EB 9357 – Smolka, Like Ella by Breitkopf & Härtel

Martin Smolka

Like Ella Zwei Studien für Violoncello solo Two Studies for Solo Violoncello

Edition Breitkopf 9357

Martin Smolka

Like Ella Zwei Studien für Violoncello solo Two Studies for Solo Violoncello

Partitur Score

Edition Breitkopf 9357 Printed in Germany

3 Martin Smolka Like Ella Explanations Sound of cello in this piece should be foggy like voice of Ella Fitzgerald. Sweet, smooth and pleasant but at the same time slightly hoarse, rustle, dirty. There are almost only natural harmonics; either single, or in chords (triple-stops) including two natural harmonics, or double-stops of two harmonics. All should be played flautando, sul tasto and molto lasciar vibrare. Flautando and sul tasto should serve in search for the foggy color – harmonics should “speak” less clear than normally but more smooth and decent. Molto I.s. should create a permanent aureole of tones sounding after playing, like piano pedal. Most of the harmonics should be bowed crescendo. On the top of cresc. both bow and the left hand finger should release the string to open it for resonance. All should be determined by the desire to let the string sound as long as possible after playing. Touching of the nods (the points of natural harmonics) with left hand should be very light. The nod should be found precisely and the contact of finger and string should be very thin, using few face of the finger. Use of small finger may be very helpful. One can also experiment with touching the string sideways, or with a fingernail etc. Bowing should be rather light and gliding (few weight, no abruptness) even in louder dynamics. Triple-stops with harmonics should be played in a special manner, to obtain an unusual luminous ringing-like sonority.

It may partly squeak, especially in higher position. The sound should be as if sparkling and tending to take on random higher harmonics. It should be bowed unbroken like on gamba. The outside strings play always natural harmonics. This creates that all 3 strings are leveled at some point. The leveled point should be bowed rather flautando, crescending and thrown off with accelerating flowing movement (no rapidity or abruptness), then the strings should stay untouched as long as possible to resonate freely. Accidental with arrow = 1/6-tone. It is the natural deflection of the 7th harmonic. (So the task is only to touch the right nod.) I², II4, IV³ etc. = definition of natural harmonic. The Rome number indicates the string, the index number indicates which harmonic. (1st harmonic = open string, 2nd harmonic = octave, 3rd harmonic = octave + fifth, 4th harmonic = two octaves, 5th harmonic = two octaves + major third, 6th harmonic = two octaves + fifth, 7th harmonic = two octaves + lower minor seventh, 8th harmonic = 3 octaves. There are several points where the odd harmonics can be found on the string, nevertheless, in this piece it is recommended to play them as written, e.o. in the highest positions, to obtain their specific sound-color. Composer recommends to make markings of the harmonic nods on the fingerboard or directly on the strings (sideways, with a black marker), or both. The save, precise, unhesitating contact with the harmonic nods have key importance for effective performance of this music. Martin Smolka (2019)

Breitkopf EB 9357

Like Ella Like Ella Likefor Ella Two Studies Cello Solo Two Studies for Violoncello Solo Like Ella Two Studies for Cello Solo Two Studies IIfor Cello Solo [ca. q = 84] possibile [ca. ql.=s.84 ] II5

