Title

Dimensions

Original Title

Composer

Hutcheson, Thomas

Year

1970

Editor

Arranger

Year Arranged

Original Instrumentation

Type of Arrangement

Availability

Private

Publisher

Year Published

Catalogue Number

Sheet Music Format

A4, Score (44) & parts (12x4=36)

Horns

12

Additional Equipment

Straight mutes, brass mutes

Others

Other Instruments

Difficulty

2

Duration

5

Structure / Movements

One movement.

Clefs

Treble, bass

Meters

3/4, 4/4, 5/4, 6/8, 3/2

Key signatures

None

Range

Horn 1: a - c3 Horn 2: g - b2 Horn 3: f - a2 Horn 4: e - ab2 Horn 5: Gb - ab2 Horn 6: d# - ab2 Horn 7: e - b2 Horn 8: e - bb2 Horn 9: c - a2 Horn 10: c - a2 Horn 11: A - b2 Horn 12: F - b2

Creator's Comments

Dimensions was composed in 1970 while the composer was pursuing his doctorate degree in theory/composition at the Florida State University, Tallahassee. It was inspired by a performance of Gunther Schuller’s Liens and contrasts for 16 horns at the International Horn Workshop at Florida State with the composer conducting. The piece is based on a 12-tone row stated in 1st horn as a single line in the first few measures. The opening 12-note chord contains all four of the traditional triads (major, minor, augmented, diminished), which are used later in the piece for harmonization of the row. Many of the dissonances of the work are the result of moving tone clusters created by up to 12 layers of counterpoint formed from many different forms of the original tone row. The title is derived from the form. Several formal “dimensions” are extant by the simultaneous juxtpostion of sonata allegro, arch, and theme and variations principles. It consists of a brief introduction, A & B themes, development, recapitulation & coda (sonata), which is recapitulated with B theme first (A B C B’ A’ – arch), which is further divided into 12 variations on the original row (theme and variations). Yet another “dimension” is represented by he presence of multiple contrapuntal sections (fugato, canon, stretto). Dimensions also exploits a wide timbral and pitch range on the horn. A new muting technique is employed near the opening requiring hand manipulation of a brass mute. In addition to traditional muting, the extended stopped passages in extreme ranges lend a new timbral dimension to the work. It requires 12 very competent players and covers a range of over 3 ½ octaves.

Performance Notes

In addition to the description of the composer, which is quite extensive, it should be noted that a large part of the work (the alternating 6/8 and ¾ section) consists of 12-tone rows played in each part in continuous fast quavers (eight notes), with a 3 against 2 phrasing. The finale does is similar (in 3/2), even faster, moving the quavers (eight notes) circularly from horn 1 to 12 and back. The very end is made up of six bars of 12-tone cluster chords, finishing on a unison B flat spread over two octaves. An interesting an challenging work for 12 horns.

Credits

Access to review score: Nancy Joy (NMSU)

External Link

Sound

Score