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1 Santa Clara University Scholar Commons Music College o Arts & Sciences 2007 Anomia Bruno Ruviaro Santa Clara University, bruviaro@scu.edu Follow this and additional works at: htt://scholmmons.scu.edu/music Part o the Comosition Commons Recommended Citation Ruviaro, Bruno, "Anomia" (2007). Music. 29. htt://scholmmons.scu.edu/music/29 Chamber ensemble (six or ourteen layers). Version or six layers: lute, clarinet, violin, violoncello, iano and ercussion. [ca. 2 00] Version or ourteen layers: lute, oboe, clarinet, bassoon, trumet, French horn, trombone, ercussion, iano, 2 violins, viola, violoncello, double bass. [ca. 00] Premiered by the Inauthentica Ensemble (Mark Menzies, conductor) at Stanord University on May 27, This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike.0 Unorted License. This Score is brought to you or ree and oen access by the College o Arts & Sciences at Scholar Commons. It has been acceted or inclusion in Music by an authorized administrator o Scholar Commons. For more inormation, lease contact rscroggin@scu.edu.

2 Bruno Ruviaro Anomia (2007) or six or ourteen layers htt://ccrma.stanedu/~ruviaro

3 Anomia (2007) by Bruno Ruviaro Perormance Instructions Anomia can be layed by six or ourteen layers (see instrumentation on next age). The sextet version has only one movement, called Anomia (mild). The chamber orchestra version has three movements: Anomia (mild), Anomia (chronic), and Anomia (severe). Each movement lasts a little over one minute. They can be layed in dierent combinations, as seciied below: In a SEXTET concert: lay Anomia (mild) twice in the same concert, but not in direct sequence: there should be one or more ieces by other comosers in between the two Anomia (mild) erormances. In the seciic case Anomia (mild) is chosen to be the irst iece in the rogram, it must be also the last iece o the same concert. In other words, Anomia (mild) can't be the irst iece o a rogram without being the last iece as well. Here are some examles o hyothetical concerts: Piece W Piece W Anomia (mild) Piece W Anomia (mild) Piece X Piece W Piece X Piece X Anomia (mild) Piece X Anomia (mild) Intermission or Intermission or Intermission or Piece Y...etc. Piece Y Piece Y Piece Y Anomia (mild) Anomia (mild) Anomia (mild) Piece Z Piece Z Piece Z Piece Z Anomia (mild) In a CHAMBER ORCHESTRA concert: all three movements should be layed once, but not in direct sequence. There should be one or more ieces by other comosers searating each o the Anomia movements. The concert may start with one o the three Anomia movements, but it should not end with any o them. The ensemble may choose any o the six ossible orderings: 1) [Other iece(s) otional...] Anomia (mild) [...other iece(s)...] Anomia (chronic) [...other iece(s)...] Anomia (severe) [...other iece(s)...] 2) [Other iece(s) otional...] Anomia (mild) [...other iece(s)...] Anomia (severe) [...other iece(s)...] Anomia (chronic) [...other iece(s)...] ) [Other iece(s) otional...] Anomia (chronic) [...other iece(s)...] Anomia (mild) [...other iece(s)...] Anomia (severe) [...other iece(s)...] 4) [Other iece(s) otional...] Anomia (chronic) [...other iece(s)...] Anomia (severe) [...other iece(s)...] Anomia (mild) [...other iece(s)...] ) [Other iece(s) otional...] Anomia (severe) [...other iece(s)...] Anomia (mild) [...other iece(s)...] Anomia (chronic) [...other iece(s)...] ) [Other iece(s) otional...] Anomia (severe) [...other iece(s)...] Anomia (chronic) [...other iece(s)...] Anomia (mild) [...other iece(s)...]

4 Sextet version: Anomia (mild) Piccolo Bass Clarinet Violin Violoncello Xylohone Piano Chamber Orchestra version (all three movements) Flute (& Piccolo) Oboe Clarinet in Bb (& Bass Clarinet) Bassoon Horn in F Trumet in C Trombone Xylohone Piano Violin 1 Violin 2 Viola Violoncello Contrabass Anomia is dedicated to the inauthentica ensemble, (htt:// which remiered the iece at Stanord University on May (Mark Menzies, director). anomia noun (Medicine): a orm o ahasia in which the atient is unable to recall the names o everyday objects. anomie (also anomy) noun: lack o the usual social or ethical standards in an individual or grou.