I I

Martin Smolka, 2019

Martin Smolka, 2019 Martin Smolka, 2019

2019 molto l. s. II5 oMartin Smolka, o o o o . . l. s. possibile # œo 3 # œl. s. possibile# œo # œo #œ Oœ a molto l. s. 44[ca. I . II5 o II5 qo= 84] a O . & 43 # œ # œl. s. possibile# œ # œ . # œ a l. s. possibile O œ II 4 I 5 . 5 molto l. s. II o o o 4 Oœa‰ . œO. a‰ . Ó & 44II # œo o # œo o # œo . o o Œ o # œ # œ U II 3 I . a III. 3 œO b . jo ∑ O o o III7 ï o III7 ï o o & 4 4 2 ‰ ‰ U Œ III ï ï ï ú œj œ ? œO b RO Ó ú œ œ 3 II 4 III ∑ 7 o 7 o 3 b III III III o o 2 o 43 o & 44 ïú ïœj œ Œ? III RO b‰ . R ‰ . Ó ïú ïœ ï U& œ IV III ∑ & III7ïú 7 III3 O b & 44 pIIIfragile III2fR ï ï ï ï œ 43 ú œ œ œ p IV b O ? R III & p 4 fR IV & 4 p fragile f p fragile o p molto l. s. – sim. sempre 6 o o . . . # úo Œ 4 # œo # œo Oœ a l. s. – sim. sempre Oœ a 3 3 . molto 6 a O .O a . & 43 # ú 44 # œ 4 . # œ œO. a Oœ a 3 sempre œ. ‰ . l.Œs. – sim. 6 U & 43 # úo Œ 44 # œo o Œ # œo . o Œ molto 4 . . . Œ œ. ‰ Oœ a‰ Œ Ó Oœ a 3 Œ 4 a‰ . O b O O b U . o o &4 4 ‰ . Œ Œ ‰ Œ . Œ Œ ïú ïœ ? R œO b R Ó 3 4 3 O b O b U . o o & 43 44 ïú Œ ïœ . Œ ? R ‰ Œ Œ OR b‰ . R ‰ . Œ Ó & 43 Ob & 4 & 43 44 ïú ïœ . ? fOR b OR b R 3 & 4 &4 4 R f I4 II5 I4 o II5 o 11 o œI4 o o5f œoI4 II # ú # œ # œ # œ 5 o 44 Ó o œo4 Œ 3 44 11 & 433 IIII#5 úo Œ # œo œoI4 Œ Œ # œo 4 5 I # œ 44 Ó IIo œo Œ 3 44 11 & 43 # úo Œ # œo œ3 Œ Œ # œo o 4 o o #œ 4 3 ∑ 44 3 Œ Œ Ó Œ Œ o o o &4 4 4 ïú ïú œ ∑ 4 3 4 3 oœ Œ 433 ∑ ? & 43 44 ïúo ïúo ? 4 44 Œ & 43 p 4 4 ïú ïú poco œ 4 3 ?4 Œ &4 p 4 4 4 poco 8 II 3 4 I 5 I o II I2p œ II4 pocoo o 8 II 17 II 3 4 II2 I. o #IIœo5 œoI I a a IIO.4a O O . œ O 4 3 4 a . II . 17 œO II8o œO a & 44 IIIOœ.2a IœO.3a IIO.4a 43 44 #IIœ5 œoI4 a . œ œ. a œ 17 o œ & 44 IIOœa IIœO. a III œO. a 4 4 o Œ ‰ o Oœ .. ∑ 4 # œ O 3 a 4 . j IV III3 œ a III 2 œ O O b O . 7 5 o ŒIII o & 4III œO b 3 4 ∑ 4 Oœ b O b III ‰ ïœ b 4J j J ? 44III2 III O b ‰IV 3 4 R . O ≈ ‰ ‰ Ó . III O b Œ 7‰ o ŒIII5 œ O b III b & 4 4 o ï œj ? 44III2 O bIII3 O b ‰IV4 JœO b Œ ≈ OJ . R ‰ . O b ‰ Ó 34 ∑ & 44 œ 7 5 ? 44 fO b ‰ J Œ p ≈ J fR b‰ . P f ‰ Ó 34 & 44 p III ïœ PIII p œ f p f P f p Pp f p f P f p Pp I2 II2 I II2 I II

I3 II3 I II3 I II

l. s. possibile

Edition Breitkopf 9357

Like Ella Like Ella

# œo

II5

&Œ

poco

Œ IVo7 j œ èb‰ P

. a O. a O . & Oœa œ # œ ‰ Œ b Ob O J ? Ob

& 44 # Oœ

?4 O 4

a b

o j ‰ œb Œ Ó P II3

≈

œ O

R f

‰. Ó

b Oœ ..

o # œ 43

3 4

o ïú

II7

& # Oœ

a bœ

b Oœ

b Oœ ?

