Concerto For Florist And Orchestra
Concerto for Florist and OrchestraMark Applebaum, 2009
Concerto for Florist and OrchestraMark Applebaum, 2009For conductor Steven Schick, florist James DelPrince, and the La Jolla Symphony Orchestra.This piece was made possible by a grant from the Fromm Music Foundation.DurationI. Aphorism c.1:50II. Passacaglia c.6:30III. Inflorescence c.8:30The individual movements of the Concerto for Florist and Orchestra may be performed as autonomousconcert works without soloist. In such cases, their respective movement titles should be substituted:Aphorism, Passacaglia, and/or Inflorescence. When played without soloist, Inflorescence is performedwithout its coda.Stage Layout:The players are encouraged to find a creative solution to the challenges of staging such a piece, one that isattractive, logistically sound, and takes into account the specifics of the performance site. By way of adefault, the work was imagined with the soloist performing in front of the orchestra in three specificdownstage areas, each associated with a given movement:Movement I: the smallest area, located to the immediate left of the conductor.Movement II: a somewhat larger area, located to the left of the conductor and occupying the remainder ofthe stage right width.Movement III: the largest area, located to the right of the conductor and occupying the majority of the stageleft width.Accidental PolicyAccidentals apply only to the noteheads to which they immediately adhere. “Courtesy” natural signs areoften supplied.ii
LegendQuarter-tone sharp.Quarter-tone flat.n.Niente, silent.Muted; the sound immediately stops.Let vibrate.Glissandi occur over the entire duration as given; the end pitch is heard as such.Stems are provided only to denote the passage of time and do not suggest pointsof rearticulation unless accompanied by an accent mark.Grace note figures appear with thinner beams and are to be played as fast as possible.Rapid, unmeasured tremolo; flutter tongue in winds and brass.Trills are made to the notes given in parentheses.“Limping” trill; instead of an even oscillation between the base note and trilled note, the duration of the base noteis substantially longer than the trilled note; the pattern should be regular, however.Winds & Brass:Blow through the instrument or loosely against mouthpiece.Vocal hissing.Winds:Flute: tongue ram; sounding approximately one major seventh lower than the notated pitch.Flute: pizzicato articulation, a plosive "pah."Flute: pizzicato articulation, a plosive "tah."Clarinet: tongue slap.Horns:Horn: stopped.iii
Trumpets:Trumpets require straight mutes and harmon mutes (stem removed).Rip; the note is approached by an ascending glissando.††Doit; the note is followed by an ascending glissando.††Shake; raucous, wide lip trill; large interval and somewhat out of control.Spill; the note is followed by a chromatic descent.††Fall; the note is followed by a descending glissando.††Lift; the note is approached by a chromatic ascent.†††† In these explanations the word chromatic suggests a scale of individual half steps; in contrast, glissando refers to a continuous pitch continuum(portamento), often employing half valves in the trumpet.Trombones:All trombones require straight mutes; Trombone 1 & 2 and Bass Trombone 1 require plungers.Piano:The keys are depressed while the corresponding string are hand-muted.Harmonic: the key is depressed while the corresponding string is fingered lightlyseveral inches away from the bridge, thereby producing an upper partial.Movement III, measure 72: The highest two strings can be prepared with a heavy substance that leaves no residue (i.e. “blue tack”)so that trilling on the keyboard produces a loud, percussive “thwacking” of indeterminate pitch.Percussion:Dead stroke.Toms: played on the rims.Strings:Snap pizzicato.s.p.Molto sul ponticello; bowed at the bridge to produce a glassy sound; this should be exaggerated.s.t.Molto sul tasto flautando; bowed at the fingerboard to produce and airy sound; this should be exaggerated.Overpressure; excessive, grinding bow pressureand slow bow speed causing noise and severepitch distortion.Arco gettato, the bow bounces off the stringand rebounds to make successive attacks.The highest pitch on the string,well above the fingerboard.Col legno battuto: with the wood of the bow.Half-harmonic: note is fingered lightlyto produce noisy, semi-uncontrolled pitch.Downward, quarter-tone glissando "fall-off."iv
