School of Music
U N C G
M. Scott Johnson
composition
Graduate Recital
Friday, March 20, 2009
7:30 pm
Recital Hall, School of Music
Program
Pretense (2008) M. Scott Johnson
The Red Clay Saxophone Quartet (b.1984)
Susan Fancher - soprano saxophone
Robert Faub - alto saxophone
Steve Stusek - tenor saxophone
Mark Engebretson - baritone saxophone
Philippians 3:13 (2008)
Matt Libera - clarinet
Austin MacDonald - horn
Emily Yun Wang- viola
Amanda Harman - bassoon
Mediation (2007)
Carlos Fuentes - piano
Skeleton Keys (2008)
Matt Johnson- piano
Matt Libera - clarinet
Andrew Weathers - marimba
Travis Clem - percussion
Intermission
Even As Iʼm Swept Away (2008)
UNCG Percussion Ensemble
Frazzled Peace (2008)
I. Frazzled
II. Peace
Jenni Bates - flute
John Beck - percussion
Two Short Poems (2008)
I. Barely Wide Awake
II. Tasting Stars
Mary Hannah Johnson - mezzo-soprano
Emily Yun Wang - viola
Carlos Fuentes - piano
52-Phrase Pickup: a game for musicians (2008)
Jenni Bates - flute,
Matt Libera - clarinet
Austin MacDonald - horn
M. Scott Johnson is a student of Dr. Alejandro Rutty and Dr. Mark Engebretson
_______
In partial fulfillment of the degree requirements for the
Master of Music in Composition
Program Notes
Pretense
Pretense is a fast-paced work for saxophone quartet that employs several modern
saxophone techniques, including multiphonics and sub-tones. Throughout the course of the
piece the quartet imitates a variety of different genres and timbres, attempting to resolve an
apparent “identity crisis.”
Philippians 3:13
This work is a metaphor for the different ways people respond to hardships in their lives.
Through graphic notation, each player portrays a different character on a journey from pain
to joy through Christ. This piece is inspired by a passage from Philippians that explains the
reason for this joy: knowledge of what waits for us after this life is over if we accept the
righteousness that Jesus Christ has bought for us. Just as Paul challenges us to imitate the
church at Philippi, the bassoon sets an example for the other parts and acts as a catalyst
for change in the other characters.
Mediation
Just as a mediator attempts to settle a dispute between two or more parties, the pianist
attempts to find common ground between two distinct voices. One voice is highly
pentatonic, occupying (primarily) the black keys of the piano; while the other voice offers is
highly modal, occupying the white keys of the piano. Each voice presents a different
perspective on a melodic idea while a mediator attempts to find a common ground.
Throughout the piece, the pianist uses his or her forearm to represent moments of
irrational, eristic, argument. Each time, the mediator attempts to divert away from this,
towards constructive argument.
Skeleton Keys
Originally written to accompany choreographed dance, this piece is a musical
representation of the internal framework of bones supporting a personʼs body and enabling
movement. Throughout the piece, the ensemble imitates this skeletal structure without
musculature support or control. A high degree of freedom in each part and the slow
manipulation of several simple motivic ideas results in an interesting narrative that unfolds
at an almost unnerving pace. At times there is very little motion, while at other times all the
parts seem to move independently from one another in a mass of sound. As the piece
develops, a disparate sense of “rattling” builds to an eerie (almost cliche) dance between
the parts of this skeleton and climaxes with a complete loss of control between parts.
Even As Iʼm Swept Away
This is a work for percussion quartet based upon a poem by Clyde Harkrader Jr. In this
work, the players create the sensation of a stream as a steady current builds to a rushing
river. One player represents the “stone,” immovable despite the effort of the stream. Other
players move (figuratively and physically) as they add new sounds and intensity to the
waters. In the end, the “stone” finally decides to leave his “dark patient bed” and swims...
“smiling.” This piece is an early experiment in creating multi-sensory works for the hearing-impaired,
where the visual aspect of the performance and the sensation of the vibrations
caused by the percussion play an important roll in the musical narrative.
You have asked me to be a stone.
Like the smooth loves of the river.
Wait, patient.
A sleepy, streaming seeker.
Perhaps one day to thrill at your elfin touch,
Perhaps, for a moment, to drink deep with you
The waters that pass by.
But can I wait?
Is it waiting to tumble?
So lost, such a dizzy loss.
Your touch loosened me.
I have fled my dark patient bed,
And decided to swim, smiling.
Find me
When I wash up.
Or, maybe,
As I spin heavy, awkward towards you.
I canʼt wait.
Not in these waters,
But look for me when you search.
I will be waiting.
Even as Iʼm swept away.
- poem by Clyde Harkrader Jr.
(reprinted with permission of author)
Frazzled Peace
This piece was inspired by the series of original works written for the flute-percussion
ensemble Due East. It is an exploration of the timbres created by flute with metals. A
seemingly contradictory title, the words “Frazzled” and “Peace” could easily apply to both
movements. Frazzled builds slowly and patiently with the flute ascending higher and higher,
while Peace is a highly rhythmic movement with an irregular meter. There is no pause
between the two movements.
Two Short Poems (texts by Clyde Harkrader Jr.)
This short vocal work was composed for the unprepared music concert in November of
2008. The sonic material is derived from a triad that contains a minor second and
diminished fifth above the root. In the first movement the result is almost mystical, and in
the second movement the result is quite frantic.
My Iʼm barely wide awake!
Awake enough to see this dream.
Clutter sputters to the front
And wakes me to the rocking floor.
Where is up and what is down?
Iʼve found my head is all a mess.
Why wait to walk when the lights come back?
Iʼve found my way, more or less.
Pop!
My brain must be tasting stars!
My body is a mile over the moon!
So many powers lifting up
Upon my new...
- poems by Clyde Harkrader Jr.
(reprinted with permission of author)
52- Phrase Pickup: A Game For Musicians
This is an exploration into aleatoric music that manifests itself in the form of a card-game
for musicians. Players scatter a deck of “phrase-cards” (cards that have musical phrases
written on them) upon a surface; then they proceed to pick up the cards one at a time,
playing the phrase on each card while competing to be the one with the most cards at the
end of the game. This game may be played at home or in a performance setting, in which
case the performance area should resemble someplace that a game would naturally occur,
and performers should feel as comfortable as they would at home.
The musical interest of the work is in the millions of possible combinations of phrases and
timbres that can occur. The desire to win balanced with the responsibility to perform the
phrases faithfully and musically makes for an exciting experience for both the performers
and the audience. This game has the power to be an excellent sight-reading tool,
particularly with the availability of additional decks, including those for beginners.
-----------------
Composer M. Scott Johnson is a native of Lynchburg, Virginia. He graduated from
Lynchburg College in 2007 with a BA in Music and is currently in his second year of study
at the University of North Carolina in Greensboro completing an MM in Composition. With
his works, Johnson attempts to create music that bridges the gap between popular and
academic music. His works span a variety of genres including symphonic works, choral
works, chamber music, and popular music. For the past year he has been striving to help
lay a foundation in creating contemporary music that is more accessible to the hearing-
impaired. Johnson currently serves as the minister of music at Fairview Christian Church in
Lynchburg.
The composer would like to thank all of the performers who helped make this recital
possible. A special thanks goes out to the members of the Red Clay Saxophone Quartet,
Dr. John Beck, and the UNCG Percussion Ensemble.