≈

o o j j œ œ

# Oœ O

a #œ

o ‰ 44 è œ a

≈ Œ

II3

IV7

‰Œ

b Oœ ≈ ≈ n œ ≈ ≈ ≈ b œ ≈ ≈ b O b b ( n) O b O O O b O O b ? O b

3 4

o ïœ .

‰

III7

5 4

o ïú

o . 3 O a # Oœ a .Oa # Oœ. a 44+81 # œ . ‰ 44 O. a Oœ a # Oœ a 4 bœ œ œ o ≈ ≈ Œ . Œ ‰‰ ‰ Œ III7 j Ob O b ïœ ú ? 4 O b O b OJ b b O Ob 4 1 3 R & 4 +8 4 4 3 ƒ ƒ f ƒ p

II6

o o 5 œ #œ 4 I3

II5

o (l. s. possibile) ï œo II5 œ # œ 5 3 J ‰ J &8 4 o o ‰ ‰ ‰ Œ III7 j III5 ïœ 5 &8 43 œ π

o 3 #œ 4 II5

II4

III IV4

# Oœ

sim. EB 9357

Breitkopf EB 9357

44 O #œ 4 O 4

43 b Oœ ?

O 43

≈ n œ O

a b

ƒ a

≈

a b

≈

b Oœ .. O.

# Oœ O

44 O bœ 44 O

a b

ƒ a

≈

≈ b œ ( n) O

5 8

≈

≈ Ó

4 4 85

# Oœ

4 4

43 43

Martin Smolka

II7 o ï œo #œ 42 3 J ‰ &4 I5

3 &4

5 & 4 b Oœ

41 4 +8

# œo o 54 Œ J ‰ # Jœ ‰

o œ‰ 4 &4 J & 44

poco

π

‰. Œ b R f

π

o Œ ‰ ïœ

III7

poco

o œ Œ 43

o j ‰ ïœ

o IIIo 5 j ‰ ≈ Œ j ïœ œ.

sim.

π

o IV5 j o ïœ 43 ‰ œ Œ

O 42 bœ O 24

IV5

III5

IV7

O 85 b œ ?

* imitate intonation of natural harmonics in bar 64

∑

I4 II III4

3 4 3 4 44

. U‰ ‰ b 4 R & 4 F

III5 7 o IV o o o ïœ b Œ œ b Œ èœ b Œ & œb Œ p

5 4

IV5 III5 IV7 bú ‰. Œ . 3 o ‰ o o o b j ? O b 4 R & 4 Œ œ œ èœ œ ‰ R & F P F p

# Oœ. a ï Oœ. a

III7

‰

III7

Sample page

o o o o o j j j ( n)œ ‰ œ Œ œ ‰ è œ œ ‰ Œ ? III5

IV5

II5

III7

Poco più animato

# œo o 3 J ‰ # Jœ ‰ I5

II3

II4

Leseprobe

O O

& 43 O bœ O ? 43 F

5 # œo IIo 4+1 J ‰ # Jœ ‰ 48

5 4

o o o j III7 ï œ œ œ

poco

≈ b œ œ ≈ UÓ O O b ?5 O b 4 F ƒ F ƒ 48

# œo . II5

4 4

poco

π

II7 I4 o ï # œ œo œo œo 4 J ‰ Œ 4 I5

‰.

