jack symonds...-mallets: percussion mallets are largely specified in the score, however the...
TRANSCRIPT
-
Jack Symonds
BRUCKNER-STEIN Adagio for orchestra
Op. 12
2012
-
Bruckner-Stein
Instruments Piccolo 2 Flutes 2 Oboes Cor Anglais 2 Clarinets (1st in Bb, 2nd in A) Bass Clarinet in Bb 2 Bassoons Contrabassoon
4 Horns in F 3 Trumpets in Bb 3 Trombones Tuba
4 Timpani (1 piccolo) Percussion (5 players)
Harp Piano
16 Violins I 14 Violins II 12 Violas 10 Cellos 8 Double Basses (half should have 5 strings, bottom tuned down to Bb) Percussion: 1: High Bongo, Tamtam (shared with Player 2), Bass Drum, Bell Tree, 3 Rototoms, Low Suspended Cymbal (shared with Player 2), Flexatone, Rainstick, Sandpaper Blocks, Crotales (shared with Players 3 & 4) 2: Tenor Drum, 2 Metal Blocks (high/low), Low Suspended Cymbal (shared with Player 1), 3 Thai Gongs (C#2, D2, D#2), Tamtam (shared with Player 1), Medium Ratchet, Woodblock, Sizzle Cymbal (medium) Players 3 and 4 share Crotales (with bow), Glockenspiel and Tubular Bells Player 4 also plays Marimba
5: Vibraphone (with bow), Tubular Bells (shared with Players 3 & 4)
Score in C
Duration: 22 minutes
-
Performance Notes
- Lines between notes indicate a continuous glissando over the entire length of the first note.
- Trills are always to the semitone above unless otherwise marked.
- The bottom number of a time signature is always a division of the semibreve.
( 7 = seven quaver triplets) 12
- The quarter-tones are as follows:
= quarter- tone sharp
= quarter- tone flat
= three quarter- tones flat Strings:
- In unequal divisi situations (eg. 14 second violins into 6 parts), more players should take the bottom part in every situation.
- There are several melodic quarter- tonal passages, mostly for the first desks of violas and celli. It is recommended that these four players work out these passages together, separate from the rest of the orchestral rehearsal time. The quarter- tones in the rest of the strings and piccolo are simpler and can be dealt with in the general orchestral rehearsal. (NB the principal viola player has an exceptionally difficult part.)
- The horizontal line with ‘bow pressure’ above indicates a harsh scratch tone.
- Bow changes on long, held notes should be imperceptible and made independently of the other players -
Percussion:
- Mallets: Percussion mallets are largely specified in the score, however the Vibraphone player should use discretion when selecting the kinds of ‘hard’ and ‘soft’ mallets. Crotales and Glockenspiel use hard plastic mallets throughout. Marimba needs two basic kinds: yarn and rubber, the finer gradations are left up to the player. Tubular Bells must have a standard double-ended mallet, one of which is felt and one of which should be as ‘wooden’ sounding as possible (a small strip of leather may be used over the wood.)
- Bass Drum should have an adjustable skin and a variety of mallets for different characters.
- The chains attached to the Tamtam should be easily and quickly removable. A slender metal link-chain should suffice for the effect.
- The flexatone should be a good quality instrument very responsive to small changes of hand pressure and pitch.
Program Note
Bruckner-Stein is an investigation of some of the processes in late Brucknerian Adagios. It is in three linked movements, the first of
which- Attempts at Adagio- tries to find a state of harmonic and gestural repose in the face of contradictory material. It does so in
increasingly extended linear Adagio ‘windows’ all of which contain unstable elements stymieing their development and ceding to
non-linear music. The last of these capsizes into the second movement- Non Adagio- an extremely fast explosion and dispersal of
the accumulated material. The exhaustion of this music and a linear meeting-point is reached in the third movement- an Adagio
proper. Here, everything is reconfigured to produce a single argument, culminating in a harmonic ascent (‘Anstieg’- though with the
opposite expressive gambit of R. Strauss’s famous example) to a final clarification of the work’s basic harmonic content.
-
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© Jack Symonds, 2012
Piccolo
Clarinet 1 in Bb
Clarinet 2 in A
Bass Clarinetin Bb
Horns 1 & 3 in F
Horns 2 & 4 in F
Trumpet 1 in Bb
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Vibraphone(Percussion 5)
Harp
Piano
Violin I
Viola
Violoncello
Double Bass
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I. Attempts at Adagio
Unvereinbar q= 84
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Jack Symonds, 2012
Bruckner-SteinAdagio for orchestra
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Fl. 1
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Ob. 1
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C. A.
Cbsn.
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Timp.
Perc. 2
Perc. 3
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Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1, 3
Tbn. 1
Tbn. 2
Tba.
Timp.
Perc. 1
Perc. 3
Perc. 4
Vib.
Hp.
Pno.
Vln. I
Vln. Ib
Vln. II
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Picc.
C. A.
Cl. 1
Cl. 2
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Cbsn.
Hn. 1, 3
Hn. 2, 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
Tbn. 3
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Vib.
Hp.
Pno.
Vln. I
Vln. Ib
Vla.
