G. F. SALOMON* Concerto con Timpani ( Battaglia )

G F SALOMON* Concerto con Timpani (Battagia ) SCORE Edited or period stye (*nom de pume, David Avshaomov) Edited version 200 Raven Music

ABOUT THE SALOMON CONCERTO CON TIMPANI (BATTAGLIA ) (Notes by composer David Avshaomov) 1 This concerto is written in eary 18 th -century concertato stye (ca 120), derived argey rom the procedures in the concerti o Vivadi (especiay those or odd instruments), with some echoes o Hande, Teemann, GB Sammartini and others here and there It is intended to i a severe gap in the known soo repertoire or timpani, and shoud prove suitabe and enjoyabe or both recita and concert use (Duration: ca 13 minutes) A Battagia originay was a type o organ toccata common in the 1 th century, purporting to represent in styized, antique manner the orma anares, intradas, batte signas, sorties, etc, o medieva warare The timpani, o course, entered Europe as Turkish miitary instruments payed on horseback beore batte, but this piece has no underying program Here the sub-tite simpy reers to the quasi-miitary sonority o certain passages, such as the Intrada and the octave tattoos in Movement I, the showy drumming near the end o Movements I and III And there is an aect o mourning in the sow midde movement PRECEDENTS In this period, Bach wrote a short meodic soo to open the Christmas Cantata Tönet, ihr Pauken (sound, ye kettedrums ), and Hande an extended rhythmic soo iustrating text about the kettedrums in his Ode or St Ceciia s Day Moter and Graupner, contemporaries o Bach, both wrote sinonias with parts or,, even drums, mosty doubing bass ines Phiidor, miitary musician to Louis XIV, wrote a anare-ike duet or two pairs o timpani, tuned G-c and e-g Even Mozart wrote -drum parts in some incidenta serenades with utes and trumpets And there is his popuar Serenata Notturna or 2 timpani with doube string quartet and bass, which makes an exceent companion piece or this concerto in concert In the ate eighteenth century, a number o esser composers wrote pieces eaturing as many as 8 timpani payed by a singe sooist Exampes incude a symphony by the German JCC Fischer, and a Partita and a Concerto Grosso by the Bohemian Georg Druschetzky HOW THIS WORK CAME TO BE WRITTEN In my eary schoo years I sang and studied piano, theory and percussion My irst perormance in an orchestra was paying third gockenspie in Or's Carmina Burana, a percussion east What un! Soon I discovered the gory o the kettedrums and set out to master them I was hooked When I began to compose my own music (as a se-taught teen), I started with chora settings, but I aso conceived the ambition to write a convincing concerto or timpani At Harvard, in my spare hours I payed timpani in many ensembes, sang in the chape choir, and read madrigas with riends I entered the schoo orchestra's concerto competition and sooed with them in the Mihaud percussion concerto under James Yannatos I wrote my honors thesis on the meodic use o kettedrums and, to underscore its point, composed a piece eaturing them to pay in my senior recita: the brie Diversion (19) or timpani and vioin Master percussion teacher George Gaber soon put it in ront o students at Indiana U, and it has had many perormances in the US as a recita piece I aso wrote severa works or pitched percussion quartet, incuding an Aegro which took a irst prize at the Aspen Festiva in 192 There ensued many years o conducting and composing o works in my own persona stye, or various instruments and voices in a range o orms Fast orward: In 1990, ater running my own Baroque chamber orchestra or a decade, I reaized I coud now improvise uenty in that stye I decided to create a quasi- Vivadi-stye concerto or timpani and strings as a warm-up etude beore writing my "modern" one The threemovement Concerto con Timpani (Battagia, 1992, under the pen name o Saomon) was the resut It was great un to write, and is even more un to pay I have earned that severa young drummers have recenty taken a run at the career o soo timpanist (which I once dreamed o), recording newy-unearthed 18-century gaant/concertante works mentioned above This irst concerto is or them and their peers; one o them Jon Haas, premiered it in Engand I wi write others