Program Note:I met James DelPrince, by chance, on an airplane in 1999. Four things happened during the ride, all in the span of abouttwenty seconds: I learned that he was a florist; I instantaneously had the idea of a concerto for florist; I asked him if he’d everthought about being a performance florist; and he responded “Yes—I’ve always dreamed about being a performance florist!”The Concerto for Florist and Ensemble was premiered soon after, a piece for improvising musicians, with Jim simultaneouslysculpting magnificent and idiosyncratic floral sculptures. The piece was revised for several subsequent performances, alwayswith a new ensemble, a new improvisation score, and new durations. Likewise, Jim changed his approach to floristry eachtime, sometimes employing skewered green apples, barbed wire, or police crime scene tape, other times working with longstemmed artichokes and a glue gun, inserting flowers and flashlights into salvaged car parts, or weaving fronds of juniper andtinsel. Jim is not your standard florist.Steven Schick, conductor of the La Jolla Symphony Orchestra and a longtime friend, mentor, and collaborator, playedpercussion in the most recent adaptation of the Concerto for Florist and Ensemble, a 50-minute version scored for an octet ofparticular virtuoso musicians. Steve enthusiastically proposed a new piece for symphony orchestra, one that differs from itspredecessors in a number of important ways. First, and most obvious, the Concerto for Florist and Orchestra has a generouslyexpanded instrumentation, including six very active percussionists. Second, it is a three-movement work, whereas the earlierversions were all single-movement forms. Third, and most significant, the musicians perform a determinate, traditionallynotated composition, whereas earlier concerti featured improvisers who were directed when to play, but not what to play.Unlike the orchestral players, the soloist is free to improvise his part spontaneously. Alternatively, he may choose to preparean approximate agenda, or to formulate an exact series of step-by-step actions in advance. The only requirement is that heundertake three projects on stage whose duration of execution matches those of the orchestra’s musical endeavors. In thisregard, the spirit is very much akin to the classic Merce Cuningham and John Cage collaborations in which music and dancecohabitate rather than coordinate. My experiences composing for the Cunningham Company, first in 1993 and then in 2005,profoundly affected my aesthetic orientation. The music and dance—or in this case, the music and floristry—will havecoincidental, chance moments of seeming congruity, and other times of seemingly coordinated antithesis, both of whichsuggest a kind of cognitive clarity. But for me, the abundant time in which the media relate at an uncomfortable, oblique angleis of greatest interest and excitement. It is the problem of their incongruous juxtaposition that I find most arresting.An alternative performer of another medium may be substituted. When such a substitution is made, the title is revisedaccordingly. Some examples include: Concerto for Juggler and Orchestra, Concerto for Plumber and Orchestra, Concertofor Contortionist and Orchestra, Concerto for Quilter and Orchestra, Concerto for Locksmith and Orchestra, Concerto forChef and Orchestra, Concerto for Tax Attorney and Orchestra, etc. A Concerto for Composer and Orchestra might involve acomposer (but not the one of this piece) quietly working at a desk onstage.The Concerto for Florist and Orchestra was composed for the La Jolla Symphony Orchestra and was made possible by a grantfrom the Fromm Music Foundation. It is dedicated to Steven Schick and James DelPrince, intrepid collaborators, conspirators,and experimentalists.Mark Applebaum, November, 2009v
