Page 1

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. gli          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


Earle Brown: Special Events  

for cello and piano

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