Respite by Christina Rusnak

Respite

Inspired by the landscape of Leach Botanical Garden For Solo Clarinet

Christina Rusnak

Rusnak Music Press (BMI)

Respite – Notes

Duration: ~ 5’20”

Gardens are fluid, - their ephemeral change is daily, seasonally. The creek at Leach Botanical Garden adds to that fluidity, and allows one to just “BE”; to stop and enjoy a respite from the day, from our hectic lives. As one observes the natural beauty, one becomes aware of the diverse sounds within the garden. The creek’s trickling sound is ever present, calming and relaxing as one strolls through, regardless of season.

Performance Notes:

While specifically notated, the piece is to be performed with some Rubato. The trickling of the water with trills and alternating 16th, represents a background for the most part. Feel free to “become” the garden, the stream.

         = 116-120 Rubato                           7                                     12                                        18                                 24                                     30     3                                         A                                       41                                         

Respite

Christina Rusnak

Score

ONLY

Inspired by Leach Botanical Garden For Solo Bb Clarinet PERSUSALSCORE

     48                                         53                                             60                                                     63                                                        68                                                 74                                      81                          3 3 3 3 Te-Te sound Lightly Crisp B              3 3 3 3        87      ord.       3 Lightly Te-Te sound              3 3 3 3 Crisp       ord.      2 Respite PERSUSALSCORE ONLY

         92            5                     3 3 3 3 Te-Te sound              ord.          96             3 3 3 Te-Te sound          ord.                                       102                        C                  108                                   3    113         3 3            3 3 3                3         3      118                3 3               3 3 3             3 3 3      122               3                                        126                              3                  130                                   3 Respite PERSUSALSCORE ONLY

                 3 3 D                 3               138                                       141                                        145                                149                                                 154             3                                              159                         E                 165                                 3        170                poco rit.            4 Respite PERSUSALSCORE ONLY

Chamber Ensemble

Water and Stone Flute, Clarinet, Violin , Cello, Percussion Dusk Clarinet, Violin, Cello and Marimba Free Land Flute Tru mpet, Violin, Cello, Marimba & & Percussion

Canyon Voices Percussion Duo, Flute, Clarinet, Violin & Cello Wy’am Percussion Quartet, Flute, Clarinet, French Horn & Double Bass 161 Glass Percussion Quartet, Clarinet & Trombone

CHRISTINA RUSNAK

Christina Rusnak is a composer, explorer and cultural catalyst who draws inspiration from the world around her. She seeks to integrate a sense of context into her music from a variety of sources including landscape, culture, history, ecology and art, she strives to communicate something meaningful about the human experience through music to both performers and the audience

Rusnak’s pieces range from grade 1 to professional levels and includes solo works, chamber, orchestra, wind band, flex band pieces as well as jazz, women’s choir, electro -acoustic works, and film. An avid hiker, Ms. Rusnak she has been commissioned by the U.S. Forest Service, The National Park Service, and Oregon State Parks with over dozen pieces inspired by experiences in their landscapes. In 2019, she led the renowned Composing in the Wilderness Seminar at the Fairbanks Summer Arts Festival. Her work has been performed across the country, and internationally.

She earned dual graduate degrees in Composition and Arts Leadership from the University of North Texas in 2010. To intersect her passion for music with place and culture, she received a post-graduate certification in Cultural Planning in 2017 from the University of British Columbia.

In addition to composing, she has served as Sound Art Curator for the Dallas Contemporary Art Museum, as Executive Director for Orchestra 2001 in Philadelphia, on the board of Signal Fire Arts and currently serves as the President of the International Alliance for Women in Music (IAWM).

Her essays on music and advocacy can be found on LandscapeMusic.org, New Music Box, and Oregon Arts Watch. Her works are available from Amazon, Naxos and Parma Recordings, with her scores available through her website http://christinarusnak.com and various distributors.

http://christinarusnak.com