MATERIALS 2 This version o the concerto has been thoroughy edited and re-notated to reect a centrist approach to its interpretation based on generay-accepted practices rom the Baroque reviva waves o the ate 20 th century, incuding notes on over-dotting (There is aso an Urtext version giving ony the composer s notes and markings, in modern notation, with very ew editoria annotations, chiey o ornaments) Perormance materias (renta or purchase) are avaiabe through: Raven Music, 202 th St No, Santa Monica, CA davshaomov@earthinknet 31039221 PERFORMANCE This edited version can be done with accompaniment o a big modern string orchestra However, the string payers must undamentay modiy their accustomed sound picture This can be done easiy, even with modern stee strings and Tourte-stye bows Genera suggestions or the strings are provided in the notes which oow (One advantage to using a string group o around 20 payers rather than 0 is that the sooist is orced to pay more deicatey or good baance, which immediatey cariies a the phrasing) The timpani sooist shoud ideay use sma od-stye copper-bow hand-tuned drums (tuning chains are OK) with hard et or even wooden-head sticks and bounced (rudimenta) ros But with a arger ensembe, modern drums, sticks, and ros may be preerred The sooist shoud use drums (or, or movement tuning changes) Never use ewer than and never try to peda between payed pitches this goes against the character o the piece and o the instrument o that time (and weakens the ine visua eect) Just use the pedas to tune between movements, and perhaps to ine-tune pitches during a movement; never et the audience hear any peda sides Maintain the iusion o the historic hand-tuned drum The harpsichordist shoud use a period repica with at east two 8-oot ranks, tuned to a period wetemperament Payers with itte or no experience in reaizing orchestra continuo parts shoud pay the writtenout reaization provided with this edited version (An unreaized part with just the bass ine, igures, and a bank trebe sta is aso avaiabe or those with experience) Lacking a harpsichord or virginas, try (1) ute pus theorbo (two payers), or (2) cassica (acoustic) guitar (or even two, possiby one a 12-string or the bass ine), or (3) harp (payed near the sounding board) They woud use the Urtext continuo part and work out their own reaization, using the harpsichord one as a basis In a true pinch, you might use a high-end eectronic keyboard (MIDI sampe or synth) i it provides a reay good samped harpsichord sound, ampiying it tasteuy to norma room voume through good, sma home/audiophie oudspeakers conceaed near the payer s eet You need to understand the voicing/detuning o unison doubings and octave coupings to get a beievabe sound; set the goba tuning temperament to a Baroque one NOTE: This work is not to be payed with piano accompaniment Ever (That is why there is no piano reduction avaiabe, nor can the harpsichord continuo reaization even remotey unction as such) For recita ony, where the sooist cannot ied a string ensembe o at east ///2/1, you might consider using two high-end MIDI sampe or synth keyboards, one providing harpsichord, and the other the string orchestra parts the second perhaps payed by two payers, our-hands This requires good string ensembe patches (no cheesy GM synth strings ) (An organ reduction o the score is aso a possibiity) Setup without conductor (see diagrams) shoud put the drums ront and center, with irst desk strings to right and et Better or the timpanist to sit (Vioins and vioas may stand) This positioning aso makes the sooist more ikey to pay sensitivey, istening or phrasing and baance With a conductor, best to set up the drums next to the podium, stage et, acing ~30 to stage right (Setting up at the back wi make the sooist hard to see and tempt him/her to pay too oud, to cut through Resist this)

