duration: ca. 6 minutes
CALVARY I. Up the Hill II. The Final Hour III. The Broken Veil
Flute, Clarinet, Violoncello, and Piano
Composed by
D.I.D. CHOI
Program Notes This work depicts the last hours and the hours following the Cruci xion. The rst movement, Up the Hill, features sporadic dissonant gestures, depicting the crowd mocking Christ. The second movement, The Final Hour, is a passionate and mournful movement, depicting the struggles on the cross, Christ's love, the darkness over Jerusalem, and the nal breaths after Christ's last words, "It is done." The third movement begins violently with the events corresponding to the death such as the rock-splitting earthquake and the Temple veil being torn in two. After a nal lament from the cello and the ute, the clarinet enters in major, bringing hope. The piece ends with three rising and swelling gestures, representing the three days between the Cruci xion and the Resurrection.
Performance Notes Flute: mm. 64: play folk-like ad lib. Written ornaments can be played freely or changed at the discretion of the performer. If Bb is not available, hold the C for a quarter note duration. Clarinet: Scoops should sound lazy. Clarinet glissandi marked with straight lines should be Gershwin-esque, with lipping and smearing, while glissandi marked with the squiggly lines can be freely ngered. mm. 64: light and expressive folk-like vibrato mm. 68: appoggiatura should be somewhat long.
nger-
Cello: Any sul pont. passages should be a bright/brilliant timbre rather than a thin, high overtone sound. Doits begin on the notated pitch and quicky slide up to an inde nite pitch. Piano: Cluster tremolos: alternate between all black/white notes between and including the given interval smoothly and as fast as possible. Multi-note tremolos: play all notes from bottom up repeatedly for duration of tremolo At the end of the rst movement, let the loud chord ring out with the pedal while letting the C octave tremolo emerge out of the former's decay. mm. 64: keep the pedal down to allow the notes of the other instruments to resonate in the piano. Pick up to 69 to end: very light attack so that pitch can be heard more than timbre. Smooth. General: I: "Active, but loose" is best achieved if the piano plays very metronomically while the instruments of the foreground play in a lazy, laid-back, or lingering manner. I to II is to be played attaca with no break. III does not have to immediately follow II; instead, after a short break, the third should almost feel surprising. All Trills are diatonic to the key signature unless otherwise speci ed.
C A LV A R Y Composed by D.I.D. CHOI
I. Up the Hill Active but loose q = 68
Flute
° 4 4
3 4
4 4
ù ù ù
4 4
Clarinet in Bb
3 4
™ 4 4
sticky
3
5 f
5 ord., detached
Violoncello
4 ¢ 4
pont. poco sul ™
ord.
sul pont.
3 4
4 4
3 3
Active but loose q = 68
Piano
{ °4
Fl.
Vc.
¢
4 4
6
6 f
4 4
A
3 4
p ™
Cl.
æ æ 4 æ black keys 3 æ 4 4 ¤ ¤ p white keys 3 4 æ æ 4 4 ææ ‰ ‰ ™ ™
4 4 4 4
3 4 f ad lib ord. > sul pont. > ord. Ÿ 3 4 ™ ™
f
ord.
4 4
f
A
™ ™
p
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3 ™ 4 3 æ 4 æ f
44 3
4 4
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p con ped.
B 8
° Fl.
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4 4
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B
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æ íìæ î
Copyright © 2017 D.I.D. CHOI Used by Permission All Rights Reserved
æ íìæ î
°11
3
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Cl.
Vc.
æ ¢
æ
æ
5
æ æ™ ¤ ™
ææ
ææ
ææ
5
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æ æ
C
°13
™
Fl.
™
f
Vc.
pizz.
¢ ™
2 4
2 4
f
C 4
(
)
sub. Pno.
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ææ
æ æ
4 4
4 4
D
°17 Fl.
2 4
Cl.
2 4
G.P.
æ æ
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2 4
2 4
attacca
G.P.
arco G.P. Vc.
2 ¢ 4
æ æ 4 4
æ æ
æ æ
æ æ
æ æ™
disappear into the piano
sub.
n
p espress.
attacca G.P.
D
2 4 Pno.
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4
4 G.P. 2 4 4 4 “
– —
4
II. The Final Hour
Mournful q = ca. 60 (getting gradually smoother)
°1
Cl.
3 Vc.
¢
™
™
Mournful q = ca. 60
™™™ ™
Pno. p
{
( _ )
ped. ad lib.
A
°6
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cresc. arco
pizz. Vc.
¢
cresc.
∏∏∏∏∏
A
p cresc.
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{
°10
Fl.
B ™
p
Cl.
f
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¢
f
p
f
∏∏∏∏∏
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∏∏∏∏
∏∏∏∏
∏∏∏∏∏
B
p
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{
™ ™
poco rit.
™
14
5
° Fl.
Cl.
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¢
A tempo
poco rit.
—
0
3 A tempo
poco rit.
poco rit.
3
3
3
3
3
3
3
3
Pno.
3
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C
°18
Fl.
3
3
A tempo
p
Cl.
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sub. p pizz. arco (slow) ¢ p
C
senza cresc.
p
A tempo
Pno. p
{
Appassionato e poco più lento
D
™
22
°
Fl.
Cl.
Vc.
¢
™
™
™
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Appassionato e poco più lento
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molto
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°26 Fl.
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¢
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6
E
°29
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p
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F
°33
Fl.
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quasi attacca
rit.
p
Cl.
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¢
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rit.
quasi attacca
p
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7
III. The Broken Veil
Chaotic q = 120
°
39
Fl.
f
Cl.
f
Vc.
æ æ æ ¢
æ
Chaotic q = 120
Pno.
{
Fl.
(con ped.)
41
°
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æ
ææ
f
Cl.
Vc.
¢
ù ù
sim.
ù ù ù
ù
f
p
Pno.
{
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™™™
A
°44
Fl.
™
3
Vc.
¢
8
f ad lib ord. > sul pont. > ord.
Cl.
™
ord.
f
™
A
3
Pno.
{
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f
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æ æ
B
49
°
Cl.
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Vc.
¢
Fl.
™
5
6
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B 6
Pno.
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(con ped.)
poco rit.
52
° Fl.
Cl.
Vc.
¢
™
™
™
™
æ æ æææ æ æ æ æ æ æ æ æ æææ
™
poco rit.
cresc.
Pno.
{
57
9
°
Fl.
C
Adagio Lamentoso q = ca. 50
G.P.
solo
n
G.P.
Cl.
Vc.
¢
æ æ æ æ æ æ æ æ æ
æ
æ
æ
solo
™
G.P.
p
C
f
™
p
f
Adagio Lamentoso q = ca. 50
G.P.
™™™
™ ™™™ p ™ ™
Pno. G.P. p
{
™
una corda brief
°64
Fl.
freely, folk-like
™
™
3
6
n
molto esp.
solo con vibrato - follow flute bring out
Cl.
™
™
™
n
Vc.
¢ n
brief
Pno.
{
keep pedal lifted for resonance
D
°69
Fl.
™
rall.
Hopeful
f
p
senza vib.
Cl.
™
f
Vc.
¢
D Hopeful
p
f
p
rall.
p
Pno.
{