O b Ob R R f brillante EB 9357

Breitkopf EB 9357

‰. Œ

# Oœ. a ï Oœ. a # Oœ. a ≈

Ob Ob

≈

Ob R

ï Oœ. a

‰. ‰

Ob R

≈ Ó

43 43

Like Like Ella Ella

o œ

* quasi legato

3 &4

II3

o o o 3 & 4 œ èœ n œ III5 IV7

I3 II4

5 OOab &4 ‰. ‰

& 45 O b R III5

I4 II5

Ob R

I3 II4

o o œ èœ

o ïœ .

III7

II6

≈ Œ

‰. Œ

ïOa Ob IV6 R

III7

O ba —# O a 3 O &4— ggg ‰ ‰ ggg Œ ggg ggg g III5 gg III6 gg g ggg O a & 43 g OJ b g Ob IV5 J

œo .

I4 II5

Oa Oa —# O b — gg gg g gg . ggg IV7 o ** ggg ‰ ggg III7 ‰ . Œ gg gg ï O a g . g O b gg O b èœ IV6 R III4 R p f

a 4 # OO b 4 ‰. 4 b 4 O R

II6

II5

3 4

o o o 43 œ è œ n œ

l. s.

(non arpegg.)

‰Œ Œ

ï O- a Ob IV6 J F III7

5 4

ïO a Ob R

5 4

I4 II5

‰. Ó

II a O Oa # O b 4— 3 — 4 g 4 g ggg g * gg III7 IV7 ‰ gg ‰ Ó g * o o o o gg g III4 gg III7 gg ï a ïœ . O œ èœ è œ . 44 ggg O b ggg O b 43 J IV6 J P p meno f

o œ

II3

III5 IV7

arpeggio sim.

Leseprobe

# OO ba

III4

o œ.

l. s.

II4

7 7

o œ

o o o

.. œ è œ n œ

o œ.

o o

œo .

II4

o œ.

œ èœ

o ïœ .

o œ.

è œ . ..

3x - 5x gradually transpose to hissing sound

Sample page

≥o ≥o ≥o & œ èœ nœ

≥o œ

≥o ≥o œ èœ

≥ ≥o ï œo . œ.

≥o œ.

* e feeling of legato-phrase may be realized (as a paradox) with means of non-legato:

— OO

molto l. s.

* *

ggg gg OR

= rapid arpeggio

—g OO

ggg O gJ

= rather moderate arpeggio

EB 9357

Breitkopf EB 9357

≥o a œ . ab

fade out

Martin Smolka 6

Martin Smolka

IIII [q = 112]

I II

III IV

& 45

speed of bowing

{rhythm: œ

·· ab ‰ . Œ Ó ß F ƒ

* I2 II3

molto l. s.

Leseprobe

ùa 5 b · ‰. Œ Ó &4 R F ƒ IV7

sim.

molto l. s.

r œ ‰ . } sim. sempre

* III4 IV6

molto l. s. simile sempre

r ·· ‰ . Œ Ó

·· ab ‰ . Œ Ó ß F ƒ

54 ·· ·· r ‰ . Ó

* two strings in unison

& 44

54 ·· r ‰ . Œ Ó

& 44 è · R ‰ . Ó

44 r ‰ . Ó ·· {

III6 IV7

è ··

ú F

rhythm:

