T-32 Tornyai: QuatreQuatuors

tornyai Péter

Q uatre Q uatuors kamaraegyüttesre for chamber ensemble (2010)

partitúr a / score

EDITIO MUSICA BUDAPEST T-32

Ez a partitura a Z. 14 797-ös katalógusszámon megvehető.

This score can be purchased under the catalogue number Z. 14 797.

tornyai péter

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r e p QuatreQuatuors r o f kamaraegyüttesre l ensemble for chamber a s u r (2010) pe PARTITÚRA / SCORE

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EDITIO MUSICA BUDAPEST

Universal Music Publishing Editio Musica Budapest Ltd H-1370 Budapest, P.O.B. 322 • Tel.: (361) 236-1100 • Telefax: (361) 236-1101 E-mail: emb@emb.hu • Internet: http://www.emb.hu © Copyright 2011 by Editio Musica Budapest

l a

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l a

2

QuatreQuatuors

World premiere: 8 February 2011, UMZE Chamber Ensemble, conducted by Zoltán Rácz. for ensemble

instruments

Instrumentation: Group A group A Oboe Oboe

Horn in F Horn (in F)

Violin I Violin 1 Piano *

Piano*

Group B group B

Clarinet in E  (also Clarinet in B  ) Clarinet in E - Clarinet in B

(Bass) Trombone (Bass-)Trombone

Violin 2 Violin 2 Percussion (2 players) Percussion (2 players) Marimba (of 5 octaves) Marimba (5 octave),

Timpani Timpani, 3 Bongos (different3pitches) Bongos (different pitches), 3 Gongs (different 3 pitches third or fifth between apart) Gongsa (difference piches: 3rd or 5th), Tam-tam (low) Tam-tam (low) Gran Cassa Gran Cassa Wood-Block (high) Wood block (high)

Group C group C in B B - Bass-Clarinet

Clarinet in B  Clarinet (also Bassinclarinet in B  ) Trumpet (in C) Trumpet in C Viola

Viola Cimbalom

Cimbalom group D Group D Flute

Flute Bassoon

Bassoon

Violoncello **Violoncello** Harp

Harp

The4four groups onseparated the stageashave to beonseparated muchinas possibleorder. and are located in the order A-B-C-D. The groups are as possible the stage as located A-B-C-D Themusicians musiciansbelonging belonging same group to communicate well, and the conductor has to stand so that everybody The to to thethe same group havehave to communicate well /IV mov./, and have to stand in a place seen by everybody. canthe seeconductor him.

The (except Marimba) cancan be placed independently of the in the centre of the stage.

Thepercussion percussioninstruments instruments (except Marimba) be placed on the centre ofgroups the stage, independently of the groups.

(One of the perc. players has to play also "in the piano" /IV mov, from bar 39/.)

One of the percussion players has to play also “in the piano” (movement IV, from bar 39).

* In the piano the following pitches are muted (prepared before the performance putting pieces of paper between the strings). the key produces knocking sound. *Striking The following pitches of the piano are muted (prepared before the performance by putting pieces of paper between the strings).

These pitches have to produce a knocking sound:



             

Attention! The notes between prepared notes have to sound normally.

The pitches in between have to sound normally.

** At the end of movement II, the violoncello’s C string has to be tuned down silently to B. Movements III and IV are to be *played At the this end way. of the II mov. violincello have to be tuned silently to B. The III and IV mov. are played this way.

3

Performance of movement IV

Performance of IV mov.:

Parts inicated with  = 60 4/4-are playing according to the conductor. (This layer is always a background!)

4 The conductor starts groups at the given points, and after(This they layer are playing section writtenintothe the background.) frame Parts in 4  = 60 arethe to other be played according to the conductor. of thethe music is always independently of the conductor.

The other groups start at the conductor’s signs, and then are playing the framed section independently of the conductor. there is is aa repetition repetition sign section have repeated until thethe nextnext signsign of the IfIfthere signininthe theframe, frame,this that section hastotobebe repeated until of conductor. the conductor.

Every section should be finished at logical points, do not interrupt motives!

Every section should be finished at logical points, do not interrupt motives!

The timing of the materials in the frames is influenced by chamber-music situations observing the following rules: The timing of the materials in the frames is influenced by chamber music situations observing the following rules:

     

(any of instruments is one group) (any combination of instruments in one combination group) notes with strong connection, (first note more = 90-160 (the first note more stressed!)  = 90-160 notes withstressed!) strong connection

 





 

 = 42-72 pochissimo  = 42-72 rubato pochissimo rubato

           quasi irregolarmente*

3-4-second long with repetition with two different note values 3-4-second-long repetition two different note-values (the proportion oftwo thelengths two values is not more than 4:3) (the difference between the is maximally 4/3 proportion.) according to the following rhythm-rows: 1.

2.