FIRST STEPS TO BAROQUE STRING ENSEMBLE STYLE For Payers o Modern String Instruments 3 You do not need to be baroque speciaists to pay the Concerto con Timpani There are a ew simpe irst steps that modern-trained string payers can take to make their perormances o Baroque repertoire more authentic and appropriatey expressive The key is to change the undamenta sound picture to jettison the 19 th -century Wagnerian sound and shape the notes, articuations, and phrases Here are some hints or orchestras just starting out 1 DON T VIBRATE, especiay on short tones and egato phrases This means that you must pay better in tune at a times (Vibrato then was used sparingy, and ony as a subte ornament to graduay make a ong tone more expressive in its midde) 2 USE OPEN STRINGS as a matter o course and ease, incuding on ong tones Avoid crabbed shits done just to avoid the open string in passage-work Instead, use it, enjoy its purity Just ease o with the bow, show the string respect (especiay the vioin s wire chanteree) Use the cear, pure sound o a genty-bowed open string as your mode or the sound o ingered ong notes, too 3 SHAPE LONG TONES The hairpin swe-and-die marks ( < > ) on singe notes in the edited version are bow swes, done with pressure/speed, not vibrato Let ong up-bows and down-bows do their work naturay, too Simpy draw the bow don t try to compensate as you approach the tip in sow music; et the sound weaken naturay Learn to et a note ive and die START HEARING BAROQUE TUNING: Tune chords careuy in sow tempo, particuary at cadences Make your intonation exibe and responsive to the harmonic moment In a major chord, the major third wi be a good bit ower than we are used to rom the "equa" temperament o the modern piano Conversey, the untempered iths (in a pure 2:3 ratio) are a bit wider than modern tempered iths Exampe: B on the A string as the major 3rd o a G major chord must be ower than modern equa temperament, but as the th o an E major chord it must be higher than equa temperament An in-tune chord wi ring Use exibe intonation that puts, say, a D accidenta coser to D, whie an Eb is coser to E Finay, don't try to tune every note to the (ixed) harpsichord (yet don t be truy "out o tune with it either) There is much more to this; it comes with experience Ask an expert Listen to recordings RHYTHM IS THE KEY: Strong beat/weak beat; stressed note/weakened note PHRASE ALSO BY WEAKENING NOTES, not just by buiding and accenting Longer editoria hairpins indicate subte phrase shapes, not at swes or big sustained buidups When phrases do buid in voume (typicay editoriay marked cresc), they do it rom strong beat to strong beat, not continuousy through a the notes in the phrase And viceversa or dying phrases ARTICULATIONS MATTER: An editoria dash over a note means either u vaue (on quarters and sowtempo eighths) or non-staccato, OR stress without a hard accent A thin vertica wedge (point down) over a note means either a short note with quick short bow (in piano), or (in orte, as a dramatic accent), very quick u bow with moderate pressure (amost chopped, but usuay starting on the string) A dash with a dot is ha-staccato; separated but not short TRILLS normay start on the upper note, stressed sighty as an on-the-beat appoggiatura beore the tri speeds up In sow and moderate tempo, ong tris stop on the principa note to et it sing briey beore going on Most o these, pus exceptions, are written out in the edited version Generay, string sections must a oow the editoria or eader suggestion together; don t shape a tri severa dierent ways a at once 8 WORK FOR CLARITY, purity, grace, and eegance Bow naturay Musce, super-expressive tone, and hammering are not oten reevant in ripieno (section) paying Concentrate on drawing the bow more than on pressing it down (I you are brave, a try choking up on your bows grip it a ew inches urther rom the rog, so it is more baanced and the tip weighs down ess and notice how that aects your bow strokes and tone) 9 For ingerings, STAY IN LOW POSITIONS as much as possibe (where ogica)