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##
Picc.
Fl. 1
Fl. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Tpt. 1
Tpt. 2
Tpt. 3
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Vib.
Hp.
Pno.
Vln. I
Vln. Ib
Vln. II
Vln. IIb
Vla.
Vla. b
Vc.
Db.
pmf p
3.2
doppio più mossoq= 108
E
44
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Picc.
Fl. 1
Fl. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1, 3
Hn. 2, 4
Perc. 1
Perc. 4
Vib.
Hp.
Pno.
Vln. I
Vln. Ib
Vln. II
Vln. IIb
Vla.
Vla. b
Vc.
Vc. b
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##
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Tpt. 1
Tpt. 2
Tpt. 3
Tba.
Timp.
Perc. 2
Perc. 3
Perc. 4
Vib.
Hp.
Pno.
Vln. I
Vln. Ib
Vln. II
Vln. IIb
Vla.
Vla. b
Vc.
Vc. b
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Picc.
Fl. 1
Fl. 2
C. A.
Perc. 2
Perc. 3
Perc. 4
Vib.
Pno.
Vln. I
Vln. Ib
Vln. II
Vln. IIb
Vla.
Vc.
Vc. b
Db.
pp ppp
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Picc.
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1, 3
Hn. 2, 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
Tbn. 3
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Vib.
Pno.
Vln. I
Vln. II
Vla.
Vc.
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.' &,, .' &) '''.(&) ) .' &
11
-
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!
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"
##
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1, 3
Hn. 2, 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
Tbn. 3
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Vib.
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Vc. b
Db.
80
fff
fff
f ff
ff
mf
mf p
mp
mff
ffff fff
! $f
pp
pp
pp
f
ppp
""""
""
""""""
""""""""
""""""""
""""""""""""""""
""""""
""""""""
""""
""""""""""""
#
#
#
#5
#5
#5
#7 7 7 7 7
#7
7 7 7 7
$7 7 7 7 7
3
3 33 3
7
$3
3 3
3
$ 33 3$
# % % %&3
3
3
3
3
3
5
5
# %%& % % '3
3
3
3
5
5
#5
#5
#5
$ (3
3 3
$ 33 3
$3
3 3$ 3 3 3
$ 3
3
3 3
##
l.v.
l.v.3
3 3
#5
#5
#5
#3
'(6 5$
F#, G#D§ Bb
3
#
'(7 7 7 7 7
$ damped with hand on strings3 3 37 7
7
#half
#half
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half
$ half pizz.33 3
3 3$ half
) )' )& ) )% )% )& )% ) ) )& )& )& )' )' ) ) ) ) ) )% )% )% )% * )) )' )' )% )% )% )% )% )% )% ) ) ) ) ) )
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12
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#
Picc.
Fl. 1
Fl. 2
Ob. 1
C. A.
Cl. 1
B. Cl.
Bsn. 1
Cbsn.
Hn. 1, 3
Hn. 2, 4
Tpt. 1
Tpt. 2
Tpt. 3
Tba.
Timp.
Perc. 1
Pno.
Vln. I
Vln. Ib
Vln. II
Vln. IIb
Vla.
Vla. b
Vc.
Vc. b
Db.
mp mf mp p, bleak pp
molto rall. q= 50
J
85
mp mf mp
mf mp
p, bleak pp
mf mp
p, bleak pp
mp
mp
mpff f ff, non dim.
ff mp
ff mp
pp ff, schmetternd mp f
ff, schmetternd mp f
ff, schmetternd mp
ff f
mf mpf
mf mp
sfffff ff
f mf sff p pp p f
f mf sff p pp p f
f mf sff p pp p f
f mf sff p pp p f
ff p pp
sf ff p pp
f, cantabile mf ff p pp
sf ff p pp
pp f pp ff f ff (non dim.) sf
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
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3
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"3
3
"3
"33
% 5 3
%
%
"a 2 1.
"a 2
"3
"
"
%
%SUSPENDED CYMBAL on TIMPANO (large) (ord.)
"ROTOTOMS
rubber mallets6
"&
%
%
"
pizz. div. in 4
& arco&5
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5
"
pizz. div. in 4
& arco&3
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3
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(&& &&
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arco div. in 2
(&div. in 4
&&
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5
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tutti div. in 2
&tutti pizz.
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13
-
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"#
#
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Tpt. 1
Tpt. 2
Tbn. 1
Tbn. 2
Tbn. 3
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Vib.
Hp.
Pno.
Vln. I
Vln. Ib
Vln. II
Vln. IIb
Vla.
Vc.
Db.
mf mp mf mpff
doppio più mossoq= 100
3.3.2
K
92
ff ff
ff ff
f mf f ff
f mf f ff
ff
f pf
f p
f
f pfff
ff
f fff
fff
f fff
mp
ff
fff
fff
fff
fff mf
fff
ff
ff
fff ff
p, expressionless mf fff ff
fff ff
ff
fff ffsffff
ffff ff
ffff
ffff ff
ffff
fff
fff
fff
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33
3 3 5 5 5
5%
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5 3
3
%
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5
5%
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56
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%
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3
3
%
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$(Tub. Bells)
wood side
l.v.3%
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5
%
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5
%
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%
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5
3%
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1. solo3
3
3
3
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14
-
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##
Picc.
