Nr. 11127
EARLE BROWN Special Events for cello and piano
EARLE BROWN
SPECIAL EVENTS for Cello and Piano
Unter der Nr. 11127 in die Edition Peters aufgenommen EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED
HENRY LITOLFF’S VERLAG / C. F. PETERS Ein Unternehmen der EDITION PETERS GROUP FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK
2
for Dorothea von Albrecht and Christine Olbrich
SPECIAL EVENTS for Cello and Piano
Earle Brown (1926–2002)
N.B.: accidentals apply only to the note before which they stand
fast
Cello
very fast
Piano
mf
5
f
mf
3
mp
mf
very fast
6
ff
mp
arco
ff
mp
mf
pizz.
mf
,
arco
I
f
mp
pont.
mp
,
3
nat.
p
3
mf
6
RI
mp
p
6
mp
timed to arrive simultaneously
, non vibr.
ff
,
p
pont.
mp
3
mf
mp 6
slowly, very relaxed
6
5
f
6
mf
3
3
ff
3
f
pizz.
,
pizz.
fff
slowly (no sync.)
mf
f
arco
arco
pizz.
p
muted
ffff
slight pitch variations – erratic dynamic variations
mp
slide finger (muted) back and forth from “nut” / and \ (slow to moderate tempo, not fast)
mf
±p
pp
This version of Special Events includes additions and changes made by Earle Brown in rehearsals with Dorothea von Albrecht and Christine Olbrich prior to the premiere of the work on February 6th, 1999, at the Theaterhaus Stuttgart, Germany, during the ECLAT contemporary music festival. Litolff/Peters Nr. 11127
Copyright © 2008 by Henry Litolff’s Verlag
vs. 3, 09/12
3
continue previous as long as it feels right.
pizz.
ss gli
,
.
fff
on keys
continue previous as long as it feels right.
6
p
end
6
erratic, interrupted – improvise rhythm and syncs.
fff
before end of resonance > mute
slowly
± pp
ff
mf
–
on keys
mp
etc. >
3
p
mf
5
in sync.
4"
pp
mute
6
mf mp
ff
f
arco
ff
ff
6
mf
mf
6
mf
fff
fff
telegraphic pizz.
f
fff
p
mf
pp
fff
keys
l.v.
fff
mf
fff
5–6"
mute
,
5–6"
telegraphic
3
mute
,
trem.
full pont.
nearly gone
fff
fff
mute
in sync.
,
pizz.
4
in sync. > no sync.
mf
mp
f
(free rhythm) mostly very fast pont.
mf
,
p
5
mp
very legato
mf
ff
ff
full pont.
mp
mp ffff balance
mf
una corda
mp balance
4"
mp
Balance p (independent surge), but return to acoustic balance continue–non sync. overlaps (spontaneous) also play in reverse finally-unis. sync. but not exact variation (non legato)
fff
mp
Balance p (independent surge), but return to acoustic balance continue–non sync. overlaps (spontaneous) also play in reverse finally-unis. sync. but not exact
fff
pp
p
extremely light touch random very fast fingers random very fast touches (non gliss.)
pp >
pizz.
pp
mp
mf
fast (make variations in sequence)
p
f
( rumble pp )
f
mp
5
,
pizz. nat. gliss.
behind bridge mf
pp
pp
open hand clusters*
slow
,
fast
l.v.
very fast
p
mf
.h ox r pp ta r sta
e er
mf
invent rhythm e >
(no sync. with pno.) arco very legato, lyrical
,
p
very fast
,
pizz.+arco - invent rhythm
invent rhythm e >
fff
4-note strum ]> random notes, rhythmic “conversation” with pno.
very fast
fff
nat.
p
*vary spacing of fingers; result is random 5-note chords
,
full pont. trem.
pp
mp
p
full pont.
ff
7"
(no sync. with vc.)