InstrumentationSoloist—a performance floristAn alternative performer of another medium may be substituted, provided that the medium does not produce much sound.When such a substitution is made, the title should be revised accordingly; for example, Concerto for Juggler and Orchestra,Concerto for Plumber and Orchestra, Concerto for Contortionist and Orchestra, Concerto for Quilter and Orchestra,Concerto for Locksmith and Orchestra, Concerto for Chef and Orchestra, Concerto for Tax Attorney and Orchestra, etc. AConcerto for Composer and Orchestra might involve a composer (but not the one of this piece) quietly working at a desk.Piccolo2 FlutesAlto Flute2 OboesEnglish HornE Clarinet3 B ClarinetsBass Clarinet2 BassoonsContrabassoon4 Horns2 Trumpets in CTrumpet in B2 Trombones2 Bass TrombonesTuba6 PercussionPercussion 1: vibraphone (and bow), thai gongs (c4, d, e , g , a , b , c5), bass drum, 23" timpano, claves, triangle, lowcowbell, suspended splash cymbal, metal can, police whistle, 2 click ballpoint pens, suspended aluminum foil, bamboo windchimes.Percussion 2: marimba (4-1/3 octave), bongos (lower pair), 26" timpano, 4 glass bottles, woodblock, castanets, triangle, 2automobile brake drums, tambourine, sleigh bells, metal can, metal bowl, 2 click ballpoint pens, suspended aluminum foil,maraca, bamboo wind chimes.Percussion 3: xylophone, 26" timpano, 2 glass bottles, tubular bells, thai gongs (c 4, e, f, g, a, b), slapstick, low cowbell, darksuspended cymbal, galvanized steel “wobble” sheet, metal can, metal bowl, 2 click ballpoint pens, suspended aluminum foil,large tam-tam, triangle, bamboo wind chimes.Percussion 4: glockenspiel, 4 toms, 29" timpano, 2 glass bottles, triangle, suspended cymbal (with bow), heavy (Tibetan)finger cymbals, vibraslap, metal bowl, glass wind chimes, 2 click ballpoint pens, suspended aluminum foil.Percussion 5: crotales (higher octave), snare drum, 4 toms, 23" timpano, 2 glass bottles, 2 shakers, triangle, bright suspendedcymbal, metal can, police whistle, sandpaper blocks, 2 click ballpoint pens, suspended aluminum foil.Percussion 6: bass drum, bongos (higher pair), 4 toms, 4 woodblocks, claves, castanets, suspended sizzle cymbal, PVC tube(with ping-pong paddle), bottle of compressed air, metal bowl, 2 click ballpoint pens, suspended aluminum foil, bell tree.* Note: except for the ballpoint pens and suspended aluminum foil, instruments that are duplicated among the variouspercussionists—such as triangles, police whistles, and toms—should have different timbres and/or tunings.CelestaPiano2 HarpsViolin I (12†)Violin II (12†)Viola (9†)Cello (9†)Contrabass (6†)† minimum string playersThe Score is Transposed:Glockenspiel and crotales sound two octaves higher than notated.Piccolo, xylophone, and celesta sound one octave higher than notated.E clarinet sounds one minor third higher than notated.B clarinet and B trumpet sound one major second lower than notated.Alto flute sounds one perfect fourth lower than notated.English horn and French horn sound one perfect fifth lower than notated.Contrabassoon and contrabass sound one octave lower than notated.vi
Concerto for Florist and OrchestraTransposed ScorePiccolo& 43q 60I. Aphorism 85 Œ .Flute 1 & 2& 43 85 Œ .Alto Flute3&4 58 Œ.& 43 85English Horn& 43 85Clarinet in B b 1 & 2& 43 85 Œ .Clarinet in B b 3& 43 85 Œ .Bass Clarinet& 43 85 Œ .Bassoon 1 & 2? 43 85 85 58 Œ.Oboe 1 & 2Contrabassoon? 43Horn in F 13&4Horn in F 2? 43 85 Œ .Horn in F 3& 43 85 Œ .?34 58 Œ.& 43 85 Œ .Trumpet in C 23&4 58Trumpet in B b3&4 58 Œ.Trombone 1 & 2? 43 85 Œ .Bass Trombone 1? 43 85 Œ .Bass Trombone 2?34 58 Œ.Tuba? 43 85 Œ .Horn in F 4Trumpet in C 1Percussion 13 4q 60q 60Bass Drum 2 Glass BottleschopsticksPercussion 2 43 œ œœ œ F¿ 85Fdrag friction malletœœ5 œ œ œœ œœ ‰ œ œœœ‰œœ œœœ œj œ3‰œœœœ œ3*Air¿ 24 ŒpÏ1.¿ 42 ‰pÏ*Airtutti*Air24 Œ 24 Œ3bœ24 Œ œp. 8644 6844 6844 6844 68Œ44 68Œ44 68jp‰jœ.p1.‰π¿ 24 ‰ .pÏ*Air2. œ b œŒœ.π¿ 42 ŒpÏ*Air32.Œ.œ b œ.¿ 24 ‰pÏ*Airœ b œ.pŒJpœ b œ.324( œ)œ.P 442.‰R . pp5jŒœ b œ.p2. œ b œ.‰ ‰p1. œ .¿ 24 pÏp3*Air¿ 24 ŒpÏ¿ 24 pÏ681. œ b œ5*Air*Air ‰b œ œ.344‰pœ b œ.p¿ 24 ŒpÏ Mark Applebaumœ b œ.¿ 24pÏ44 6844 8644 68.œ b œ.5ππ44 Œ 4 Œ4¿ 24pÏ 4 œ4 44¿ 24 ‰pω œ.π1.*Air¿ 24 ŒpÏ*Air¿ 24 ŒpÏ2.¿ 24 ‰pÏ5*Air*Blow through instrument orloosely against mouthpiece. 24œ.π œ. ‰ .π‰œ. ‰π5‰Œ‰œœœ.πFn.bœœ3rd valve slideœHarmon (stem removed)‰œn.FFœ#œ )68œ68# œ)68(œ3rd valve slideƒ( )ƒœ3rd valve slide(ƒ 6844 6844 6844 68Claves4 œ4 f œHarmon (stem removed)Harmon (stem removed)‰*Air68Œ *Air 6824 F4468nœ Œƒ 5*Air644 œ. ‰ .¿ 24 ŒpÏbœ œ nœ #œ #œ1.44 ÓŒ‰.*Airjœ.pŒWoodblock‰85 24 44 Œ œfœ58 24 4 Œ4‰85 24 44 Œ‰58 24 4485 Ó68Ó68Ó68Ó682 Glass BottleschopsticksPercussion 33 4 œ œœF œ‰‰œœ 5œ œ œœ œ œ œ œœ œ5 œ œœ3Slapstick2 Glass BottleschopsticksPercussion 4 43 œFœæ œ 2 Glass BottlesPercussion 5Percussion 6Celesta3 chopsticks 4 œF 43& 43? 433&4PianoHarp 1Harp 2Violin IViolin IIViolaVioloncelloœœ‰.œæœ œœ œ‰.