I Intrada & c Adagio q 0-2 o Vioin 1 - - K - K _ - G F Saomon 1 _K - Vioin 2 & c _ - - _ K o - K - K - Vioa B c _ - _ - k - _K _ - _K _ - Vc/Bass? c _ - _ - _ k - k _ - - k _ L? c > Timpani ( v) k k k hard maets (wood) (Hairpins on ong notes indicate expression bowswes (speed/pressure, not vibrato) Top is at most one dynamic eve higher than the start Just shape the note) (Vns, successive sow dotted rhythms: or Baroque stye, it and retake ater each downbow Otherwise, or saety, hook Long notes sighty detached, more so on weak beats 2 and ) (Doube-dotted notation approximates Baroque "over-dotting" in sow tempos (French Ouverture stye) Extend the dotted note so the short note as between a 1th sextupet and a 32nd note) & - ( - ) - - (etc) - o - - (exception) - (n)- & - ( - ) - - - - - o - - B K k ō Œ o - - - -? o k k - Œ ō - _ o - o _ - L? Œ & (Tri speeds up imperceptiby ater irst appogiatura) Aegro >- >- - J ( q 9-11 ) > J > J 8 & >- >- - J > J > J >- B o o - o J > J > J? o >- - _ o j > j > j L? æ j - - - j - - - j CONCERTO "Battagia" (con timpani) 1992 Raven Music GF Saomon

> 2 & > - stacc Œ > Œ stacc p - 12 Œ > - & > - Œ stacc Œ p o - _ Œ > - B > - Œ > Œ p o - Œ > -? > - Œ > Œ p - o Œ > - L? timp - - - J >- - - p - - - - - - & stacc Œ Œ > > o o > > J 1 >- stacc & Œ Œ > > > > - J >- B stacc Œ Œ o > > - Œ >? _ Œ Œ _ > stacc o _ > _ > _ > o o - Œ > o L? Œ Ó & _ > _ J >- 20 Ó - - - o - & _ > _ J >- Ó - - - o - B Œ > o Œ > Œ > - - - - -? Œ o > Œ > Œ _ > _ - - - - ō L? Œ J >- - Ó Œ J > - - Œ Ó & o Œ Ó Ó > ƒ 2 Œ _ > _ Œ Œ _j & o Œ Ó Ó > ƒ Œ _ > _ Œ Œ _j B - - j - _- o Ó Ó >- > o Œ Ó? - J - - - o tasto soo Ó Ó >- > o Œ Ó L? - - > ƒ - Œ > - Œ Œ j - GF Saomon

- _ & _ > - p _ j _ - _> j _ > - p j _ - 3 28 Œ _ & _ > - p _ j _ - _ > j _ > - p j _ - _ p j B Ó Œ _ j >- _ p _ j - _ Œ? L? timp p j J - p J - p J - 32 & Œ j p - dim _ (hairpins mean subte shaping) & - dim π π B Ó Œ j - dim vc concertino? Ó Œ (bass tacet) _ p (harpsichord J - _ tacet) dim π tutti vc J _ L? - p p - (etc) dim - - π π - - - - & - - Œ p Œ Œ - 3 - & - _ _ - Œ p _ Œ Œ j Œ Ó B - o - Œ p Œ Œ o J Œ Ó? - _ _ - + Bass Œ p Œ Œ o j Œ Ó L? - - ( Á ) - p - j> Œ Ó & - - - - - 0 - - - ---- --- & - - - - - _ -_ -_ -- ---_ - B? L? _ GF Saomon

- - & Œ Ó - - - & _ - Œ Ó - - _ - B o - - - _ vc + B? - ô o - - o - - o - - o oo o L (B)? - timp - - - Ĵ - ( ) - J ( ) Ĵ - ( ) ( ) & - - sostenuto - -o - - - - o J - - - - - - - j - p (sim) J - - 8 - - &- - -, sostenuto J - - J - j - o -, J- p - (sim) - - B -, (vioa poco marcato) - - J - J- J - j - j J- - sostenuto - -, (sim) p (vioa poco marcato) J J? - -, sostenuto - o o - - n o - n - -, (sim) _ o p n L? - Œ & - - - πo -- - -o cresc - - - 2 - i J o > & - - -- π (poco marcato) j cresc j (n)-(n)- - - - - i J > B J Jo - - (poco marcato) π j j J o cresc J J J J o - ' J >? n _ π o 9 8 9 8 o o i - o j > cresc L? Œ j - - & J > J > - Œ _ > _ J >- ( ) & J > J > - Œ _ > _ J >- ( ) B J > J > - Œ > o Œ > ( )? o j > j > - tasto soo Œ > o Œ > o ( ) L? - j - - - j - - - J >- - > ( ) GF Saomon

