David Avshalomov. Sinfonietta. (Parting) Chamber Orchestra

Transcription

1 David Avshalomov Sinonietta (Parting) Chamber Orchestra Commissioned by the Mission Chamber Orchestra, San Jose, Caliornia, Emily Ray, Music Director FULL SCORE Coyright 2018 Raven Music

2 INSTRUMENTATION 2 Flutes (1. doubling Piccolo) 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 Horns in F 2 Trumets in Bb Bass Trombone Timani (3 edal drums, ot. 4 th drum) + Percussion (all 1 layer; otional second layer) Glockensiel (sounds 15ma) (Secial: wire brushes, lastic chosticks or metal knitting needles) Slash (Susended) Cymbal Triangle (susended rom stand i only 1 layer) Egg Shaker (small) Mark Tree (horizontal metal tubes) Glass Wind Chime Large Concert Bass Drum (otional second layer) Violins I Violins II Violas Violoncellos String Basses (i ossible, at least one with low C extension)

3 PERFORMANCE NOTES The irst movement should be layed with clarity and grace, almost in a Classical style. Climaxes ull but not overowering. The second movement should be layed with dee exression and emotion where marked, but not to the extreme o distorted tone. (For visualizing the associated images, 301 to E deicts a clear-cut. E to 353 is a ond look at a healthy climax orest. G is the buildu to a crown ire, I is a look at the black ater a burn. The ending at J is a ond memory and arewell.) The scherzo sections o the inale should be layed ironically and disassionately, with no rubato. In the middle Stars eisode, highlight the solo woodwind melodies, which may be molto esressivo. Then allow the climax to build to maximum volume just short o distortion. The Song o the Milky Way in the high winds should be dolcissimo. In the accomanying harmonicsclusters in higher strings, the random changes o vibrato, little swells, and tremolos should be individualized where so marked, as well as the individual de-tunings in doubled lines. The overall eect should be the aint twinkling o a vast number o stars on a clear black night. In the rerise o the inale, the short quiet dry coughing near the end should be done by individuals, at most airs but not synchronized, in the silences. Designate the coughers in advance, do not imrovise this. Share it around. It is sot anicky coughing, not a violent attack o the crou. The inhales are like little dry gass. The last exhale is not through the instrument (winds/brass), just through your teeth. The inal stage business needs to be rehearsed searately without laying. Be atient and wait or the inal alause it may take a while. Then heads come u individually. SPOKEN NOTE: I the conductor eels that the audience will need some warning or rearation beore the Finale to gras what is going on and enter into it, a short soken comment beore the start o the symhony will not be amiss. I you want to engage the audience in visualizing/exeriencing the inal exiration, tell them beorehand that you will make a gesture (show it) to alert them near the end (m. 548) to take a dee breath and see i they can hold it to the inish... Lighting Suggestions I the hall s lighting system allows, it is ossible to enhance the moods o this symhony with selective lighting. These are suggestions: First movement: Full house lights u throughout. Glaringly bright, even. Second movement: Dee dark green (or house to hal), erhas with a lare u to yellow/orange during the crown ire ater G, then ade and back to green at J. Third movement: start o with a harsh greyish light, then dim to ull dark in the house or the stars. (Possibly darken the stage as well, and use stand lights starting at 446, to 475?). Back to the harsh light rom the sunrise at 475. o Third movement secial eect: roject the quickly-emerging stars, and then airly suddenly reveal the ull Milky Way, on the ceiling o the room during that assage while the room stays dark, then ade the stars out at sunrise as the lights come u. (Stars could be rojected on the back wall instead.)

4 Flute 1 Flute 2 Oboe 1 Oboe 2 Clarinet 1 in Bb Clarinet 2 in Bb Bassoon 1 Bassoon 2 Horn 1 in F Allegretto q = 100 semre semre I. Is There Hoe? (Business as Usual) Allegro q = 126 A m m Horn 2 in F Trumet 1 in Bb Trumet 2 in Bb Bass Trombone Timani/Percusion Violin I Violin II Viola Violoncello Contrabass m m m m

5 2 I 10 B m m m m

6 18 C m m 3 m m I m m m m

7 4 25 m m I

8 32 D 5 I soli

9 6 40 E solo m m m m m I etc. etc.