‰3œœŒ‰Œœ œœj3œ œœ‰ .œœœ‰ ? 43 ?34 Harmonic—lowest note played whilecorresponding string is touched‰œœ & 435œ œœœ œœ œ œ3œœ œ œœ œoOOPoOpOO. b b œ œœœ# œJ牌Œ œf4444 ÓŒ 24 44 85 24 44 85 24 44 œf442485 58 24 24 24 44 oOOPoOOO OOOPoppp44 Œ4468 68 & 43 pizz.B 43 pizz. pizz. œ b œç b œç œççŒarcoŒarcoŒarcoŒ&pizz.ord.sul pont.bœ bœ bœ nœ œ nœ nœ #œ 5 Œ .8œFbœFbœF5fœ n œ # œ 5 sul pont.bœnœnœ8 Œ.œ bœ5fœ n œ # œ 5 sul pont.bœnœnœ8 Œ.œ bœœF5‰3#œ # œpizz.çŒpizz.ord.œF‰3#œ )#œ(f85 Œ . ‰‰?85 Œ .‰33 B B Oœπ( BBOœ )μB œœπ(μμOœ )P# OœπP(## Oœ)Pp‰psoloœ.p2424jœ.parco solo3œ b œ.J3.œb œ24 ‰ .24 Œsolosolo53f4:368686868 .‰#œf 68 6868b œ œtutti **I & IIR ŒpŒ5 B œ B œ B œ μ œ μ œμ œμ œ B œ 2 ord.4 Œμœ85 Œ . 200955 n œ n œ n œ b œb œ œ œ n œ 2 ord.4 Œ#œ?85œ b œ.μœ μœ μœ B œ B œ μœ μœ μœ 2 ord.4 ŒBœœ #œ bœ nœ 68 solo pizz.? 43Vibraslap8585 Compressed Air24 ¿ F24 58 div. a 3Contrabass85ƒ q 603 ? 43r5 & 43œœ ? 433&46 œf4 Ó444 Ó tuttiƒ(b œ)6868** Unison double-stopon two strings. bœ œ nœ #œ #œFƒ œ œœ( )tutti **I & IIŒ4444 ÓŒŒ6n œ. Œf 44 44 6844 68‰œ.‰ 68
2A6&8 Œ6&8B b Cl. 16& 8 #œ .f6& 8 œ.f6 .&8 œf6&8 ‰B b Cl. 26&8 ‰B b Cl. 36& 8 Œ.Ob. 1Ob. 2E. Hn. #œ .Œ.Hn. 3 34 34 34 24‰? 68bœf43tuttiœ. œ. Œ. . bœ bœ ŒP 6&8& 6&83443 C Tpt. 1œ.Pœ.Pœ.b œ.43 ‰ b œP43 ‰ # œP43œ. # œ.œ. n œ. 2424 24 24 34 2434 24? 68 34 ŒŒcon sord.(b œ)2 œJ Œ4p? 68 43 ŒŒ 34 ŒŒŒ3? 68 43 6 8 43 Hp. 2?68& 68 ?68?68‰fi& 86 ‰‰?68& 68 ƒVln. Solo 26&8 Œ& 68 œFœF6# œPƒarco staccatissimo# œœ #œ6P43pœ.b œ.œ. n œ43ŒFŒF 43 ƒb œ μœ n œ B œ b œ μ œ 346ƒP bœ bœ bœƒ43Vla.Vlc.Cb.& 68 œFœ #œ # # œœ bœ ƒF nœbœ bœ b œ ƒ ?68 3438 ŒÓ38 ŒÓ38 ŒÓŒÓ38 senza sord.‰Ó38 ‰Ó38 ‰Ó38 ŒÓ38 ŒÓ38 ŒÓ38 ŒÓ38 œ̆38half-valve ripp çBœ̆half-valve ripsenza sord.senza sord.‰‰μ œfp ç( œfsenza sord.‰B œfÓ‰œ( )B œ)( œfÓ# œ)(deadstroke œç 4 fi4 44 Œ44 Œ Triangle44 4444 38 Ó38 l.v.Ó38 Sandpaper BlocksHigh Bongo 38 deadstroke œçœf ÓLow CowbellŒ38 Low CowbellŒ 44μœ)senza sord.ÓAp çhalf-valve ripœ̆ œœJ HHHHHH 38 HHHHHHHHHHHHHHHHHHHHHHπŒÓ 83 38 3838 38 24 44 38 Ó Ó 24 #œP(senza sord.)arcogli altri(senza sord.)‰ 44con sord.arco ord. ?38 24 œPtutti(senza sord.)arcoÓ 24(senza sord.)arco‰ç44 *j¿‰ç4 *j4 ¿‰fi44 24#œP2 œ4Pcon sord.24 œP#œ24gli altriB?43 24 œPsolocon sord.?68 38ŒŒ* Fast, vertical stroke of low wound string with fingernail or plectrumto produce a whispy, zipping sound. The string's pitch is not heard.fiŒ38 83 38 Asolocon sord.433 con sord.arco ord.Bdiv. a 2 pizz. Ÿ œ . (œ )œ(con sord.)n œ B œ# œμœ n œ B œ 346ƒPn œbœ bœ 44.2 œ4# œ.# œ. œ.Œ38 423 4424FÓ 324 #œ œ nœ œ bœœP2 42 4 243 38 42Œ 243 Ó4Air¿ Œ4ƒ44Air¿ ŒƒTubular Bells 34 Œ bœƒ 43 bœ# œ μœ n œ B œ œ B œƒgli altri pizz.Vln. IIœ #œF # œμ œ n œ B œ b œ μ œ& 68 Œb œœŒ.Farco staccatissimogli altri pizz.Vln. I‰ # # œœ3434 fi& 68 Œ . 3434 6Vln. Solo 1 434 ¿ Œ4ƒAir44 ¿ Œƒ Hp. 1& 68jœŒ Pno.jœfCastanets38 Cel. 86 Œ Air Perc. 6Ó4 ¿ Œ4ƒ44Air¿ Œƒ24‰ Ó œ384Air¿ Œ4ƒ34œ senza sord. 68 œÓAirsenza sord.Perc. 5 44 ¿ ŒƒÓ ‰ 4Air¿ Œ4ƒ34œ38Œ œ Ó6 8œP 4Air¿ Œ4ƒPerc. 4Two Shakers 4438 24& Œ2 bœ œ ‰4œ ‰ bœœπsenza 24 & Ó 4Air¿ Œ4ƒ6 86 8 38 Perc. 3Perc. 2 ŒŸ Ÿ ‰43 ‰œ (n œ )# œ (# œ) œP34 Marimba soft yarnÓAirÓ 24jb œ ( œ)Œp44 ¿ Œƒ444Air4 ¿ Œƒ 3con sord. 44Air¿ Œƒ44Air¿ Œƒ44Air¿ ŒƒŒb œ ( œ) 2J 4pcon sord. 3‰ œ (# œ)‰ 24pcon sord.3844Air¿ Œƒ3 Air44 2434Ó44 ¿ ŒƒA‰ 44 œ6&86ŒœB b Tpt.Perc. 1‰ C Tpt. 2Tuba3Œ24 ?68.2 œ4# œ.# œ. n œ.‰‰6&8 24 œ.b œ.b œ. b œ.338Air œ34?681.œ B. Tbn. 2 œ B. Tbn. 124 44 ‰43Tbn. 224bœff Tbn. 1 ? 68Hn. 4 24 b œœæ43 ? 68433œ? 68Hn. 2 n œœæ‰Bsn. 1 & 26&8 4324 # œœæF24œ 6 #œ nœ #œ24 # œœ nœ33π2 46&8Hn. 14343#œ .B. Cl.C. Bn. b n œœJŒÓAir A. Fl. b b œœJf 4 ¿ Œ4ƒ Fl. 1 & 2 24 Picc.34 6&86 24 24P#œPbœ44 bœ443œ3œpŸ œŸ #œŸ #Ÿ œ.#œŸ bŸ Ÿ œœ .( )œ.œœ œ .( ) # œ(œ ) œ # œ ( œ) n œ (b œ) œ œ . ( ) 38 œ n œ (n œ) œœ35 bŸ œœ(con sord.)3œœ3œœœbœ3œbœ3œœ3œœ3 œ44 ‰( )p44‰Ÿ œ (œ) œ 5 4 Œ4Œœœœ(con sord.)344Jpj#œ œ#œ‰.bœ div. a 2(arco)sempreœ#œ #œ‰.‰œ œnœ‰¿¿æF**I & II‰‰‰. œ# œ œ ‰ .¿¿æF**I & II‰gli altri(non trem.)# œ # œ# œæœ œ#œ3 4 œ4œPœ# œœ Œœ œœ38 ææææ3ææ Ÿ Ÿ Ÿ œœ Ÿ Ÿ œœœŸ bœ. .(# œ)œ3 œ.œ(n œ) œ‰ œ( ) œ (b œ) b œ (œ) œ(# œ)8J3335 **I & IIæ¿æ3æ‰æ¿8 æææF (con sord.)œ œ ‰.44 Œp443¿¿æF**I & IIæ‰.Œ ææ3 œ œœ ‰æ‰æ‰5œbœœb œ œb œbœ bœbœ3 ‰8 n œœœ‰38 æææ83 ‰ . b œ œb œ ‰38 ææ383æ œ(œ)** Wispy sound from fast reciprocation of bow hair (punta d'arca) parallel to string—like wiping several inches of stringwith the bow, back and forth very quickly. Double stop (I & II); glissando from low "stopped" position to high.