& > > > J >- 0 o > > > > > & > > > J >- o > > > > > B J >- > > > > >? J > - > > > > > L? timp J > - - - - - - > & - ( > ) > > > > > ƒ - --_- & > - ( > ) > >> > > ƒ ---- > B - ( > ) > >> > > ƒ ---- vc concertino? > - _> _> _> > > > _-_-_-_- ( ) ƒ section vc + B? > - Œ >- ƒ _ > - >- >- - >ƒ > --- L? > ( - - -- ) - - ƒ _ & > - - 8 _- _- - _- - - > & - _- Œ Ó _- _ - > B m - Œ _? - > m Œ >? - Œ > L? m Œ GF Saomon

& o - - - - - - - 2 & - j Œ Ó - - - B Ó - o - - - - - -? Ó ô- o - - o - - - - L? Ó - timp - - - - J ( ) Ĵ - - () () J & - ĵ - ĵ - ĵ i Œ Œ _- Œ _ J cresc & _ _- _ĵ _ - _ĵ _ - _ĵ _ i Œ P Œ F P _ cresc F Œ - J B _ _- j _- j _- j i _ Œ P Œ cresc F _- Œ _ J? o o (B) - j - j - j Œ _i P Œ cresc F Œ _ - j L? ( ) > > > P > > > j cresc & _ - - i Œ F _ Œ Œ - 80 cresc J Ritenuto subito -, j o & - - i Œ F Œ cresc Œ ƒ _ ƒ - _j - _j, o B - _ - _ i Œ Œ Œ _ cresc ƒ - o -, j? - - F o i Œ Œ F cresc Œ ƒ - _ _ J _- o j, o L? > P > > ƒ> cresc j - j, & Adagio q 0-2 _ (see notes, p 1) _- - _k - k b - 8 K - o - _ (n) - & _ - _ _ - _k_ - - k - k _ - _(n) - B _ - _- - K - K - - o? _ - _ - _k - k - i k - - L? k k k - _ GF Saomon

& (n) - (see note, p 1) - o - cresc - - o - - 88 coa parte >- >- wu & - - - - o - _ - o - > - U w B o - cresc - - - o o - - wu >- cresc? 2 - o 2-9 2 - o - - >o - 3 o U w_ L? - timp - 9 2 - - - () æ cresc >- > > > U v æw - (not too sowy; bravura!) GF Saomon

8 II Largo, sostenuto & Vioino 1 F ( (See note in Mvt 1 re: overdotting and bowings) ) cq k 1 (bowing shown is or hook) - ( ) - o k _- _- _ - _- _- - w_ p o - - - - Vioino 2 & c (See note in Mvt I re: bow swes) ( F ) k - - o k _- _- - _- - w_ - Vioa B c ( F k ) - - _ K - - - - - - p w p - - - - Vc/Bass? F c (tasto soo) ( ) K - - o K - - - - - - _ wo p ô - - - Timpani L? c (sot sticks et or eather head) p - K etc & - - - - - - - - Œ & etc - - - - - - _ Ṗ _- - Œ etc B - etc - - - - - P Œ? _ - _ - _ - _ (tasto soo) - - - Ṗ P L? - K - - - - - P () æ K & p - o - poco crescendo - o - (n) - - - - - - o - P J 11 - & p _ dim etc (n) poco crescendo F etc dim P j- etc B poco crescendo J F etc dim? _ pp etc - - - _ - _ L? poco crescendo Ó F p dim 2 1 & - - () etc - p o - - - - - - - - etc & - - etc - - B - p - - - - - - etc - -? P P_ - p p - - - - - 3 - L? Ó p - k - k - - - K ( æ - ) G F Saomon 1992 Raven Music