5 NOTATION (8) Quarter-tone notation used in the iece. (1) Glissando between seciied notes (2) The end o the glissando does not have to be articulated. The note given in arentheses serves only as a suggested aroximation. () Glissando between notes within seciied rhythm. Note values without noteheads (no itch) should not be rearticulated: they are simly art o the glissando. (4) Glissando without a seciied ending note. () Grace notes: always as ast as ossible. () Raid, unmeasured alternation between two notes. These trills are made to the note given in arentheses. (7) WINDS: Flutter tongue. STRINGS & PERCUSSION: Raid, unmeasured reetition o the same note (tremolo). (9) Accidentals aly only to the note beore which they are written. The only excetion is when a note is immediately reeated in the same register. Courtesy natural signs (in arentheses or not) are oten used to avoid ambiguities. In the examle above, all the our E's reeated in immediate sequence are latted. (10) STRINGS: Bartók izzicato. CLARINET: sla tongue (exaggerated tongue action roducing a short, shar ercussive sound. Always staccato. (11) STRINGS: Scratch tone (secial combination o bow ressure and bow seed generating a noisy sound without deinite itch). The sign alies only to the note above which it is written. Sometimes used with an arrow to indicate gradual transition rom scratch tone to normal tone roduction ( norm. ), or vice-versa m. 14 (18) Molto Sul Ponticello, Sul Ponticello, Ordinario, and Sul Tasto. Used with arrows when a gradual transition rom one to another is required. (1) STRINGS: The symbol on the let means normal inger ressure on the ingerboard. The second symbol (black and white circle) means hal-harmonic : inger ressure between normal and harmonic ressure. The third symbol (diamond) means the regular harmonic ressure. Arrows indicate a gradual transition rom one sound quality to another. (14) WINDS: The symbol on the let means normal tone roduction. The second symbol (black and white circle) calls or a breathy, indistinct timbre, but still with ully identiiable itch. The last symbol (diamond shae) calls or a very breathy sound, with almost no identiiable itch (or having itch as timbral modiication). Arrows indicate a gradual transition rom one sound quality to another growl (1) CLARINET: Growl : literally, make a growling sound in the throat while laying the seciied note to achieve a distorted and noisy tone quality. (1) PERCUSSION: Dead strokes. (17) XYLOPHONE MALLETS: (rom let to right) sot, medium, hard

6 Piccolo Bass Clarinet in Bb Violin Violoncello Xylohone Piano q = 40 m m izz. izz. Anomia (mild) q = 7 q = 0 () quasi m sub. m m m :2e 7:4 s arettando (Finish the gesture earlier than how is written) vib. m m Bruno Ruviaro, 2007 izz. m wide vibrato (ca. M2) izz. m m m (*) m (*) Pluck the same two strings as the let hand continues to modulate the itches with the wide vibrato. oco

7 2 Picc. bisbigliando (timbral trill) accel. m oco vibrato 7:4 7:4 :4 7:4 7:4 B. Cl. m m m Vln. Vc. (izz.) m m col legno batt. meno m m izz. m secco izz. m secco Xyl. Pno. quasi 9:8 7:4x m m 7:4x y quasi m 12:8y 7:4x m bright ad lib. (oco) m Anomia (mild) by Bruno Ruviaro

8 Picc. B. Cl. q = :4 sz s () q = 92 oco vibrato m 7:4e vib. s Vln. Vc. m m jeté m. m :2q e ( ) oco m sub. 7 izz. m m legno batt. m Xyl. Pno. quasi () m 7:y senza 7:y quasi 7:4e :2e m m :2 m Anomia (mild) by Bruno Ruviaro

9 4 Picc. 1 q = 10 rall. q = 120 m B. Cl. Vln. Vc. sz s gliss. m izz. m Xyl. Pno. 7:4 s staccatissimo 7:4e (electric!) 7:4e m sub. quasi m m marcato Anomia (mild) by Bruno Ruviaro

10 Picc. 22 ca. " q = 92 q = 7 oco accel. Voice (arox. itch) m ca. 4" q = 92 Voice B. Cl. Vln. Vc. growl + vibrato :4 y x s m col legno batt. m izz. m m (izz.) m Xyl. Pno. oco accel. oco Anomia (mild) by Bruno Ruviaro

11 Picc. 29 q = 7 m oco accel. ca. 7" q = 92 rall. q = 0 rall. q = 0 accel. q = 0 B. Cl. Vln. Vc. smorzato m jeté m izz. m cello strings I II III IV s (slow gliss) senza s oco vibrato jeté m jeté m (wide vibrato on lower note) 9 s 9 (wide vibrato on uer note) arettando oco Xyl. Pno. m oco m rall. m senza (in loco) m :x ten. :x ten. Last revision: Setember Anomia (mild) by Bruno Ruviaro