2&412Picc.68 34 Fl. 1 & 22&4 68 43 A. Fl.2&4 68 43 Ob. 1Ob. 2E. Hn.B b Cl. 1B b Cl. 2B b Cl. 3B. Cl.Bsn. 1 & 22&4 68 34‰2&4 68 34Œ2&4 68 342&4 68 43Œ2&4 68 43‰.2&468 2&468 ? 24‰P#œJ3PŒ#œ œ#œ‰# œ œ œ #œ œ‰# œ # œœRPstac.# œ # œ5Pstac. # œœ ‰œ#œP#œ #œ#œ# œœ24 44 ÓŒŒ24 44 ÓŒHissœ3‰‰œ344 24 44 ‰œ24 Œ 24 2455ŒŒ‰ 3œF œ œ bœ‰‰ 2424 24 Hn. 1? 42 86 43 42 Hn. 2? 24 68 34 24 682&4 2&4B b Tpt.2&4Tbn. 1? 24 Hn. 4C Tpt. 1C Tpt. 2? 24 3468 43 68 43 #œF 68 34 68 (senza sord.)o 6843 43 (senza sord.)68 43 (senza sord.) 3468 plungerTbn. 2? 24B. Tbn. 1? 24B. Tbn. 2?24Tuba? 42 plungerb plungerb FF ooF 6886 43 Œ‰3 43 2 4Perc. 1Perc. 2Perc. 3Perc. 42&486 ‰ Œ # œ.f 6 Œ8Metal Bowl2 4 6 Œ82 4 68 œ .F Filled with (shallow)water, struck withhard yarn malletand slowly tilted.Metal Bowl 43 ‰(senza sord.)ŒŒ&Œ44 ÓŒHiss44 ÓŒHissŒHissŒHissFŒHissFŒHissFŒHissŒHiss44 Ó44 ÓB&44 Ó&4 ŒŒ‰3œP SSSFSFSFS 44 ÓŒHiss24 4 Ó4ŒHissF24 œ œ pocobœ44 ÓŒHissp‰ One or Two "Click"Ballpoint Pens24 Aluminum Foil‰ŒÓ‰ŒÓ‰Œ‰Ó Ó ŒÓ ‰ŒÓ ‰ŒÓ ‰ŒÓ ‰ŒÓ ŒÓ ‰ŒÓ ‰ŒÓ ‰ŒÓ ‰ŒÓ ‰Œ .‰ ‰ œœœ œœœœœœœœœœœ Œ44 ¿ f Blow on hanging sheet of aluminum foil.Ó Ó Ó Ó Ó Ó ‰‰‰‰ƒSFSFSFSFSFSFSßpœpŒŒf ‰‰S# œn.expressive œ#œ nœ #œ œ #œ œ œ œŒ3p 3 Œfi‰ 34Ó 44 ÓAluminum FoilŒœÓHissOne or Two "Click"Ballpoint Pens ŒŒ p ‰‰4 Ó4Aluminum Foil‰œn. œ‰ ŒŒœn. 2 œ œ4 poco24One or Two "Click"Ballpoint PensÓÓHissTambourineÓŒHissAluminum Foil ‰‰Œœ n. Œ 44 Ó Ó μœ‰ Œœ "Shakuhachi" attackexpressive1.ÓHiss42œŒŒŒOne or Two "Click"Ballpoint Pensœ‰44 Ó œ #œ œ nœ œ œ #œ œpexpressive μœ24 œ œ pocoœ . 24 œ œ poco24fiS24 3FFthumb roll‰ #œ ‰ ŒFSŒ Glock.F44 Ójfi‰ 3œ œ4 FŒS 44BarcoF242 œ4P&44 Ó4 Ó4 œSHiss24 Tibetan Finger CymbalsF44jfi‰ 3œ œ4 FFilled with (shallow)water, struck withhard yarn malletand slowly tilted.S Vibraphone12FHiss44 Ó 24(half-valve doit)poco 43 6 ?24œœ 68Hn. 3p 12‰ ? 24C. Bn.‰24243 œ œ# œ # œ œœ‰ ÓŒ# œ œ n œ œ # œ # œ œj n œP33 Hiss 5 44 3 # œ œ œ ‰œstac.524Œ‰ç(tutti)tongue ram# ‰( œ)flçtongue ramŒ ‰( œ)flç œ3 43 œ stac.34 68 34 stac. # œ# œœ̆Œ 3B(as possible)ƒ (as possible) .‰ ‰ 4 ¿‰ œ œ œ œ Œœœœ œœœœœœœ Œ4 Blowonhangingsheetofaluminumfoil.fƒ (as possible) .‰ ‰ ‰Œ4 ¿ œœœœœœœœœœœœœœ Œ4 f Blow on hanging sheet of aluminum foil.ƒ (as possible) .‰ ‰ 44 ¿‰ œ œ œ œ Œœœœ œœœœœœœ Œf Blow on hanging sheet of aluminum foil.One or Two "Click"Ballpoint PensPerc. 5fi26 4 HHHHHHHHHH 8 HHHHHHHHHHHHHHHHHHH ‰ppocoƒ (as possible) .‰ ‰ Œ‰œœœ œœœœœœœœœœœ Œœæ 44 ¿ f Blow on hanging sheet of aluminum foil.Snare Drum43 24 œ œæ ‰ F wire brush snares onsnares offAluminum FoilPerc. 6Cel.Pno. 6 Œ8 24& 24 68 24 ?24& 24?246868 68 Œ .œœœ.œ68 J ŒP68 & 24ç? 2 j ‰fi Œ4¿682&4 çfi?2 j ‰ Œ4¿68div. a 2Vln. I68 œOπ68 Oœπ senza vib.senza sord.senza vib.&div. a 2ß œœ Œ.68 b Oœπ 68Oœπ 34fi 3‰ 44343 # # œœœ.œJ ŒŒ.POOOPoppO senza sord.senza vib.&& 24 Strings are severelymuted by fingers. Hp. 2jfi‰ 3œ œ 4F33‰ œ œ œ ‰ Œ.43œP 43 24 Hp. 1Filled with (shallow)water, struck withMetal Bowl hard yarn malletand slowly tilted.3434‰f43 # œ. . . .ƒ‰‰ # Oœf π‰f43 # œ. . . .ƒ‰‰ Oœf π‰f433col legno battuto secco343col legno battuto secco3œ. . .ƒVln. IIVla.B 24 68 43ŒVcl.?24 68 43Œ?24 68 senza sord.senza sord.Cb.‰Oœf π‰f43.col legno battuto secco& 24senza vib. 3œ. . .