1. L L3.s 2. L s 4.s

L L LL s L

L s sL s L

s s ss ss

L L s L L s L L L L s L L s s L LL Ls ss L s LL s sL: Llonger value s: shorter value L Ls ss ss LL s s s L

L: longer value s: shorter value

3. L s s L s s s L s s L

Each player can choose one of these rows at every occasion.

4. s s s L s

s

s

L s

s

s

Each player can choose one of these rows in every occasion.

Duration Movement I Movement II Movement III Movement IV Total:

duration: 11 min (2'35"+2'45"+2'00"+3'40")

2’35’’ 2’45’’ 2’ 3’40’’ 11’

+

To the memory of the victims of the red mud catastrophe

QuatreQuatuors I

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Tornyai Péter

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© Copyright 2011 by Editio Musica Budapest

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T-32

57

IVIV molto calmo

Oboe

Violin 1

Piano



Marimba

 

  

 sempre legato con sord. 

  

Harp



  

       

sempre legato trem.

 



      

trem.







   

   

 





     

       

  



 

   



 

Bassoon



 



 ma solo





       









 pesante 

con metal-sord.

Flute

 

Violin 2



Violoncello

        pesante



Trombone

       

 Cimbalom   



   

Clarinet in B

 = 60

  







senza misura (without conductor)

 Clarinet in B    Trombone   Violin 2     Marimba     Tam-tam    

Viola



Piano

        

 quasi irregolarmente*

con sord.



Violin 1

 

Trumpet

   

1 note ad lib.



 

Bass Clarinet in B



Horn in F

 





Oboe

 

Horn in F

 

senza misura (without conductor)

 

D    T-32

          

  





   



    



     

 

     

58 58

 

6



Ob.



Hn.

Vln.1

Pno.





B. Cl.

Tpt.

Vla.





 

Tbn

Mar.

    





Cl.

Vln.2

1 note ad lib.







        







pizz.







 





          

                     





 



 

  Cim.  

 

      



    

 

   

       

Fl.

Bsn.

 



 



 

    



 

  

Hp.



 

         

 

 

  



   

  

  

    

   



 

     

   (arp.)                                                          quasi irregolarmente*   

Vc.



 



senza misura (without conductor)





 







arco



   

 

 quasi irregolarmente*





 



       





 



(arp.)

T-32



  



  

59

59 10



Ob.



Hn. Vln.1

Pno.



Cl.

Tbn

Vln.2

Mar.

   = 60



Clarinet in B 





Trombone





Violin 2



Marimba

 

B. Cl.

     

  

Tpt.

  

Vla.

Cim.





     

Fl.

    

Flute

Bassoon

Vc.



Violoncello









    

Harp





 



   

   



trem.

soft mallet





 

 

  

 



      





  





    



  

To Cl.







 



quasi irregolarmente*

 

  





                    

 









 

 

 



 

 

 





   

     dolce              

trem.

   

 



  



 

       

 









 





        



con metal-sord.



  

 

frull.





Bsn.

Hp.



     

    

          



 



    

60

60



15



Ob.



Hn. Vln.1

Pno.



Cl.

Vln.2

Mar.

B. Cl.



  



 

 

Vla.



Fl.

Bsn. Vc.

Hp.



 

 



  



 

 





trem. simile



     









   



 



 

      

Clarinet in B



Viola

 pesante

Cimbalom

 





    

    

       

Violin 1



  



    



       





 ma deciso quasi irregolarmente*

  





 

  



  



   

             

(con sord.)

Trumpet in C

 





    senza sord.       

  

   

senza misura (without conductor)

              

   



 

rin

       rin     

Piano

  

rin

senza sord.





     

Horn in F



C Tpt.

Cim.





Tbn



Oboe

   

quasi irregolarmente*

      pizz.

 in rilievo



  

ord.



pesante





T-32

61 61 20



Hn.

Vln.1

Pno.

Cl.





Ob.

  non dim.    



  

f

C Tpt.



Fl.



pizz. 

        

         



  

p





   

Vc.



l a s 

   



 



f



  





         



p

u r e

r o  

  

 

s u

 



 

    



l a

     

   

 





   



  



    

r e p

  



 





r o

f

 

u r e

  

 

  

           

  



poco 

         

Bsn.

Hp.



   

r o 

Cim.



       

Cl.

sul pont.



   

Vln.2

Vla.





Tbn

Mar.



non dim.

             

l a s





r e p

s u

l a

 

f

r o







T-32

62

62 24



Ob.



Hn.

Vln.1

Pno.



Cl.

Mar.

Violin 1

 

Piano

          

C Tpt.





Fl.





 

 

trem.

    



 

 



 



  

   



pesante



 

   



 





      







  

  

 

        





 

    

 

    



      

 











 = 60



Bsn. Vc.







 quasi irregolarmente*

 



Hp.

    



  



Cim.

