this time slowed down. As

the ''machine'' continues to slow, the entire ensemble comes together on a unison B-flat,

leading to the final moment at which the machine, violently yet inexorably, shuts off.

Percussion 1

Marimba** Glockenspiel Timbales (2) Slapstick Suspended Cymbal

Instrumentation

Piccolo 2 Flutes 2 Oboes

English Horn Clarinet in E~

4 Clarinets in B~ Bass Clarinet

2 Bassoons Contrabassoon

2 Alto Saxophones Tenor Saxophone

Bari tone Saxophone

4 Horns inF 4 Trumpets in C

2 Tenor Trombones 2 Bass Trombones

Euphonium Tuba

Piano

Timpani (+ Pitch Pipe and Ice Bell, see note*)

Percussion 2

Marimba** Vibraphone Xylophone Medium Gong Suspended Cymbal Hammer and Block*·*

Percussion g

Bass Drum Crotale Marimba** Snare Drum Tom-toms (2) Bongos (2) Chimes

Performance Notes

Percussion 4

Pitch Pipe Bass Drum Tam-tam Pedal Bass Drum Vibraslap Vibraphone Templeblocks (5)

-The timpanist plays a pitch pipe in the first movement only. The ice bell, also used in the first movement, should be place on the timpani head and struck with a snare drum stick.

•• Percussion I, 2, and II share a single marimba for the first movement only.

···The hammer and block for the last note of the piece should be a large wooden or metal hammer, and should strike a large block of wood or wood table. The sound should be quite loud and deep.

All brass mutes should be metal.

Contrabassoon sounds one octave lower than written. Piccolo sound one octave higher than written

Duration-I2 minutes

1

C Score Distorted Visions

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