Lineamenta

...first we observed that the building is a from of body, which like any other consists of lineaments and matter, the one the product of thought, the other of Nature; the one requiring the mind and the power of reason, the other dependent on preparation and selection...

Let us therefore begin thus: the whole matter of building is composed of lineaments and structure. All the intent and purpose of lineaments lies in finding the correct, infallible way of joining and fitting together those lines and angles which define and enclose the surfaces of the building. ... It is quite possible to project whole forms in the mind without any recourse to the material, by designating and determining a fixed orientation and conjunction for the various lines and angles. Since that is the case, let lineaments be the precise and correct outline, conceived in the mind, made up of lines and angles, and perfected in the learned intellect and imagination.

—Leon Battista Alberti, De re aedificatoria, ca. 1450 [On the Art of Building in Ten Books, translated by Joseph Rykwert, Neil Leach, and Robert Tavernor. Cambridge: MIT Press, 1988.]

I was inspired by Alberti's theorization to write a piece of music built from basic components metaphorically related to those lines and angles, the lineaments, which guide an architectural design. The piece begins thus: the drone as horizontal, the chord as vertical. within and guided by these ever-present frames is built a composition engaging and exposing the lineaments of my musical language: drones, modalities, harmonies, colors, the music of the Thai classical tradition, jazz, bells.

Thai

Introducing Thai classical instruments and musical inspiration into an orchestral context posed an unusual problem. The structure of Thai classical music is analogous to chamber music in that instrumental parts are conceived as unique timbral and melodic contributions to the overall texture, allowing for individual variation and improvisation. Furthermore, solo Thai instruments are in danger of being sonically overwhelmed by an orchestra.

I have created a solo group, or concertino group, which includes the Thai instruments as well as soloists from the orchestra. The piece is not a concerto as there is no dramatic opposition between the solo group and the orchestra, or between the Thai instruments and orchestral instruments. Instead the solo group emerges fluidly from the orchestra, its constitution and identity rarely definitive, playing in a manner more allied to chamber music or the Thai classical tradition than to orchestral music.

Lineamenta was commissioned by The Seattle Creative Orchestra.

Instrumentation:
solo group (10 players):
oboe
viola
contrabass
ranaat ek (Thai xylophone)
jakay (Thai zither)
khim (Thai dulcimer)
marimba
thone-rammana (Thai drums)
ching (Thai handbell)
mong (Thai gong)

orchestra:
2 flutes (first doubling piccolo)
1 bass clarinet
1 alto saxophone
2 trumpets
2 percussion: vibraphone, crotales (2 oct.), chimes, cymbal
piano
synthesizer (electric organ) with volume pedal
6 violins i
5 violins ii
3 violas
3 cellos
1 contrabass

some variation in instrumentation is posible, and substitutions are possible within the solo group.

Performed by:
Seattle Creative Orchestra with Christopher Adler, Brian Bensky and Ming Hwa Doo