10 7 48 I

11 8 55 F solo m cantabile I cantabile cantabile

12 9 62 I

13 10 accel. Mosso 70 G q = 160 I

14 11 77 I

15 12 q = H Subito Temo I m I m m m

16 13 90 m m m I m

17 14 98 I m m m wood stick mute mute mute mute mute I

18 (cue.) rit. I rit.

19 16 I J senza sord. In Temo q = senza sord. senza sord. senza sord. senza sord. elt sticks 3 3 marcato marcato 3

20 marcato m I marcato m m marcato m m

21 K I

22 I 140 L m marcato marcato m m m m marcato cue marcato cue marcato marcato marcato m 19

23 M marcato marcato marcato marcato marcato (cue ) marcato m marcato m marcato marcato marcato marcato (ot.) I marcato marcato marcato marcato

24 I 155 marcato marcato marcato 21

25 N (melody) (melody) m I m m m (melody)

26 I m m m m O Allegro q = m m

27 24 I 182 m m 3 3 m 3 3 m m m m m m m m m m 3 3 m m 3 m 3 m m m m m m m m m m m m m m m m

28 I 197 m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m 25

29 molto rit. e = q P A Temo q = 126 I semre semre semre semre m m div.

30 Q I sostenuto sostenuto sostenuto sostenuto

31 I

32 I 235 R m m m m m m m m m m m m m m m 29

33 ot. div. I

34 I 246 accel. (ot. ossibile) 31

35 32 I S Vivo q = q semre h = 80 m m m m m m m m m m m

36 I

37 T I soli ossia

38 I m m 268 Strict Temo, no Ritard. m m m m m m L. V. L. V. m m m () () 35

39 36 I A Lento q = 50 div. II. Forests, Farewell div. I 285 Poco Mosso q = 60 B esr. esr. I 295 C I 307 sul G D sul G esr. esr. div. esr.

40 37 I I I F q = 72 rit. Andantino E q = 56 [ ] m Piu Mosso, Andante one, solo esr.

41 esr. I I 359 oco accel. m (ot. double Violas) G Piu Mosso q = 80 m m m aassionato I I 367 m m 373 m m m m H all come o the string together m m rit. 3

42 I I 384 J Largo q = 32 Lento q = 50 I rit. change bow as needed, searately, end downbow esr. rit. change bow once, searately change bow once, searately change bow once, searately one, solo esr. esr. m m m div. m div. div. senza vibr. 39

43 40 I A III. Exiration Vivace, Ironico (Farewell Air) q. = 152 one, solo sord. one, sola sord. tutti sord. one, solo sord. I gli altri 401 sord. B Vln. 1 I 405 Vln. 1 I 409 C

44 41 Vln. 1 I 412 restez Vln. 1 I 415 D

45 42 E cue oboe 1. (ot. sub lutes or oboes, or balance, conductor's choice) cue oboe 2. Vln. 1 I con sord. con sord. m con sord. tutte m sord. m con sord.

46 F solo m () m Vln. 1 I

47 m soli soli m m m Vln. 1 I

48 Vln G m m m sord. 45 I

49 rit. Vln. 1 rit. I

50 449 A Temo I q. = 152 H q = 40 Lento Andante q = Vln. 1 I Tutti divisi a 3 Tutti divisi a 3 sord. Tutti divisi sord. sord. sord. sord. sord. sord. sord. sord. BASS DRUM (ot.-second layer) sot mallets via sord. via sord. gliss. via sord. via sord. via sord. via sord. via sord. via sord. via sord. via sord.