r œ ‰ . } sim. sempre ƒ

44 ·· r ‰ . Ó

& 44

· · 45 è · · R ‰ . Ó 43

& 44

‰.Œ Ó

Sample page

r . 5 4 & 4 ·· ·· ‰ Œ 4

4 n· · r ‰. Œ &4 · ·

III5 IV6

54 n · · r ‰ . Ó · ·

r . 3 ·· ·· ‰ Œ 4

III4 IV5

44 ·· r ‰ . Ó

3 r 4 4 ·· ‰ . Œ 4 Breitkopf EB 9357

34 ·· r ‰ . Œ 44

r 5 4 ·· ·· ‰ . Ó

44 43 3 4

Like Ella Like Ella Like Ella

r . 2 3 & 43 ···· ···· r ‰‰ . 42 &4 4 422 4

III3 III3

&· & 4·· IV · IV4

·· ··

& 433 · &4 ·

3 & 43 · &4 · III3 III3

& 433 &4

j j

r . r ‰. Œ R‰ Œ R

··· ·

* ca. gliss. down ¾-tone ca. ¾-tone

433 4

422 4

44 ·œ rr ‰ . Ó 4 ·œ R ‰ . Ó R r ‰ .. 44 r‰ 4 R R

433 4

j ·· j 44 ·· 4 · ·

I2 II3 I2 II3 3

IV7 IV7

è· è·

2 IV3 r III r ‰ . III··2 IV3rr ‰ . Œ ‰ . ·· ‰ . Œ I2 II3 I2 II3 IV7 IV7 3

III2 III23 IV IV3 3 3

j · j · 3 3

39 39

? 3 ···· ? 443

‰ .. Ó R‰ Ó R

· 433 èè ··· R ‰‰ .. ŒŒ 4 R

Sample page

II2 II2 3

35 35

44 è ·· · 4è·

Leseprobe

r ‰ .. Œ r‰ Œ R R

r l. s. (sim.) 34 ·œ ra ‰l..s.Œ(sim.) 43gliss.·œ¾* Ra ‰ . Œ R gliss. ¾* 433 4 * gliss. down I2 II I2 II

54 ·œ rr ‰ . Œ Ó 45 ·œ R ‰ . Œ Ó R 3 III III3 r ‰ .. Œ 455 ··· ··· r ‰ Œ 4 R IV5 · · R IV5

r . 2 · œ & 42 ·œ r ‰‰ . 433 ··œœ &4 4 R R 2 r ‰ .. 433 & 42 ·· r ‰ 4 &4 ·· R R

30 30

44 4

r ‰. 5 r ‰ . 45 4

44 ·œ rr ‰ . Ó 4 ·œ R ‰ . Ó R 44 4

25 25

& &

7 7

54 ·· ·· rr ‰ . Ó 45 ·· ·· ‰ . Ó

20 20

& 433 &4

J & èè ·· J&

j j

j ·· j 668 ·· 8

· ·

j è· j è· 3 3

· ·

I3 I3

3 3

6 ïï ·· 86 8

III7 III7

R ≈≈ R

EB 9357 Breitkopf EB 9357 EB 9357

4 4 · 4 ·

4 R ≈≈ 44 R

3 3

3 43 4

j j

r è · r ‰ .. Œ è· ‰ Œ

II2 II23 III III3

· ·

4 è · 3 jj 4 è· · 4 · IV7 IV7 3

422 4

r r

‰ .. Œ ‰ Œ

? ?

433 4 3 43 4 433 4 3 43 4

8 10 8 8

33 & 4 & & 443

42 42 42

j ···· jj ·· 3 3 3

jj ···· ? 3 è · ? j ? 44433 ·· 3 JJ & & èè ·· J& 3 3 3 3

46 46 46

? 44 ? ? 44

œœ .. ⅓⅓‰ Ó œ . ⅓‰‰ ÓÓ F F F

44333 4

ïï ·· ï · 3 JJ J 3

·· · 3 JJ J IV7 3

III7 III7 III7

44 & & & 44

Martin Smolka Martin Martin Smolka Smolka Martin Smolka I3 I3 I3

I2 II I2 II I2 II

bb Oœœ b OOœ

rr œ OOœ rb Oœ bb‰ . ‰‰ .. ? OO bb ? O ƒb ? ƒ ƒ

IV7 3 IV7 3

èè ·· è·

44 44

44222 4

44333 4

bb Oœœ b OOœ

OOœœ Oœ

& & &

Animato, slancio Animato, slancioquasi string. Animato, I2 II3string. molto l. s. slancioquasi

44 œœ .. ⅓⅓‰ Ó 44 œ . ⅓‰‰ ÓÓ F F F

& & &

a b a Rbab ‰‰ ..