12 Piccolo Oboe Bass Clarinet in Bb Bassoon Horn in F Trumet in C Trombone Xylohone Piano Violin 1 Violin 2 m Anomia (chronic) q = 40 Bruno Ruviaro, 2007 q = 7 q = 0 bisbigliando (timbral trill) Bass Clarinet vib. s m () m m sub. m sub. m s m :2e 7:4 m s vib. m m s (s) m s m izz. m () quasi () m m 7:4x m oco izz. m m m quasi (semre izz.) 9:8 m m s m 7:4x y m quasi Viola Violoncello Contrabass izz. wide vibrato (ca. M2 u/down) (izz.) (izz.) m m [Pluck the same two strings as the let hand continues to modulate the itches with the wide vibrato.] m

13 2 Picc. Ob. Cl. 8 accel. 7:4 7:4 :4 7:4 7:4 m oco vibrato q = 10 7:4 m m () s q = 92 m B. Cl. Bsn. Hn. C Tt. Tbn. Xyl. Pno. Vln. 1 Vln. 2 Vla. Vc. Cb. Clarinet Bb m m oco vibrato senza s m m m m senza s senza s 12:8y 7:4x bright izz. col legno batt. ad lib. (oco) meno m m m Anomia (chronic) by Bruno Ruviaro m m m m m sz s () () (izz.) m secco izz. m secco izz. m secco m m m m m m m m (senza s) s s jeté jeté m. m. e m m m m m m oco m 7:y 7:y m senza sub. quasi 7 izz. izz.

14 Picc. Ob. Cl. Bsn. Hn. C Tt. Tbn. Xyl. Pno. Vln. 1 Vln. 2 Vla. Vc. Cb. 14 m m (izz.) m izz. m (izz.) 7:4e 7:4e :2e vib. s m q = 10 rall. Bass Clarinet m 7:8x m m m m m :2x m legno batt. m legno batt. 7:4 s 7:8x m m 7:8x 7:8x m m m m q = 120 m m staccatissimo 7:4e m sub. 7:4e izz. m (izz.) m 7:4 7:8x m 7:8x m 7:8x m quasi quasi m (on the string) s m legno batt. izz. m m m ca. " Bass Clarinet (m) Anomia (chronic) by Bruno Ruviaro

15 4 Picc. Ob. B. Cl. Bsn. Hn. C Tt. Tbn. Xyl. 2 Pno. Vln. 1 Vln. 2 Vla. Vc. Cb. q = 92 Voice (arox. itch) q = 7 oco accel. m m m col legno batt. oco accel. m m ca. 4" q = 92 q = 7 oco accel. growl + vibrato y m m sub. m m staccatissimo Flute Flute Voice m m smorzato m staccatissimo staccatissimo oco oco accel. izz. x x s s col legno batt. m izz. m m m m oco m jeté m jeté m izz. m izz. m ( ) Anomia (chronic) by Bruno Ruviaro

16 Fl. Ob. Cl. Bsn. Hn. C Tt. Tbn. Xyl. Pno. Vln. 1 Vln. 2 Vla. Vc. Cb. ca. 7" oco vibr. 0 Bb Clarinet (air only) una corda strings I II III IV q = 92 (air only) (air only) rall. (very slow gliss) m q = 0 m m s s s IV rall. q = 0 accel. q = 0 senza dim. senza dim. senza dim. m s m m m m sordina (in loco) m :x :x Last revision: Setember Anomia (chronic) by Bruno Ruviaro

17 Anomia (severe) Bruno Ruviaro, 2007 Flute q = 7 q = 0 q = 10 q = 92 Oboe m m m sub. m s m m Clarinet in Bb Bassoon sz s Horn in F s m (s) m Trumet in C s m (s) m (s) Trombone s s m m (s) m senza s m m Violin 2 izz. secco m m Viola izz. jeté m izz. m m m Contrabass m. s m m izz. m m

18 2 Fl. 9 q = 10 rall. q = 120 q = 92 q = 7 Ob. 7:8x m 7:8x Cl. Bsn. m 7:8x m Hn. senza s (senza s) C Tt. senza s (senza s) m m Tbn. s senza s (senza s) m m Vln. 2 izz. m m 7:8x quasi x s Vla. m 7:8x col legno batt. m Cb. izz. m (m) Anomia (severe) by Bruno Ruviaro

19 Fl. q = 92 q = 7 oco accel. 19 oco vibr. ca. 7" q = 92 rall. q = 0 m rall. q = 0 accel. q = 0 Ob. Cl. m Bsn. senza dim. Hn. (air only) sordina (s) senza dim. C Tt. (air only) sordina (s) Tbn. (air only) sordina (s) senza dim. Vln. 2 Vla. izz. m jeté m izz. m m. con s 7 con s m Cb. izz. m izz. Last revision: Setember Anomia (severe) by Bruno Ruviaro