21 & 9 - Œ Ó - Œ Ó - Œ Ó - Œ & _ - Œ Ó - Œ Ó - Œ Ó - Œ B - Œ Ó - Œ Ó - Œ Ó - Œ? Œ Ó - - Œ Ó Œ Ó Œ L? J - - - - - - & Œ (come - Ó prima) p (n) 2 & Œ _ _ Ó - p () poco cresc dim _ (n) F poco cresc F dim B Œ () - Ó p poco cresc J dim? Œ _ (tasto soo) K - () - - _ p F poco cresc F dim L? - ( æ ) K - & P - - () p - 31 - () & P p - - - B P () - - - -? P _ p () - - o o 2-3 L? Œ p - K - - - 3 & Ó - - - - dim - - π & Ó o - - - dim - - _ π _ B Ó - o - - - - _ dim - _ π Ó? _ Ó - - -9 8 _ - dim_ - o - π L? - - () æ K - K dim - k πw p G F Saomon

1 & _ o & p p _ π π _ _ b_ _ _ B Œ π p?w etc w_ _ 3 3 3 L? () staccatissimo &p Ó p i i i i _ i _ i i i i i i i - &p staccatissimo (n)_ i _i _i _i _i _i _i _i _i _i _ i dim _ i π () i i i i dim π B i i i i i i i i i i i i i i i i staccatissimo dim π ()? p staccatissimo p _ i _i _i _i _i _i _i _i _i _i _i dim_ i _i _i _i _i π () L? p - - - - - - - - dim π Ó & Riten tempo - b A - - (n) Rit dim π U 1 A tempo Ó poco cresc P moto (n) &poco cresc P _ F- _ π U Ó (n) Bpoco cresc P J moto F dim motof b - (n) U dim π Ó? poco cresc P moto F _ - dim π U Ó 2 2 A tempo L? i 2 ÓU p k A tempo & U Ó U Ó w wu, sim p π & sim U Ó U Ó p w U w, π B sim (n) U Ó U Ó p (n) wu, π? sim (n) U Ó A tempo _ U A tempo p K - J U, 2 π L? ( Uæ ) K ( Uæ ) K - J wu, ( æ ) p - 10 G F Saomon

- - 11 1 & - - - - - - - - Ó & - - - - - - - - Ó B - - - - - - - - Ó? _ - - _ - - _ - _ (tasto soo) - - - Ó L? - - - - - - - M - ( æ ) K & coa parte p j Œ j j Œ Ó π π & p o - - - - j j Œ Ó π B p j Œ j j Œ Ó π? p j Œ J _j Œ π _i Œ _i Œ _i Œ _i -Œ _i Œ - Œ _- Œ L? j µ k P - - - - - - π- - & etc dim π P- - cresc - Riten - a Tempo 1 cresc & Ó P - - cresc B F cresc - - vc conc? P - Œ - Œ - Œ cresc F - _ -? Œ _- Œ - _ Œ _- vc section Œ - Œ P (bass) _ - Œ cresc - Ó_ + basso Œ _ J- F - 3 Œ - 9 L? - - Œ Ó G F Saomon

-_ & - Poco Riten P- π U A Tempo Œ sub - Œ w i Œ p k - & - P - π U Œ (n) sub _ Œ - Œ w i Œ p k - B - P - U Œ π sub - Œ Œ w i Œ p K - (vc conc) _? P _ -π _ U? Vc section, bass - P _ sub - π _ U Œ - Œ _ (tasto soo ) Œ i Œ w p K - sub ( ) L? ÓU p ( ) wæ 12 & - Œ k _- - _- _ - w_ S i (tri speed up graduay, (soo vioin or stops on ast D eighth note) 81 harpsichord i) Œ Ó wu & Œ k _- - _- _ - w i Œ Ó p π p w_u B - Œ K - - - - w S i π Œ Ó p m π wu? - Œ K - - - - Si _ w S Œ Ó π U pw w_ (vioin exampe:)? & i Œ S _ p _ µ _ reey (harpsichord exampe:) L? i & reey _ - _ m j `g G F Saomon