44222 4

U ŒŒ U ÓÓ U

RR ‰ . Œ Ó

a b U a Ó Rbab‰‰ .. U U Ó

in tempo in tempo in tempo

? ? ?

55 & 4 & & 445

jj ··ja a III4 ‰ II2 · a‰ 7 ‰ Ó ‰ II23 ‰‰ IV7j ‰‰ ÓÓ III IV46 ‰ III 4 IV j 6 III II23 IV 5 III IV·7j è j b 6 IV··a 5 III3 & 4 j b è · j b · b & & 445 ····aabb ·· bb èF· b F F

59 59 59

44 44

b‰ .

⅓ ⅓ ⅓

ÓÓ Ó

string. string. string.

····aba ··aa JJbab · · ‰‰ J ‰‰ ·a‰‰ b‰ · ····aab ‰ ··Jbb è ·jjb ‰ ‰ j ·J·Jabb ‰‰ JJ & & èè ··b & b J j j ··j·· ‰‰ ··bab ‰ ‰ IV7 ‰ IV7j ‰ èèIV··7jjb è ·bb ))

calmando calmando I2 II3 I3 calmando I2 II3 I3 a I2 IIa 3 b I3 a a

· JJ··a J ‰ ‰‰

Sample page RR ‰ . Ó

rr rbb

‰‰ .. ? 4 b ? 4 b ? 4 b 4 ƒ ƒ ƒ

44333 OO OO 4 FO O F F I2 II 2 r 44 bbII2OIIIIœœ rrb b OOœ bb‰ . 44 ‰‰ .. III4 III4 ? 4 úú 4 III O 4 ? 4 ú OO bbb ? 4F F ƒ F F F F ƒ ƒ III4 III4 III4

Leseprobe III4 343 III III4O 443 OO F F F

II4 III6 I4 II6 ·· jj quasi 4 III 6 a · I2 II3string. II molto l. s. I4 II6 ·· ‰ a · 4 III 6 a · & b I2 II3·j II molto l. s. I4 II6 ·· ‰ a a · · · a · & b 3 ·a ··ab ‰ III4 ‰ ‰ III7 ‰ & IIII22 III 3 ·a ‰ ‰ ‰ III 7 IIIj7 46 ‰ III ‰‰ 3 · b ‰‰ IV ‰ ‰ IV II23III 7 III2 IV IIIj7 ‰ IVj ‰ 46 ‰ III ‰ IV 2 3 ï a b jj6 · b ï··jbb‰ 7 III ·· IV b3 J·· b èIV ? j IV 2 a · b · · III IV ? ··j··aab J·· bb ï·b j ? ·J·Jabb JJ & & èè ··b ··abb JJ J ƒ ƒ & sim.b ƒ ƒ sim. ƒ ƒ sim. 55 ···· abab ···· ···· 55 a · 55 ·· RRab ·· ·· ··aa & & R ‰. ‰ ‰ & ‰ ‰ ‰ ‰‰ ‰‰ jj ‰‰ ‰‰ .. j ‰‰ ‰‰ jj jj · b ïï··jbb j è · b & ··j··aab J·· bb ï·b èè ··jb ··j··aabb & b J b ··a & ··ab J b 51 51 51

44222 4 ∑ jj 2 ∑∑ j 4422 4

I2 II I2 II I2 II

jj ‰‰ ïï··jbb‰ ï·b (sempre (sempremeno f (sempremeno f ) f meno string. U string. U jj U 44 string. ····aba a · · 44 jaa JJ·bab a · · · III7 ‰‰ · a‰‰ ‰‰ ŒŒ ‰‰ ·a ‰‰ ‰‰ J ‰‰ IIIj7 ‰ ‰ 7 b · ïïIII··jjbb‰ j ‰ ‰ è ·jj ‰ Œ ? 4 ·· baa ‰ J· bb ‰ è ·jj ‰ ‰ ··J·· ba J· & è ·jbb 4 ï·b ··jj··aabb · b èè ··jbb ? ) ··ab ·· bb Pb ? 44 ((ƒJJb J & & è ·b ) (ƒ ) P P ƒ EB 9357 EB 9357 EB 9357 Breitkopf EB 9357