51 48 I 455 solo THE STARS, THE STARS solo m esr. GLOCKENSPIEL L.V. hard iber mallets (NOT lastic) TRIANGLE MARK TREE thin beater, at to corner During this assage, Violin and Viola layers individually cycle through occasional 1-2 beat swell and dim., tremolo unta d', gradually add and remove at vibrato. Notations are just examles. m L. V. sot rubber mallets Vln. 1 I (change bows indivdually as needed) senza vibrato senza vibrato Tutti divisi a 4 via sord. Tutti divisi a 4 Where more than one Violin or Viola layer is laying a given line, one should kee correct itch, the others individually shit to (aroximately) a quarter-tone or sixth-tone lat or shar, to create a more blurry cloud o stars. add vibrato senza vibrato etc. via sord. add vibrato senza vibrato etc. senza vibrato add vibrato senza vibrato senza vibrato senza vibrato add vibrato senza vibrato etc. senza vibrato senza vibrato senza vibrato senza vibrato Tutte divisi a 4 via sord. via sord. senza vibrato senza vibrato senza vibrato div. add vibrato add vibrato

52 464 OH, THE MILKY WAY, FAREWELL! Take Piccolo solo GLASS WIND CHIMES m soli soli senza sord cue lutes L.V. GLASS WIND CHIMES senza sord solo(li the series i ossible) L.V. m m 49 Vln. 1 I etc. add vibrato senza vibrato etc. add vibrato senza vibrato senza vibrato add vibrato senza vibrato etc. senza vibrato add vibrato senza vibrato senza vibrato etc. add vibrato senza vibrato add vibrato Sto texturing, straight tone, all in tune

53 50 Vln. 1 I 471 PICCOLO m m m senza sord m soli soli m m m m m m m m m Harmon Mute m lunger extended senza sord cue horns m SPLASH CYMBAL m cue horns m m cue. hard yarn mallets m (all Vn. I) oco a oco iu vibrato (all Vn. II) oco a oco iu vibrato (all Vle.) oco a oco iu vibrato m m m m m m L.V. hard iber mallets (NOT lastic) oco a oco meno vibrato m (ot., ossible) MARK TREE senza vibrato m m m oco a oco meno vibrato senza vibrato m m m m oco a oco meno vibrato senza vibrato m m m m m m

54 Picc. 480 Take Flute 51 GLASS WIND CHIMES Vln. 1 I Resume individual short tremolos, swells, vibratos. At itch changes, resume continuous detunings

55 52 Fl handed glissandi, chromatic u lus diatonic down, reely, roughly as notated wire loo handles o wires brushes, OR lastic chosticks, OR metal knitting needles Vln. 1 (ALT: Chromatic ast tremolando u and down to octave, random itches) I sord. sord.

56 Fl. 492 Vivace, Ironico q. = Vln. 1 I GLASS WIND CHIMES SPLASH CYMBAL wire brush (slit-hairs one-handed u/down shake-roll) STOP ALL TEXTURING STRAIGHT TONE one, solo Tutte divisi a 2 L. V. le altre one, sola sord. sord. EGG SHAKER (sord.)

57 54 Fl. 500 J breath only, no tone, inger itches sentito breath only, no tone, inger itches sentito breath only, no tone, inger itches sentito Vln. I one, solo sord.

58 Vln. Vln le altre gli altri gli altri eroce m onticello 55 Vln. 1 Vln m onticello agitato onticello nat. Vln. 1 Vln oco oco oco

59 56 Vln. 1 Vln nat. Vln Vln. 2

60 57 Fl. 520 (ot. sub lutes or oboes, or balance, conductor's choice) sord. Vln. 1 Vln. 2 sord. sord.

61 58 Fl. Vln. 1 Vln lay (ot. sub lutes or oboes, or balance, conductor's choice) (sord.) sord. sord. sord. lay (ot. sub or oboe 1, or balance, conductor's choice)

62 59 Fl. 529 Vln. 1 Vln. 2 ot. ot.