ƒ . Aluminum Foil 2424 4444 24 44 24 44 243.‰.3‰.( œ. )( œ. )3.Ÿ # œ (# œ)‰FŸ œ (œ )‰F .Œ.2444 ( œ. ) ÓŒ œp‰.Ó Œ œJ Œp3 ÓŒOpOPoppO #œpB# œœ . . . 牌tutticol legno battuto gettato# œœ . . . 牌tutticol legno battuto gettato# œœ . . . ‰ çŒ# œœ . . .‰ ç #œfl牌Œarcos.p.soloarcoord.Œ24 Œ‰Œ24 Œ‰æ#œ Œ24 ‰‰œæ œæ44 ÓŒ24 ‰œœæ ‰ æ 44 Ócol legno battuto gettatoŒ44 (# œ. )tutticol legno battuto gettato344 24col legno battuto secco‰ # # Oœf πOne or Two "Click"Ballpoint Pensƒ (as possible) .‰ ‰ 4 ¿‰ œ œ œ œ Œœœœœœœœœœœ Œ4 f Blow on hanging sheet of aluminum foil.44 Œ24æ#œ arcos.p.arcos.p.arcos.p. 44‰n Oœp fŒ4444 Ótuttipizz.Ó pizz.‰‰b œ.‰ œ. œ ‰b œ.3œ. œ.ppizz.p3.‰ œ. œ ‰pizz.p3b œ.# œ œsoloarco, con sord., senza vib.œ# œ œJœ‰.œ ŒflçÓpizz.‰.œ ŒflçÓ ‰.œ̆ ŒÓ Ó Ó ç œdiv. a 2œ Œ‰.çœ̆‰.Œç‰ç ŒŒç 3Œ
4C21 Picc.&Fl. 1 & 2&A. Fl.&Ob. 1&E. Hn.& B b Cl. 1&œ #œ #œ #œ nœ #œ #œ nœ# œ œæ.(1.) wpocoœæ43 2443 243443 43 2443 24B b Cl. 2& B b Cl. 3& B. Cl.Œ Œ4444Ÿ œ ‰bœ( )p poco 44 43 ŒHn. 3 & 4& 43C Tpt. 1 & 2& B b Tpt.&1.‰b œo b œ œœ ‰ 24F 2434 24 43 24 Tbn. 1 & 2? 43 24 B. Tbn. 1 & 2? 43 24 Tuba? 34 24 3.œ œœF3‰œ bœ œ Metal Canor BowlPerc. 2 (with marbles, coins,or shot swirled inside) Metal Canor BowlPerc. 3Perc. 4Perc. 5Perc. 6Cel.Pno.Hp. 1 Vln. IVln. IIVla.Vcl.Cb.Metal Canor Bowl (with marbles, coins,or shot swirled inside) Slap tube embouchurewith ping-pong paddle.Large PVC Tube &? œ.? &?œ?‰.Pœ‰‰‰bœœ.‰‰œ.24fi‰4443 œ HHHHHHHHHHHHHHHH 24 HHHHHHHHHHHHHHH ‰P44Ó 44Œ43 44ŒGlock.œPfast43 ¿ç43ŒŒ 242424fi24œ.bœ‰bœn œ.‰‰œ.Œ 43 24 4443 24 4443 24 4434B ? 24 2443 2443 2443 24Œarco tuttivib. ord.Œ3j#œ œ ‰Pf arco tuttin.24 24 b 24P nœ nœ nœ# œ. # œ. # œ.# œ. # œ. # œ.b b œœ. seccoœ.FŒœ ‰ .f‰œ œ œ"wha-kah-wha"f3‰Bass Drumœbœ œ6 œ .fbœ Œ OpOPoOOOŒOpOPoOpO 4 bœ4 œflÏ 4 bœ4 œflÏ 44 œ#œÏfl 44 # œœflÏ 44arco# œÏnon div. sim.‰non div. sim.‰non div. sim.‰non div. sim.‰‰Óƒ 24 œ ‰ Œb œ.P2 1. ‰ Œ4 œ.P 44 44 4424 b1.œ. ‰ ŒP 4424 44 24 44 241. 324 fiÓÏ ‰‰‰ n œœ œœ œœfl fl fl n œœ œœ œœflfl fl # œœ # œœ # œœflfl fl‰ # œœ # œœ‰ # œ # œ # œ # œ œ œœ ‰fl œœ ‰fl # # œœ ‰fl # # œœ œ‰‰pizz. 24 24 24 24 24 24&ŒŒ 44 HHHHHHHHHHHHHHHHHHHHHHHHHH 44p(swirled) GlassWindchimes ¿ ŒPl.v.b &P 44 44 44 44 44 b 24 24 P 4444 44 4424 44 24 44 24 44‰pizz.3 æF 44 jŒ# œ.ppizz. .Œ # œœ ŒJ3ppizz. .# œœŒ J Œ3pŒŒ24‰Œ?soft yarn Crotale24jœ. ŒpŒ44Vibraphone 44 fi44 fiP Ó # œ .œ. b œœ . œŒÓÏ bœœfl œbœfl œbœflœ.FÓ œ . # œ . b œœœ . bœœflsecco44Ÿ 2œ ( œ) 4p‰ œ. ‰ Œb œ. nœ ‰44 44Pn. P44 n. P44 ‰b œ. b œ. b œ.œœ œ 4424 b œ. 1. Large Flexible GalvanizedSteel "Wobble" SheetCj#œ œ ‰Pf3ÓSleigh Bellsf443424 b œ. ‰‰ bœ 3 Police Whistle24arco tuttivib. ord.senza sord. 24b Police Whistle44 24 44 b œ. b œ.Œ&fœ œœ3f œ œœ2424 Ó 3bœ bœ bœf. œœ ‰4443tuttin œœ. œœ. . œœ.43 œ HHHHHHHHHHHHHHHH 24 HHHHHHHHHHHHHHH ‰Pfi‰Ó‰fast3 Ó 44 ? 3j3æ æœæ b œ b œ ‰ # œæj œæ # œæ ŒP Maraca34ç 43 œ HHHHHHHHHHHHHHHH 24 HHHHHHHHHHHHHHH ‰Pfast œ‰cuivré œ.bœ .ÏÓŒ œ.44ÓC44& Ó&44 (solo)‰44 # œ.Ï24 3.4.Œ Ó1.2.Œ44 b b œœ.Ïfi Ó. œÏbcuivréœ. œ.ÏC34Œ œ.Ï44 b œœ.Ïfi34 & Ó&Hp. 2(with marbles, coins,or shot swirled inside)44Œ44324 œ HHHHHHHHHHHHHHHH 4 HHHHHHHHHHHHHHH ‰P n.4 bœ4 œ.