III7 III7 III7

44555 4 5 4455 4 44555 4 44555 4

·· a ·· ab ·a ·J· bab ··Jab ·a J J ‰ ‰ j‰ ‰ Œ ‰ ‰ ‰ Ó j ‰ · b‰ ï·jb‰ ‰ Œ è ·jb‰ j‰ ‰ Ó j ·j·ab ·j·ab J· b ï·b è ·b ··ab ··ab J

Like Ella Like Ella Like Ella calmando II4 calmando a II4

9 11 9

· ··ab j 3 44 j ·Ja ·J·ab ·ja 43 44 ·ja 4 J ‰ Ó j‰ ‰ · a‰ III7 ‰ ‰ J ‰ · a‰ j ‰ ‰ 3 j‰ Ó ï·jb‰ j‰ ‰ IIIï7·b‰ ‰ j 5 4 è ·jb ï·b ·j·ab & 45 4 ï·b 4 4 3 · b 4 è ·b ·b &4 4 meno f · · a b ·b F ·b II2 meno f F 67 III23 II 4 5 44 r 67 & 44 45 III·jj3a 4 · ra & 4 ‰Œ 4 ‰ · a‰ ‰ IV7‰ Œ 4 ‰. ≈ U . · a‰ . ‰ Ó IV4 7 IV 4 6 III IV ‰. ≈ U∑ . . ‰ Œ ‰ Œ ‰ ‰ ‰ ‰ ‰ j j Ó r j . ·a ∑ è · r r & 444 è ·jb 455IV4j · bIII·4j·IVab6è ·jb 444 · · · · a b & 4 è ·b (ma sempre 4 ··jb · b ··ab è ·b) 4 ·· rb ·· bb ·· ··ab è · . ·RRa P b pb (ma sempre ) P p & 455 &4

62 62

Leseprobe

[q = 72] Impetuoso * oscuro [qII=3 72 ] Impetuoso sempre molto l. s.

44 · & 433II3·* oscuro sempre molto l. s. 44 · &4 · ≈ ≈ III3 IV4 III3 IV5 III2 ≈ III3 IV5 ≈ 44 · III3 IV4 & 433III4· ·· ≈ ·· ≈ 44 · &4 · ·· ·· sim. F ƒ F ƒ F ƒ *F dark, humming sim. F bassƒ ƒ Fsound,ƒlike double

72 72

& 433 &4 & 433 &4

74 74

·· ··

≈ · ≈ ·· ·

44 44 ≈ 44 ≈ 44

·· ··

≈ · ≈ ·· ·

≈ ≈ ·· ··

* dark, humming sound, like double bass

· ·

3 & 43 · &4 ·

III3 IV4 III3 IV4

·· ··

≈ ≈ ·· ··

III3 IV5 III3 IV5

III5 IV54 III IV4

≈ · ≈ · ·

422 4 ≈ 42 ≈ 42

≈ · ≈ ·· ·

≈ 42 · ≈ 42 · ·

≈ ≈

44 44

433 4 433 4

433 4 ≈· ≈ 43 ≈·· ≈ 43 ·

Sample page ≈ ≈

77 77

· ·

≈ ≈

44 44

≈ ≈

· ·

≈ ≈

≈ · ≈ ·· ·

·· ··

≈ · ≈ ·· · EB 9357

≈4:3 ≈ ·· ··

EB 9357 Breitkopf EB 9357

4:3

2 42 4

·· ··

r r ‰. ‰.

3 43 4 3 43 4

12 10

Martin Martin Smolka Smolka I3 luisant * II

·œ ·œ 3 &4

& 43 · ·

‰.