( p - pp )
(full chords)
5 A
6
( mp - mf )
blur p
mp
pp >
pp
p
random very fast touches (non gliss.)
ossia: 8vb
fff
mf
in sync. >
p
(even sul pont. (extreme) legato)
pp
mf
p
4"
full pont.
mp (balance)
( mp )
,
mp (balance)
una corda
(free rhythm) mostly very fast pont. + play in reverse
mf
p
Balance p (independent surge) but, return to acoustic balance finally–unis. sync. but not exact variation (non legato) continue–non sync. overlaps (spontaneous) also play in reverse
7
fff
p
mf
p
Balance p (independent surge) but, return to acoustic balance finally–unis. sync. but not exact continue–non sync. overlaps (spontaneous) also play in reverse
as fast as possible
pizz. mf
wait until near pno. fade-out Repeat slowly ( mf ) once
as before p
p
pizz.
ossia: 8vb gliss.
pizz.
mf
f
Repeat 8vb
as fast as possible
fff
as before p
full pont. trem.
fz
(proportional notation but freely)
hand mp clusters*
pp
f
p
mf
f
p
f
mp
pp
*fingers together
very free semi-improvisation
mp
random spacious mf touches ( p )
full pont. pp
pp
nat.
ff
p
p
f
p
8 N.B.: This page and the succeeding page are to be played simultaneously, or soloistically, in counterpoint, superimposition, or conversationally. Basically quickly and lightly solos, duets, quick exchanges abrupt silences and bursts. choose segments*; reconfigure, repeat, omit figures ad lib. arco sul pont. pizz. nat.
f
mp
3
3
mf
5
p
6
mf
arco
3
mf f
f
6
p
(I) pizz.
3 ff
mf
f
f
arco
mf
3
mp
3
mp
pizz.
3
3
mf
3
arco
f
mp
3
fff
p
mp
6
pont.
f
*Segments are all notes between the commas and/or pauses.
p
5
arco
fff
f
,
p
pont.
fff
mp
mf
3
, mp
fff
5
arco
pizz.
f
3
f
mp
f
mf
p
p fff
arco
3
fff
p
pp
mf
arco
mp
f
3
5
p
,
,
,
f
ff
fff
arco
arco
arco
ff
pizz.
pizz.
5
pizz.
mf
mp
mp
fff
f
pizz.
p
mp
3
mf
,
,
pizz.
fff
,
p
mf
nat.
5
mp
f
(even sul pont. (extreme) legato)
blur p
mp
p
mf
9 N.B.: This page and the preceeding page are to be played simultaneously, or soloistically, in counterpoint, superimposition, or conversationally. Basically quickly and lightly solos, duets, quick exchanges abrupt silences and bursts. choose segments*; reconfigure, repeat, omit figures ad lib.
mp
5
I
RI
fff
5
fff
, (4-R)
6
mf
5
*Segments are all notes between the commas and/or pauses.
mf
3
fff
5
mp
3
mf
5
f
5
5
f
3
p
mp
,
f
mp
3
p
6
mp
mf
6
,
mp
fff
f
ff
6
p
3
6
6
3
mf
mf
10 duration approx. 2'*
maximum timbral variation short duration choose pitch in consultation with pianist
pizz., batt., arco: pont., nat., tasto, harm. pizz. harm.
)
maximum timbral variation short duration
(micro
choose pitch in consultation with cellist
mute, pizz., slide, harm. hold sost. and strum.
Piano must use same note as best for cello, however, it must be a long string or strings that are not interfered with by piano metal structure.
(even - full sul pont. (extreme) legato)
blur mp
mf
mp
,
3
5
p
mf
3
5
invent rhythm and dynamics pizz.
mf ( pp )
arco
fff
L.H. “echo” pizz.
mf
ffff
5
mf
5
mp
5
etc.
fff
f
*as in 2 minute sections of Earle Brown’s Corroboree, for three or two pianos.
mp
p
p
pp
11
freely, slowly
p
ff mute
p
slowly (no sync.)
arco 3
mf - mp
3
5
in sync.
mf
5
mf
3
mp
3
5
5
3
,
,
p
mp
,
5
3
5
5
p
3
(I) pizz.
pp
6
12
fz
ff
p
mp
,
f
5
mp
mf p
p
,
pizz.
, pp
, pizz. , pont. . s s arm. gli h mp
p
ff
p
pp
pizz.
(highest pizz.)
f
f
pizz.
arco 8va
ff
p
mp
highest pizz.
mf
mute
in sync.
ff
etc.
fff
f
slowly
,
f
mf
full pont. (trem.)
mf
hand clusters
mp
mp
pizz.
pp
3
mf
,
sync. ppp to
5
ffff
,
last note
fff
p mute
A
pp
mf etc.
sync.
5 to
/0
A