13 III 1 Presto & 3 q 10 Œ Vioino1 i Œ Œ Œ p Vioino 2 & 3 Œ p p i Œ Œ Œ p Vioa B 3 Œ p - i Œ Œ Œ p V'ceo/Basso? 3 > p - o 3 > p L? 3 Timpani > hard sticks F F Œ Œ > F Œ Œ F & i F > F > o & > > F > B - F F > F? - o 3 > F > ( ) F L? > F > F 11 & F > etc & > > B? > o F > - L? > F > & i Œ p 1 - - - - & i p - - - - _ B i Œ Œ conc?o - Œvc ' p - _ - _ - _ L? i (tasto soo) Œ Œ G F Saomon 1992 Raven Music

21 & - > ΠΠp 1 & _- > F F p B _> p? - tutti Vc o + Bassi > F F p - _ - _ L? _ > F p 2 1 3 2 & F & > F B F > F? > F L? > F F F 31 & > - - - - - >- _ & F _ - - - - >- _ B F - - - - o o? > - - - - - - L? > - - & >- > _ p _ - _ - _ > _ 3 & >- > _ p _ - _ - _ > _ B - - p _ - _ - _ >? - - (tasto soo) p - - > L? - - ΠΠG F Saomon

2 & _ Œ Œ & _ Œ Œ B _ Œ Œ? Bass Vc _ P _ _ _ L? F - - - - - - etc & & B? o Œ _ L? 1 & & B Vc + Bass sost? 2 _ o o L? & & B? _ L? 1? G F Saomon

1 1 coa parte A Tempo o & U Œ i p i & U Œ i p i - - - - - (tasto soo) B U p i? U U L? MU µ j & - - _- - - - Œ Œ & - - Œ Œ B i i - - - - - _ - - - - vc conc? Œ p _ - L? 2 (o the string) & p _ o j _ i Œ Œ _j _ i Œ Œ & pi Œ Œ i Œ Œ B p i Œ Œ i Œ Œ (tutti Vc + Bassi)? p i Œ Œ i Œ Œ L? p - Œ Œ p etc - Œ Œ & j_ i Œ Œ _j i Œ Œ j o _ & i Œ Œ i Œ Œ B i Œ Œ i Œ Œ? i Œ Œ i Œ Œ L? Œ Œ Œ Œ Œ Œ G F Saomon

- & 82 i Œ Œ _j _ Œ Œ - & Fi Œ Œ F j _ Œ Œ - B Œ Œ F j - Œ Œ p - - - - > (tasto soo) Bass? F Œ Œ o Vc J j ô - Œ Œ p - - - - > L? F J Œ Œ j Œ Œ > & Œ p i i i Œ Œ Œ p i i 8 i Œ Œ Œ i i p & Œ i i i p Œ Œ Œ p i i i Œ Œ Œ p i b i B Œ Œ b Œ Œ b Œ Œ? F F Œ Œ sim i Œ Œ i i i Œ Œ L? Œ Œ F sim Œ Œ Œ Œ & - i p ( n) i i - - detaché, on string - - i Œ Œ _ J - - 92 - - - & - (n) i p i _i - - - - i _ - - - detaché, on string - - - - - - - - B i Œ Œ - sempre - - - i Œ Œ Œ Œ? i Œ Œ (tasto soo) sempre - - - i Œ Œ (B) Œ Œ L? Œ Œ sempre Œ Œ Œ Œ 9 & etc > & etc _ > F p p B Œ Œ Œ Œ > F p? Œ Œ Œ Œ > F F p 3 L? Œ Œ Œ Œ > F p 1 G F Saomon