III4

poco

44 ·œ ·œ

44 · ·

‰. Œ

III5

poco

& 43 ·

oscuro

≈

··

≈ · ·

··

· · & 44 œ œ

oscuro

& 42 ·

43 · ·

44 ·œ ·œ

‰.

≈ 44 ·

≈ · ·

· 24 œ

≈

III

{rhythm: œ . F

sim.

42 ·

≈

··

≈ 42 ··

≈ · ·

44 ·œ

··

3:2

≈ 43

≈ · · ·œ

‰. Œ

molto l. s.

≈

‰.

II III3

sim. 3:2

42 ·

43 ·

≈ · ≈ 43 · ·· · ƒ F ƒ F ƒ sim.

44 ·

‰.

r œ ‰ .} sim. sempre ƒ

≈

··

EB 9357

Breitkopf EB 9357

≈ · ·

≈ 43

··

I3 luisant II

‰

·œ ..

·. P

poco

· · 78 œ œ 78 · ·

≈ Œ

‰.

III4

4:3

≈

≈ 42 ·

≈ · ·

≈ Ó

44 · 3

Sample page sempre l. s.

& 44 · · R poco f P III5

sim.

4:3

3 &4 ·

≈

F ƒ F ƒ F ƒ

& 43 ·

44 ·

molto l. s.

& 43 ·

42 ·

‰.

34 ·œ ·œ

Leseprobe

* luminous, shining sound 85

24 ·œ

sempre l. s.

4 4

‰. ‰

·œ

luisant sempre l. s.

· P

‰.

poco

Like Ella Like Ella

·. & œ.

≈ Œ

& ·. P

poco

· & 44 œ

102

68 ·

‰ . UÓ

43 · P III3

o o o . è n œ œ ú & J 111

b Oœ

85 Oœ. ab ‰ 5 Ob 8 f

·œ ..

‰

R f

·.

Oœ. ab 54 O. a Oœ. ab œb ‰ Œ ‰ Ob O b ∑ 5 Ob 4

b Oœ

I2 II

‰

‰Ó

o o œ ú J

115

o 4 èœ . &4 π

b Oœ Oœ a ‰. O b III‰ 3 JO O b≈ Œ R F F

IV7

poco

5 n œo .. è œo úo Œ 4 R p poco Œ

o nú.

III5

o ú

o èœ

poco EB 9357 Breitkopf EB 9357

poco

42 2 4

III5 IV6

oo n úú .. ∏

o o Œ nœèœ

4 œo . è œo . 4 p

Sample page

‰.

poco

ù ùO a 5 Oœab œ b 4 ‰ O bUÓ o o b O 5 ? Œ & 4 œ èú p f

o o o o o o o œ èú n œè œ n œ . èœ ú J p fragile

& 44

‰. Œ

III5 IV7

R f

? O

≈

(q = 72)

& 44 ·

& b Oœ

≈

· 43 œ I6

Leseprobe

107

· ≈ œ

68 ·œ

∑

44 &

poco

4 4

Haben wir Ihr Interesse geweckt? Bestellungen nehmen wir gern über den Musikalienund Buchhandel oder unseren Webshop entgegen. Have we sparked your interest? We gladly accept orders via music and book stores or through our webshop.

Auftragskomposition des Internationalen Musikwettbewerbs der ARD finanziert durch die Ernst von Siemens Musikstiftung Composition commissioned by the ARD International Music Competition supported by the Ernst von Siemens Musikstiftung

Martin Smolka Like Ella (2019) Zwei Studien für Violoncello solo | Two Studies for Solo Violoncello Aufführungsdauer | Duration etwa 9 Minuten | approx. 9 minutes Uraufführung | World Premiere Finalrunde des Internationalen Musikwettbewerbs der ARD München | September 2019 Final Round of the ARD International Music Competition Munich | September 2019

9 790004 188279

ISMN 979-0-004-18827-9

9 790004 188279

B 22

EB 9357