Score and Parts. By Renee Fleming. Arranged by Rob Mathes. Symphony Pops. Published by Hal Leonard

Concert band - Grade 2

SKU: RM.HAEN03800-CO

Composed by Johann Matheson. Arranged by Philippe Vadrot. Classical music. Orchestra. Conductor's score. Duration 2 minutes, 11 seconds. Editions Robert Martin #HAEN03800-CO. Published by Editions Robert Martin (RM.HAEN03800-CO).

Viola - Grade 1

SKU: RM.PROU04670

Composed by Johann Matheson. Alto and piano. Instrumental music. Editions Robert Martin #PROU04670. Published by Editions Robert Martin (RM.PROU04670).

ISBN 9790231046700.

Orchestra Bassoon, Cello, Clarinet, Contrabass, Flute, Harp, Horn, Marimba, Oboe, Vibraphone, Viola, Violin 1, Violin 2

SKU: PR.416414230

For Chamber Orchestra. Composed by James Matheson. This edition: Version 6/10/10. Sws. Contemporary. Full score. With Standard notation. Composed February 13 2003. 84 pages. Duration 18 minutes. Theodore Presser Company #416-41423. Published by Theodore Presser Company (PR.416414230).

ISBN 9781598066630. UPC: 680160602087. 9x12 inches.

Colonnade is James Matheson’s intriguing response to the Albany Symphony’s commission to create a work inspired by the NY State Board of Education Building, designed by the renowned architect Rafael Guastavino. Matheson explains that “A colonnade acts as a metaphor for the tension between knowledge and perception. The columns are the same height and equidistant from each other; while the mind understands this fully, there exists no place from which one can perceive this – the columns always appear to be of uneven height and spacing. If one then adds motion to perspective, identical columns acquire elasticity, and begin to change kaleidoscopically – they shrink, grow, become closer, and then further apart.” This structural paradox is given musical life in the outer sections of Colonnade, while the long, arching middle section is inspired by the vaulted ceiling of one of the building’s largest rooms, enhancing the structure’s spacious openness and lightness.
Colonnade is inspired by Albany’s majestic New York State Board of Education Building, and written on a commission from the Albany Symphony Orchestra. It was an intriguing task, in part because in order to accept the commission I had to agree to write a work “inspired by” a building I had not yet seen. Thisproblem was compounded by the fact that, for me, the very notion of extra-musical inspiration is a complex one, particularly with respect to literary or visual sources. I generally find ideas and abstracted notions more generative of musical ideas than specific ones (a poem, an experience, a painting). So when I went to seeand tour the building, I sought to identify fundamental formal aspects of the building which I could process into musical ideas, and would then be linked to the building through a sense of formal relationship. In theend, two characteristics of the building stood out as noteworthy and undiminished by time (compared with, for instance, the building’s rotunda, which contains a series of quaintly outdated allegorical paintings): theexterior colonnade and a beautiful interior vaulted ceiling, designed by Rafael Guastavino.For me, a colonnade acts as a metaphor for the tension between knowledge and perception. We all know, for instance, that the columns are of the same height and are equidistant from each other. Nevertheless, while the mind understands this fully, it is also the case that there exists no place – no standpoint or viewpoint – anywhere in the universe – from which one can perceive this; the columns always appear to be of uneven height and spacing. If one then adds motion to perspective – a walk along the colonnade, for instance – the fixed, even, rigidly identical columns acquire elasticity, and begin to change kaleidoscopically – they shrink, grow, become closer, and then further apart. Further, the detail of the building’s façade behind the colonnadeshifts into and out of visibility, with different portions obscured by the columns from each vantage point. These considerations underlie the outer sections of Colonnade, in which a continuously repeated, continuously varied rising figure – suggestive of a column – dominates. The iterations of this elastic, evolvingfigure are interspersed with other music – suggestive of the building’s façade. The second feature of the building that caught my attention was the vaulted ceiling, designed by Guastavino,of one of the building’s largest rooms. The ceiling enhances the spaciousness of the room, giving it an openness and lightness that is quite captivating. The middle section of Colonnade has this openness at its core, and is dominated by long, arching lines that, to me, suggest the refined beauty of this ceiling.World premiere March 8, 2003; Albany Symphony Orchestra conducted by David Alan Miller.

Orchestra Bassoon, Clarinet, Contrabass, Flute, Harp, Horn, Marimba, Oboe, Vibraphone, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.41641423L

For Chamber Orchestra. Composed by James Matheson. This edition: Version 6/10/10. Contemporary. Large Score. With Standard notation. Composed February 13 2003. 84 pages. Duration 18 minutes. Theodore Presser Company #416-41423L. Published by Theodore Presser Company (PR.41641423L).

UPC: 680160602094. 11 x 14 inches.

Colonnade is inspired by Albanys majestic New York State Board of Education Building, and written on a commission from the Albany Symphony Orchestra. It was an intriguing task, in part because in order to accept the commission I had to agree to write a work inspired by a building I had not yet seen. This problem was compounded by the fact that, for me, the very notion of extra-musical inspiration is a complex one, particularly with respect to literary or visual sources. I generally find ideas and abstracted notions more generative of musical ideas than specific ones (a poem, an experience, a painting). So when I went to see and tour the building, I sought to identify fundamental formal aspects of the building which I could process into musical ideas, and would then be linked to the building through a sense of formal relationship. In the end, two characteristics of the building stood out as noteworthy and undiminished by time (compared with, for instance, the buildings rotunda, which contains a series of quaintly outdated allegorical paintings): the exterior colonnade and a beautiful interior vaulted ceiling, designed by Rafael Guastavino. For me, a colonnade acts as a metaphor for the tension between knowledge and perception. We all know, for instance, that the columns are of the same height and are equidistant from each other. Nevertheless, while the mind understands this fully, it is also the case that there exists no place no standpoint or viewpoint anywhere in the universe from which one can perceive this; the columns always appear to be of uneven height and spacing. If one then adds motion to perspective a walk along the colonnade, for instance the fixed, even, rigidly identical columns acquire elasticity, and begin to change kaleidoscopically they shrink, grow, become closer, and then further apart. Further, the detail of the buildings facade behind the colonnade shifts into and out of visibility, with different portions obscured by the columns from each vantage point. These considerations underlie the outer sections of Colonnade, in which a continuously repeated, continuously varied rising figure suggestive of a column dominates. The iterations of this elastic, evolving figure are interspersed with other music suggestive of the buildings facade. The second feature of the building that caught my attention was the vaulted ceiling, designed by Guastavino, of one of the buildings largest rooms. The ceiling enhances the spaciousness of the room, giving it an openness and lightness that is quite captivating. The middle section of Colonnade has this openness at its core, and is dominated by long, arching lines that, to me, suggest the refined beauty of this ceiling. World premiere March 8, 2003; Albany Symphony Orchestra conducted by David Alan Miller.