Fl. 1
Fl. 2
Hn. 2, 4
Perc. 1
Hp.
Pno.
Vln. I
Vln. Ib
Vln. II
Vln. IIb
Vla.
Vc.
Vc. b
Db.
f ppmp
3.2
L
99
pp mp
pp
p f
f ff
f, chiaro pp ff
fff
!
pp pp ff f
pp ff f
pp
f
f
mf ff fff
pp
pp mf ff fff
pp
pp mf ff
fffff
"# $% &% %% "%
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'3 3 3
6
'5 5 6
'flz. semis3
3 3 33 3
3
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'ROTOTOMS
)5
6 6
'E§, F§, A#Db, C§ B§
3 3 3 3
3
(F# A§D§
'3
3
'5
(u.c. (yes, this is correct)
'5
'half, div. in 2 * 1. half
sul pont.div. in 4
extreme bow pressure
5 5 6 7
'half, div. in 2 + 8. half
div. in 3sul pont. extreme bow pressure
5 6
'pizz. half
arco div. in 4sul pont. extreme bow pressure
3
3 3 33 3
3
'half
div. in 3sul pont. extreme bow pressure
, '1. sola
3
sul pont.
5 6
( ,1.
2.
sul pont.-- tuttivery forceful jetè
6
( 3.
4.
sul pont. --
( div. in 4arco
tutti
very forceful jetè
6
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15
-
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#
Picc.
Fl. 1
Fl. 2
Ob. 1
C. A.
Cbsn.
Hn. 1, 3
Hn. 2, 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
Tbn. 3
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Vib.
Pno.
Vln. I
Vln. Ib
Vln. II
Vln. IIb
Vla.
Vla. b
Vc.
Vc. b
Db.
ffffff, disperato f ff fff
quasi senza tempo- very long doppio meno mosso
q= 50 2.3
M
107
fff p
fff
mf, doloroso ff mf
fff poss. penetrante
fff
ff fff ff fff
ff fff
ff fff
ff fff
ff fff
ff fff
ff fff
ff fff
fff ff fff
sffz f ff ff f ppp pp
f sff
ff pp
fff p
ff ppp p
fff
fff, hammered poss.
$fff
fff ff ffsfff pp, sehr ausdrucksvoll ppp fff ff
fff ff ff f
fff ff ffsfff pp, sehr ausdrucksvoll ppp
fff ff
fff ff ff sfff fff ("sehr derb"), intonation is secondary! mp, sub. in tune! fff, angosciato f ff
pp, sehr ausdrucksvoll ppp
fff ff ff sfffpp, sehr ausdrucksvoll ppp ff, cantabile
ff, cantabile
ff ff sfff pp, sehr ausdrucksvoll ppp
!" "" !# $"
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%
air tones ord.
7 7 5
%
air tone- approx. pitch
%%
3
%"wie ein Naturlaut"
(as long as breath allows- circular breathe if poss!)
&
%air 1.
& senza sord. air
% air
% air
% air
&
&
&
&
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)BASS DRUM
)TAMTAM (with chains attached and freely rattling)
l.v.
LOW SUSPENDED CYMBAL
% CROTALESarco
5
%TUBULAR BELLS
wood sidedamp
light trem. with felt side- almost imperceptible
3 5
%
%
%&6 5
67
% &
%ord. %&
bow pressure behind bridge ord. tutti1.
%
div. in 2
ord. 2.
%div. in 2
ord.
%&bow pressure behind bridge ord. tutti
%ord.
%tutti
bow pressure behind bridge ord.
1. sola retake ad lib.'''''''''''''''''''''''''''''' sub. non vib.
* gli altri
*ord.
bow pressure behind bridge&
ord. tutti1.
*
& 2.3 3
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3. 3. 3. 3. 3. 3. 3. 3. 3. 3. 3. 3.
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92
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Picc.
Fl. 1
Timp.
Perc. 1
Perc. 2
Perc. 3
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Vib.
Hp.
Pno.
Vln. I
Vln. II
Vla.
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Picc.
Fl. 1
Fl. 2
Ob. 1
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
Tbn. 3
Tba.
Perc. 1
Perc. 2
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Vib.
Hp.
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Picc.
Fl. 1
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Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
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Bsn. 1
Bsn. 2
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Hn. 1, 3
Hn. 2, 4
Tpt. 1
Tpt. 2
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Tbn. 1
Tbn. 2
Tbn. 3
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 3
Vib.
Pno.
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Picc.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Hn. 1, 3
Hn. 2, 4
Tbn. 1
Tbn. 2
Tbn. 3
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Pno.
Vln. I
Vln. Ib
Vln. II
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Vla.
Vla. b
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Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. 1, 3
Hn. 2, 4
Tpt. 1
Tpt. 2
Tpt. 3
Tbn. 1
Tbn. 2
Tbn. 3
Tba.
Timp.
Perc. 1
Perc. 3
Perc. 4
Vib.
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