Ï Metal Canor Bowl(with marbles, coins,or shot swirled inside)4444 ‰242124Œ ‰ Ó443Ó44 24 b œ b œœ œF44‰24 Œ 43 Ó3 # œ. n œ. œ. # œ œ. . œ 4Fflƒ34 44 ?24 44 Œ C. Bn.Perc. 144ÓÓ24 2144 ?Hn. 1 & 2‰ 24 œæFŸ Œœ (œ)FŸ b œ (b œ)ŒŸ b œ (œ )ŒFÓ34Bsn. 1 & 2& 247& Ó(1.)Œ24 34 443 arcoord.3œ.24 œPœ.2 ord.4 Pæarco3‰ n œœ.3n œ.‰ œ324œ bœ œ œ œ œ œ œ 44Ebfsub.4œ œœœœœœœ 4fsub.f Psub.fPsub.œæ œ œsub.sub.f PfPs.p.b Pord.s.p. ord.sub.s.p. ord.sub.æord.œsub.f Parco24œs.p. ord.s.p.arcoord.24 bord. Psub.sub.b s.p. ord.sub.sub. œæsub.fPs.p. ord.s.p. ord.sub.f Pœsub.fP s.p.s.p.œ œ œ œ œ œ œ œ 44fs.p.œ b œ œ œ œ œ œ œ 44s.p.Db f44
5q 60q 7555;x x:& 44;x x:Ó29 Fl. 1 & 2& 44 ÓŒA. Fl.& 44 ÓŒ & 44 Picc.Ob. 1 & 2E. Hn.4&4B b Cl. 14 œ#œ #œ&4B b Cl. 24&4 ŒB b Cl. 34&4lyricalpB. Cl.& 44 ÓBsn. 1 & 2? 44 ÓC. Bn.œ nœœœ #œ #œlyricalœp#œ #œœæPŒq 75‰Hn. 3 & 4C Tpt. 1 & 2& 44 B b Tpt.& 44 ?44Perc. 2 44Œœ.Pb œ.2.πfn.ÓŒ‰ ‰q 60;x x: & œcon. sord. œ œ.œ œœ œ.π‰q 75f sub.p? Ó ‰ ÓŒ 44 æπ4 4Ómedium yarnPerc. 6Pno.Hp. 1Hp. 2œ F œæπœæsoft yarn?‰ŒPb œœœœf 4&4 ÓŒ‰ #œ œ œ œ#œ# œœpœœ3senza sord.3œpœ ‰bœ‰ Œ‰. Œ‰. œ.b œ.œ. ‰.#œ n œ. j 3œœ œœfj 3œœ œœfjœœ œœ .Íjœ œ.͉‰œpœ3 œæ æßpbœ œ .JÍœœ ‰ .ƒ .œ œæfœœœœf .3 bœf pƒ .‰p# œœp œæ æßpæææf sub.p惃 ( œœ ) ( œœ )n œ.œ œæææœ( )ffi Ó ‰.ƒæ œ( )ffiHigh Woodblock Ó Ó Œ œ ŒfŒ ?44 B 44 ‰pizz.Vcl.?4 ‰4Cb.?4 Ó4pizz.p# œ.p‰.ppoPOOOO b n œœ.πnœ# œ.ƒ5;x x:ord.ord.s.p.arco œŸ Ÿ ( œ) ( œ) ÓπpƒParco#Ÿ œ ( œ)œ.œ.œ.Œ‰πÓ# œ.# œ.œ.pizz.œ.p# œ.# œ.œ.œ.Ÿ b ( œ) pPƒord.ord.s.p. ‰‰Ó(pizz.)Œ‰ Œœ.P3tuttib œœp Ób œ.Œ div. a 4‰# œœœœflçfiŒ ƒtuttiμμ wwparcotutti# œœp BμwwÓŒptutti, div. a 2?ŒÏ# #· .arcoarcop · .p· . · .ÏÏÏ(tremolo between harmonics on one string)œ. b œ. n œ. b œ.Œœ. Œœ # œ # œ. ‰ .# œ. . .b œ.œ . b œ œ. œ ‰ .(# œ) b œÏ ƒarcotuttib œ.b œ. bœ ‰.œ œ. œœ( )Ïs.t.Œ# œ.Œ# œb œœœ Óq 60& 44 Ó# œ.pp pizz.πœ. l.v. ? 44& 44 ‰Triangleœ.Ó q 75Xylophone ‰. ŒŒ& 44& 44# œb œœœ ÓÓæb œœ.πœ.bœπ ƒ Ó ƒ 3œ. Ó ƒ FÓ 23" Timpanoœb œ.Ó & ƒœ. ƒ æf sub.pƒœ. Ó?Œ æ.b œœ ÓÓ&æÓŒŒæƒÓ b œ. œœæ‰ b œ. b œ. b œ. ‰ .ƒœœæœœtutti.b œ. b œ. œ. œ. ‰ƒ. .œ. œ b œ œ ‰ .œœ œœæœœ3pƒB .μ .p œœf p‰.Œμ .μ .pœœ ‰ . œf pœœμœBœpμB œœ 23" Timpanob œ.? Ps.t.Vla.3 œ. œ.senza sord. ? 44;x x:Vln. IIœ.P‰Ól.v. ?445Vln. IŒl.v.Sizzle Cymbal (Medium/Bright)4&4Cel.Suspended Cymbalarco, shriek/groanBμ œœp l.v.PμμœœpÓMarimba 44 Œ‰5;x x:soft yarnPerc. 5‰q 60 & 44ŒŒSuspended Cymbal (Dark)Perc. 4œ. Œ1. 29Perc. 33b œ.F Œ;x x:4&4b ? 44Perc. 1fn.ÓŒ?4 Ó45b 5 Tuba# œ. & 44B. Tbn. 1 & 2Ÿ œ # œ # œ ( œ)Óœœœœ œœœœp(1.)œbœ œ œ œ œ bœ7pœ bœ œ œ bœœ6p ;x x:29? 44 ÓHn. 1 & 2Tbn. 1 & 2œŸ œ # œ (œ) ? 445œœœ nœŒœ.‰. ŒŒœ.p# œ.pn œ.p# œ.p
6
7II. PassacagliaPiccoloFlutes1&2Alto FluteOboes1&2English HornClarinet in E bClarinets in B b1&2Clarinet in B b 3Bassoons1&2ContrabassoonHorns in F1&2Horns in F3&4Trumpets in C1&2Trumpet in B bTrombones1&2Bass Trombones1&2& 43q 144& 43& 43& 43& 43& 43& 43?34?34?34 qo 144Violin IViolin IIViolaCelloContrabass9898989898 ?34& 43?34 44 44nœ Œ œ Œœ.œ. 44 44 44 44 ?34 ?34 & 43 & 43q 144 98 98 989898989898(e e sempre)9898989898 44444444444444444444 6868686868 128 œ ‰ œ ‰ œ ‰ œ ‰ 98 œ ‰ œ ‰ œ ‰ 44œ. œ. œ. œ.œ. œ. œ.128 128 128128 128128128128128128128 128 128128128128 128 128 128 128 128 128128128128128 44 6812844 44 44 44 44 44 98 98 98 98 989898981281289898 9868689898 98 989812844 98 989868 98 98 98 68128 44 98 44 68128 984498 44 128 (e e sempre) 98 44 68128446 Œ.