63 60 Fl. 535 Vln. 1 EGG SHAKER Vln. 2

64 61 Fl. 540 blow air only through instrument blow air only through instrument blow air only through instrument blow air only through instrument Vln. 1 Vln. 2 tutti senza sord. behind the bridge tutti senza sord. behind the bridge blow air only through instrument tutte senza sord. behind the bridge tutti senza sord. below the bridge tutti senza sord. below the bridge

65 62 Fl. 546 ONE OR TWO PLAYERS WHISPER-COUGH ONCE QUIETLY, ("Eh-heh"), THEN QUICK INHALE WITH CONSTRICTED THROAT. Vln. 1 Vln. 2

66 63 Fl. 552 ONE OR TWO DIFFERENT PLAYERS COUGH, INHALE Vln. 1 sord. sord. sord. sord. sord. Vln. 2

67 64 Fl. 558 ONE OR TWO DIFFERENT PLAYERS COUGH, INHALE breath only, no tone, inger itches breath only, no tone, inger itches ONE OR TWO DIFFERENT PLAYERS COUGH, INHALE SILENCE breath only, no tone, inger itches breath only, no tone, inger itches breath only, no tone, inger itches Vln. 1 Vln. 2

68 Fl. 562 TRIANGLE small beater, at to corner ALL PLAYERS LOWER YOUR INSTRUMENT ALL PLAYERS: DROP YOUR CHIN AS YOU BLOW, CLOSE YOUR EYES, FREEZE (RELAXED). HOLD FOR APPLAUSE, hand choke 65 "This is the way the World ends,... not with a bang, but a whimer... " BLOW LOW AIR DOWNWARD, EXPIRE. ON APPLAUSE, OPEN EYES, RAISE HEAD, POKER FACE, MOUTH CLOSED. KEEP INSTRUMENT UP UNTIL APPLAUSE m CONDUCTOR: DO NOT CUE LAST EXHALATION, SIMPLY LOWER ARMS AND DO SAME MOVEMENTS AS PLAYERS [wh] m [wh] m [wh] m [wh] m [wh] m [wh] m [wh] m [wh] m [wh] m [wh] m [wh] m [wh] m [wh] m [wh] Vln. 1 Vln. 2 second, solo sord. onticello one, sola sord. onticello one, solo sord. onticello tutte irst, solo gli altri gli altri senza vibr. CONCERTMASTER ONLY, KEEP INSTRUMENT UP, FREEZE WITH BOW AT TIP ON STRING, CLOSE EYES BUT KEEP HEAD UP. ON APPLAUSE, CONCERTMASTER OPEN EYES AND LOWER INSTRUMENT, POKER FACE tutti tutte m [wh] m [wh] tutti m [wh] tutti tutti m [wh] m [wh]

69 DAVID AVSHALOMOV Orchestral Works Siege [8], ull orchestra Endgame [15], ull orchestra, commissioned by Portland, OR Jewish Community Orchestra, Dr. Donald Aert, Music Director Gems, Suite o Miniatures [12 total], ull orchestra Elegy [8] string orchestra Diamond Variations on an original theme [12] string orchestra with (ot.) har Pangs o Love [31] Romantic variations on a Rachmanino melody, string orchestra, commissioned by the San Jose Chamber Orchestra, Barbara Day Turner, Music Director Passacaglia Para el Niño Muerto [3'15], chamber orchestra Trotzky s Train [40], iano with string orchestra Secial Judges Citation, American Prize 2012 Arietta [2] lute and strings (ot. 2nd lute) Last Run to the Mountains [2] strings Concertino or Oboe [15] strings and har Songs o Lie/Songs o Death [23] (Emily Dickinson) bass/baritone voice, ull orchestra Two Aocalytic Songs [16] (Shelley/Yeats) bass/baritone voice, ull orchestra Ouverture: Augustus the Strong [2] baroque orchestra Intrada: Le Grand Condé [10] baroque orchestra Concerto con Timani [12] (baroque style) with strings and harsichord (under nom de guerre, G. F. Salomon ) Perormance materials and comlete list o works available through Raven Music davshalomov@earthlink.net - (310)