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AmĂŠe for Flute, Alto Saxophone, and Violincello

Colin Payne (2016)


Performance notes: For the rehearsal mark "E" with tempo marking "Chaotic, Exhilarating" (see below), the performers should perform this section as three independent solos.

In addition to rehearsal marks, the labels C1,C2, and C3 are cue points where one member of the ensemble should cue the group to start together. This allows minimal cohesion to this section, enough that the performers do not become too scattered from one another, but also allows maximum potential for expression from the individual instruments. C1- It is suggested Alto Sax should cue ensemble C2 & C3- It is suggested that Flute cue the ensemble


AmĂŠe was written for Nave Graham, Robert Ogilvie Hess, and Caitlyn Chenault for the 2016 Cortona Sessions Summer Festival under the direction of Michael Kirkendoll. Original premiere was July,13 2016 in Cortona, Italy

Parts are available by contacting the composer at clnpn5@gmail.com

Š Copyright 2016 by Colin Payne International Copyright secured. All rights reserved. First printed May 2016


AmĂŠe was originally conceived while reading Sylvia Path's Ariel and studying Schubert's Piano Sonata in A minor, op.42. I was intrigued by the complex nature of Sylvia Path's writing that is unfortunately often associated with having a dark, melancholy tone. However, in exploring interviews and reading more of her literature you realize a gentle soul with her poetry containing undertones of a motherly nature, often overlooked by "literary experts". Additionally, I was fascinated by how Schubert could take a single subject and expose all of its connotations and viewpoints. The previous year I had been fascinated with the Giambologna sculptures in Florence particularly, "The Rape of the Sabine Women", which explored the idea of a "perfect view" from every angle (ie three figures evolve around a vertical axis). Similar to his sculpture, I had three figures to work with, each with their own unique timbre. I chose to elaborate on the origins on the name Amy, which comes from the French word AmĂŠe, which translates to 'beloved'. The piece is dedicated to Amy George whose beauty and enamoring personality was the impetus for the title as well as exploring the plethora of images that a single world can evoke.


C (Non Transposed) Score

Amée If the moon smiled, she would resemble you. You leave the same impression Of something beautiful, but annihilating- Sylvia Path, Ariel

Passionato non troppo ( ~ 92)

Colin Payne

Flute

 





Alto Sax

 

 

  

 

Cello

 

9

Vc.

            7

   

5"

  

 

 

III

          III

  

 

© 2016

     

 

 

  

 



                        6 6  7

III

  

       


Amée

6

 

 

18

Fl.

18

A. Sx.

18

Vc.

  



3

          

 

 

  

 

Fl.

            

27

A. Sx.

  

27

Vc.

6

     3

   

  niente 



 

 

 

 27

    

    

 







     3

  

 

 





 

 

air

pitch

 

 



3

3

  

    

             3

III

senza vibrato

      3

 


Amée

35

Fl.

   

35

A. Sx.

35

Vc.

43

 

 

43

Vc.



    

   

3





43

A. Sx.

Fl.

  

 





            

   

          5



  

     

  5

5

 

 

niente





7

1234 234

 

   

   





 

1 2 3 Bb 4 5 7Tc

                       

 

 

 

A

 



 

3

   

  



    

 


8 53

Fl.

 

  

53

A. Sx.

Vc.

       53         

 61

Fl.

 

61

A. Sx.

Vc.

 61   

3

 

            

61

Voice

     



  

   

    3

3

 

B

 

        3

  

 

                   

Amée

 

    



 

  

    

       

        





   

  

slightly rush



3 

3

3

3

           



   


68

Fl.

    

68

Vc.

 74

Fl.

 

  

  

Vc.

   

    

74

3

6

3

74

A. Sx.

     

 

                           

68

A. Sx.

  

  

    

   

Amée



 

  

  

 





9



         

     

   

   

     3



  

 



  3

 

           

Very Breathy, as much pitch as air with key click sounds

 



 

 

      3


10 C Fl.

    

          

82

Vc.