& > p i 18 102 &> F p F i F > B F _ p come prima F? > F p 3 () F L? > F F p F & piu 10 - >- & F F piu - ƒ ƒ >- B b_ F piu ( n) - ƒ >-? i F piu - ƒ > - L? Œ Œ & >- soo p - - 112 & >- soo p B >- soa p - -? > - vc conc p Œ - _ (tasto soo) Œ _ - _ _ L? & tutti _ _ >- _ 118 >- > > Œ & _ _ >-_ >-_ > Œ B tutte _ _ >- _ >- _> _ > _ Œ _? Vc tutti >- B >- > > Œ L? Œ > > > > F J G F Saomon

_ 123 & & BB VcF _? Œ p _ L? - - - - p J - 19? J 128 & & B sost? _ Vc + Bass cresc L? - - - - cresc - - - - -? 133 & _J- _- _- - - - _ detaché, on string etc & _J- _- _- - - - _ detaché, on string etc B _ Œ Œ _ Œ Œ _ Œ Œ etc (tasto soo)? 3 _ Œ Œ ' Œ Œ ' Œ Œ etc L? - - - - - - Œ Œ Œ Œ Œ Œ? G F Saomon

& - - - 20 138 _- _- & Œ Œ J _ - - - _- _- B _ Œ Œ Œ Œ Œ Œ Œ Œ - - - - _-? Œ Œ Œ Œ Œ Œ Œ Œ - - - - - L? Œ Œ Œ Œ Œ Œ Œ Œ & _ Œ Œ - P - Œ Œ - Œ Œ F _ - 13 i Œ Œ & _ Œ Œ - P _ Œ Œ - - Œ Œ i Œ Œ B Œ Œ - P _ Œ Œ F - F _ - Œ Œ - i Œ Œ? - Œ Œ P_ - Œ Œ F_ - Œ Œ - 3 _ i Œ Œ L? P - - cresc P cresc & 18 Œ Œ Œ Œ - _> _ >- >- & F Œ Œ ƒ Œ Œ > F ƒ - >- >- B Œ Œ Œ Œ > ƒ - >- >-? F F_ Œ Œ Œ Œ > ƒ _ - 3 >- >- L? > ƒ - - 1 > & - p _ - π_ - Poco Riten* (No ritard, _- _, no ermata) & > - p _ - π _ - _- _, > _ B - p _ - π _ - _-, _ >? _ - 3 p π, - _ L?- p - π -, G F Saomon

DAVID AVSHALOMOV Works or, or eaturing Percussion Diversion vioin and peda timpani [] Aegro pitched percussion quartet (Gock Vibr, Mar Timp) [] First Prize, Aspen Festiva Competition Chiaroscuro pitched percussion quartet [] Drum Roe rom Lieboat Variations, a non-pitched percussion instruments, -8 payers [2] (Finaist, Korg contest) Concerto con Timpani (baroque stye) (or ) drums with strings and harpsichord [12] (nom de guerre, G F Saomon ) Gockenspie March novety or marching or concert band eaturing the gockenspie or be yra section [3] Transcriptions: short keyboard works by Bach, Schumann, Bartok, Schoenberg, Rave, or pitched and mixed percussion ensembes, 2-10 payers (List on request) ALSO: Bach, Sinonia to Cantata No 129, transcribed or soo marimba and band [3] Works or/with String orchestra Eegy string orchestra [9] Pangs o Love string orchestra [32] (Romantic variations on a Rachmanino Love Theme) Diamond Variations on an origina theme, string orchestra with (opt) harp [12] Trotsky s Train, string orchestra and concertante piano[ 32] Arietta ute and strings (opt 2nd ute) [2] Perormance materias and compete ist o works avaiabe through Raven Music davshaomov@earthinknet - wwwdavshaomovcom (310) 392-21