    

  



             

 

 dolce



Cl.

Vla.

Horn in F



Tbn Vln.2

Oboe

 

Flute



 

sempre legato 



Bassoon



Violoncello









Harp

T-32







   

63 63



28

 

Cl.

Tbn

Vln.2

Mar.



Cl.

Vla.

Cim.

Fl.

   

        

  

      

   



 



 



poco 

  

    

  

con metal-sord. trem.

Vc.

Hp.





  



 

 







Clarinet in B

       

   

Trombone

Violin 2

Marimba

     



  

in rilievo



 

  









 solo

  

 



  





 

   





   

    





      



T-32



   



  



  







 

 

To B. Cl.

    

   

















 

      



quasi irregolarmente*

 





  





 

  

       



arco



(with upper note)

bisbigliando ad lib.

 



  

    (con sord.)     



Bsn.



III

quasi irregolarmente*



 



IV

         



C Tpt.









III



Pno.

IV



Vln.1

 





Hn.

     





Ob.

 

 



   



64 64 32



Ob.



Hn. Vln.1

Pno.

Cl.



Mar.

  





C Tpt.



Fl.

Bsn.

Vc.

Hp.



senza sord.

   

 pesante

mallet   





 pesante



arco

   

















Cim.

        

 

Cl.

Vla.

  



Tbn Vln.2









  

 

    



  



 

 



  

   

   

 



         







 



    

    

       



 T-32







   

 

  

        



 



 

 



   



 

   

65 65

 = 60

36



Ob.



Hn.

Vln.1

Pno.

Cl.

Mar.

con sord.





Perc.-player 2:





 

       

fast continuous"glissando"s  across the strings of the piano with soft sponges (or fingers) /notes pressed by the Pianist are resonating/



  

Vla.



Hp.







Vc.

Violin 1

Piano



C Tpt.

Bsn.









Fl.







 sempre legato



Cl.

Cim.

Horn in F



Tbn Vln.2

Oboe





 

     

   



  



   





 



           







    

 

 

 

    



      

        





   

  

 

 

 T-32

 

    

 

    



     

66

66 40

Ob. Hn. Vln.1

Pno.

Cl.

Tbn

    



B. Cl.

C Tpt.

Vla.

Cim.

Fl. Bsn. Vc.

Hp.

trem.  

              







            



     

r e p







Viola







Cimbalom



  

r o

   



f

   



(con sord.)

Trumpet



al

s u

 

  

 



       







 













pe



 

ru 

l a s

   

 

f



r o



p



    



 D E F G  B T-32

quasi irregolarmente*

l a

         









s u

er

          





    





 

 

 







     

 quasi irregolarmente*

l a



  



               

     



f

r o

s u

r e p

    

    



Bass Clarinet





    

 solo







 

   



                                    

r  fo

Mar.



           



con metal-sord.



Vln.2





 







67 67 44



Hn. Vln.1

Pno.

B. Cl.

Cim.

Fl. Bsn.



Hp.

    



 







 



 





poco a poco sul pont.





            quasi irregolarmente*































     





 

    

senza sord.

Vc.







C Tpt. Vla.

    





Tbn

Mar.

  



                                                          

Cl.

Vln.2





Ob.













  

      

   

 





  

    

 

           



  T-32

68

68 48





Ob.



Hn.





      

    



Vln.1

Pno.















molto sul pont.



  





   

Vla.





Fl.

 

 

Bsn.

Hp.

 



C Tpt.

Vc.

 





B. Cl.

Cim.



 







Tbn

Mar.



  



 





 

         

Cl.

Vln.2







  

C D G T-32

 



53

 

Ob. Hn. Vln.1

Pno.



Tbn

Mar.

 





(muted string)

 ma audible

















quasi irregolarmente*





  



        quasi irregolarmente*   Gongs     W.B.



 

Cl.

Vln.2





  





B. Cl. C Tpt. Vla.

Cim.

Fl. Bsn. Vc.

Hp.



 





 



 

with palms





 





 



with palm











C E B

T-32

69 69

A partitúra és a hozzá tartozó szólamanyag az Editio Musica Budapest tulajdona, ezért csak a kölcsönszerződésben meghatározott alkalmakra használható.

Az anyagot – másnak nem lehet továbbadni, – engedély nélkül nem szabad másolni, – tilos megváltoztatni, a kottába megjegyzéseket és előadói utasításokat csak grafitceruzával szabad bejegyezni, – a kölcsönzési idő lejártáig hiánytalanul és jó állapotban kell visszajuttatni a kiadónak.

The score and the related parts are the property of Editio Musica Budapest, and therefore may be used only for the occasions specified in the loan contract.

The material – may not be handed on to any other person or organization, – may not be copied without permission, – may not be altered, and any comments or performing instructions may be written only in pencil, – must be returned intact and in good condition to the publishers by the date of expiry of the loan period.