Œ‰ 12Œ ‰ Œ‰8# œœ # œœ # œœ # œœ# œœ # œœ 8 # œœ. . . . 128 98 44 449844128 98 44 6898 128 98 44 44128 98 44 12œ Œ œ Œ 8œ.œ. 128 98 4444 98 44128 98 44 128 9898 128 98 128128 ?34 ?34 44 B 43 44 & 43 44 98 ?34 44 & 43 44 & 43 44 ?34 44 & 43 44 & 43 (e e sempre)& 43 43Harp 29844 984bœ ‰ bœ ‰ bœ ‰ bœ ‰ bœ ‰ bœ ‰ 4œ. œ. œ.œ. œ. œ.P9844 q 144Harp 198 & 43Piano98 Percussion1&2Celesta989œ œ œ œ œ 8œ. œ. œ. œ. œ.?34Percussion5&698& 43 œœ.P& 43TubaPercussion3&4(e e sem
Contrabass (6 †) † minimum string players . The Score is Transposed: Glockenspiel and crotales sound two octaves higher than notated. Piccolo, xylophone, and celesta sound one octave higher than notated. E. clarinet sounds one minor third higher than notated. B. clarinet
Dvorak: Violin Concerto in A minor Elgar: Violin Concerto in B minor Glazunov: Violin Concerto in A minor Haydn: Any Violin Concerto Kabalevsky: Violin Concerto, Op. 48 Lalo: Symphonie Espagnole Mendelssohn: Violin Concerto in E minor Mozart: Any Violin Concerto Nielsen: Violin Concerto, Op. 33 Paganini:
Schumann Concerto for Cello in A minor, op. 129 Shostakovich Cello Concerto No. 1 in E-flat Major, op. 107 Vivaldi Any Concerto BASS Bottesini Concerto No. 2 in B minor Capuzzi Concerto in F Major Dittersdorf Concerto in E Major Dragonetti Concerto in A Major Koussevitzky Concerto in E minor
Telemann: Horn Concerto TRUMPET Haydn: Trumpet Concerto Hummel: Trumpet Concerto L. Mozart: Trumpet Concerto Neruda: Trumpet Concerto in Eb major Telemann: Trumpet Concerto in D major TROMBONE David: Trombone Concertino TUBA Capuzzi: Bass Concerto HARP Debussy: Sacred and Profane Dances Dus
Kabalevsky Dmitri Concerto for Violin Op 48 Khachaturian Aram Concerto for Violin Lalo Edouard Symphonie Espagnole Op 21 Mendelssohn Felix Concerto for Violin D Minor Mendelssohn Felix Concerto for Violin Op 64 E Minor Mozart W.A. Concerto for Violin No 2 K 211 D Major Mozart W.A. Concerto
G.B. Viotti Concerto n.22 in la minore Johann S. Bach Concerto n.2 in mi magg Wolfang A. Mozart Concerto n.3 in sol magg. KV 216 Concerto n.5 in la magg. KV 218 Adagio KV 261 e Rondò KV 373 Concerto n.1 in Sib maggiore KV 207 Henry Vieuxtemps Concerto n.5 in la minore Max Bruch Concerto n.1 in sol min Scottisc Fantasy in mib magg. Op,46
Bruksanvisning för bilstereo . Bruksanvisning for bilstereo . Instrukcja obsługi samochodowego odtwarzacza stereo . Operating Instructions for Car Stereo . 610-104 . SV . Bruksanvisning i original
Concerto pour violin et orchestre, op.6 Concerto, ed. M. Rostal Concerto en Re Concerto Fantasia de movimentos mixtos, 1-3 [ 3 items] XII Koncert skzypcowy a-moll Cadenza "A" to the Viotti Concerto no.23, by Alexis Kudisch Violin concerto in E major, ed. F. Neumann II Koncert skrzypcowy d-m
Cabrini, IRIS Orchestra and principal clarinetist with Opera Saratoga. He is a frequent collaborator with the Orpheus Chamber Orchestra, Orchestra of St Luke's, American Ballet Theatre, Albany Symphony Orchestra, Harrisburg Symphony Orchestra and Springfield Symphony Orchestra, and has performed with the MET Opera Orchestra, America