 90

Fl.

90

Voice

 D



 

 

Vc.

 

       

      

  

 

 

        

90

90

A. Sx.

  

3

82

A. Sx.

Amée

 

 

  

   

 

  

3

          

3



     



 

 

    3     

 



 

6

2 3 C# 5

       6

gradually

 

      

      

 

2 3 C# 5

      



 


  

99

Fl.

  

99

A. Sx.

3

  

99

Vc.

 

Amée

   



  

senza vibrato

 103

Fl.

 

  3

103

A. Sx.

pitch

Vc.



air

        niente

103

 

 

     

3

  

  

 3

  



3

 



 

 senza vibrato

  

 

   

    



poco accel.

 

 

11

 

 


Amée

12 E Fl.

Chaotic, Exhilarating (~ )

  

107

A. Sx.

   

107

Vc.

Vc.

  

   

  

     

     

    

5

 

 

        



7







Very noisy



     

 

 

7

   

                

7

                                 

112



7



112

 



Very Breathy, as much pitch as air with key click sounds

112

A. Sx.



Fl.



7



very little pitch, strictly percussive 5

                               

 

7


 

117

Fl.

 

7

 

 

121

A. Sx.

 

121

Vc.

 

6

 



   

Amée

 

 

 

     



          

 

   



             6

III

6



 

 



13

 

  

3

 

   

          7

  

C2

        

   



3

     

 

 

121

Fl.

      

             

117

Vc.

117

A. Sx.

 

  

C1

            

 

 

  

 

         7

~ 6 sec

 

             7


Amée

14 C3

Fl.

125

A. Sx.

 

125

            

                   

125

Vc.

 

  

133

A. Sx.

133

Vc.

    

 

 



III

molto vibrato

       

Use mouth embrochure to gliss down

 

 

Release note when cued by alto Sax

  

G.P.

 

       

 

 

F

cue cello

6

G

133

Fl.

 





 

 

           

III/II

7

  

 

 

 

              

 

III



 









 

 

 

  


144

Fl.





 

 155

Fl.

 

155

A. Sx.

       

155

Vc.

               7 

 

144

Vc.

 

144

A. Sx.

Amée

molto vibrato

 

  

H Adagio (~ 66)

 

        



niente

  

 

 

 

 pizz.

 







   



      

 

  

   

 

15

  

 

  

    


Amée

16

poco accel.

165

Fl.

       

165

A. Sx.

165

Vc.

 173

Fl.

arco





3

A. Sx.

    

173

Vc.



3

 

173

           molto vibrato 

          3





      3

 

3

  



    

I

    

          



Tempo I (~)

 

  





          

         





()





3

 

3

3

3

   

 

 

   

    

7

                   III

6

6

          


Amée

180

Fl.

180

A. Sx.

   

180

Vc.

 

            3

         6

Fl.

 

  

186

Vc.



 

  

  

      

    

 

6

        

  

 

5

 

     

  



   

6

                      

186

A. Sx.





 

                    

 186

   

        

17





   

 3



 


18 194

Fl.

194

A. Sx.

 

 

 

205

Fl.

 



       

7

  





    



 

 

  

 

         

3

205

Vc.

     

Amée

molto vibrato

205

A. Sx.

  

194

Vc.

J Somber ( ~ 90)

almost breathy

      

   

        

    

 

 

 

      

Voice

 



  

    


    buildup to    gradual   flutter tonguing ->                            Amée

215

Fl.



    

215

Voice

 

A. Sx.

          

222

Fl.

 

222

A. Sx.

222

Vc.

 

molto vibrato

 

 

 

   

   

  

19



 

 

 

 

 1 2 3 Bb 4 C3 7

 

gradually move II the bow position to sul ponticello

 

 





                  

 

   

       

niente  

  

Profile for Colin Payne

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