Page 1


EARLE BROWN

CENTERING (1973)

Score in C

Unter der Nr. 11128 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


Earle Brown

centering

(1973)

Commissioned by the London Sinfonietta for Paul Zukofsky

Program Note Score in C Instrumentation

The title of the work is also that of a book by Mary

The work is dedicated to Mary Caroline Richards

Caroline Richards, an old friend whose poetry and

and to the memory of Bruno Maderna who was

philosophy and example have been of great value to

a very close friend of mine and whose death

Solo Violin

myself and many other artists and friends. The book

I heard of as I was in the process of completing

Flute

concerns itself with mental and physical “centering”

the work. The very last 5 notes (for solo violin)

Clarinet in Bb

in the sense of balancing and the gathering and

are quotes from Bruno’s first oboe concerto.

Bassoon

focusing of one’s resources as necessary to “perform

Horn in F

well” in any life situation.

Trumpet in C Trombone

In the music I have used the center frequencies of the

Piano

violin and piano and of the total ensemble as structural

Violin

points of balance and imbalance around which the

Viola

form moves in and out of centers of repose. Within

Violoncello

the composed continuity there are three “open-form” areas; two are cadenzas for the solo violin and one is

Duration: approximately

a kind of cadenza for the conductor, working with the

20 minutes

three instrumental trios (woodwinds, brass, strings).

Seating Plan:

(lid open) Pno.

C l.

B s n.

Tpt.

H n.

Fl. Solo Vln.

Cond.

Trb.

Vlc.

Vl a .

Vln

.

Earle Brown


CENTERING for Solo Violin and Ensemble

I



§b

 



 Piano

I

ff

    

(depress silently) sost. P

 

 *

fff

               

c.20" slow random touches for resonance

 

pp

   

 

pp

Pno.

Vn. Solo

c.10"

c.10"

LH mute by fingers on strings inside piano



 

mf

 

p



   3

slowly move fingers

 

 

*hold until resonance nearly gone

sul pont. . . . . . . . tasto. . . . . . . . . . . . . pont. trem. . . . . . nat. trem. . . . . . . . with LH pizz.

Violin solo

c.10"

Earle Brown (1926–2002)

I

c.10"

 

sul A*

rhythmic suggestion

3

   



pp mp p *unstable frequency fluctuations, erratic and arhythmic but slow, between G# and A§, and as double stop, starting by holding a ‘pure’ quarter-tone between, for c. 10"

c.5"

c.15"

down the strings for random percussive sounds and harmonics (>)

 

3 3                      

 

(improvise similar rhythm) (>)

pp

mix: . . tratto pont. trem. . . .tasto. . . nat. trem. . .pizz. .pont. . batt. . nat. tratto, etc. (>) accelerate and intensify dynamics

[   ]

Vn.

 

Litolff/Peters Nr. 11128

mp

 

    

pizz. Vla.

Vc.

very fast irregular rhythms

repeat figures as necessary for the 5" duration I     

mp

pp

3

 

        3

p

   3        p

Copyright © 2007 by Henry Litolff’s Verlag

4/12


2

A

 Pno.

pp

c.15"



,



§b 



mp

f



mp

 I  Vn. 

  __ __ __  

p

fff

p

pp

__ __ __ __ 

sost. P

 

mp

cue piano

f

,



 f



fff

(together)

to nat. . . . . . . . . . . . . . nat.

mf

     

,   

depress silently

 sul pont.

 __ __ __ 

mp







pp

Vn. Solo

 

__  __ __  

p

p

pizz. Vla.

  p

 q = 70

p



pizz. arco

    arco

Vn. Solo

3

 Vc.  

mp f

5

3

 

pp

p

mp

 

mf

 

pizz.

ff

 

arco

mp

5

arco      3

Vn.

3   Vc.  

Vla. 3

arco

p

pp





mp

p

   pizz.

3

f

  

f

  f

  

         

     

mp

mf

 

sul pont.      



arco

mf

pizz.

   

pizz.

f

f

3

   

strum

,

mp

fff


3 (no tempo)

arco

Vn. Solo

 

3

 



p



 

mp

3  

I

 



p

I

I

  



pizz.

  

ff

gliss. sord.

,              

ff

ff

ff

 

u

  pp nat.

Vn.

Vla.

  

AFAP*

           

arco sul pont.

mf

  Vc. 

pp

 

nat.

ppp

p

AFAP

            

arco sul pont.

mp

nat.

  ppp

p

pp

pp

*As Fast As Possible (cleanly)

 c.20" con sord.

Vn. Solo

mf

  

mp

 (4")   ff

,   gliss.

gliss.

        ff

(5"-6")

,

quasi gliss. mf



mp

3

     mp

(5")

sul pont.

nat.   

p 3

mf

mf

pp


4

B

Fl.

  

Cl.

Bsn.

Tbn.

 

Vn.

c.10"-12"

       *                                                

c.10"

pp

                                             pp  

 

 

        



                           pp

                                             con sord. (cup)                                                                                   

con sord. (cup)

   

         

[ p<>pp ]

 

Vla.

Vc.

 

Vn. Solo

[very legato] soft attacks

[ p<>pp ]

 Hn. Tpt.

* as fast as possible

  

c.30"-40"

 

The three trio groups may be raised or lowered dynamically; stopped or restarted, either independently or in pairs.

Conductor must have at least one group sustaining at all times.



Players watch for conducted stops, starts, changes of loudness, and very short attacks (with edge of hand, fingers straight up.)

pp

 pp

pp

c.4"



                                              

allow a moment to put mutes on con sord.

pp

                                              

                                                          pp

[ p<>pp ]

*not vertically synchronized. All nine instruments must be absolutely equally balanced dynamically, in relation to one another; none predominates. Sound result is a dense “wave” of sound

ppp

con sord.

pp



ppp

con sord.

ppp

*Instruments will naturally arrive at the fermata at slightly different times. Timing is to begin at the point when all have arrived.


Fl.

 

I   , 

mp

Cl.

Bsn.

[3 signs] moderately fast

mf

 3

p

I



p

p

   mp p

I p

    

,   

mp

mp

p

5

  

 3

f

p

  

f p

f

u

,   

p p

   

pizz.

senza sord.

 

Vn. Solo

 Vn.  Vla.

Vc.

p

ff

  ,   3              5  c.8"

arco

 

fff

3

 ff

5

p

mp

pp



 Vn. 

Vc.

p

pp

pp

pp c.12"

I quickly 5

Flute

Vla.

mp

  

Vn. Solo

p

con sord.

         mp

pizz.

mf

pp

pp

mp

3

         pizz.

mf

arco

p

mf ff

tasto

p



 





arco pizz.

3

mp

mp

mf

sul pont.

p

3

    3

f mf

ff

mp

u

mf

  

to cadenza

mp

u senza sord. 

   

arco

p ff

pp

 



nat.

3

            

senza sord.

con sord.

pizz. ,  arco               5

I 3pizz. p

f

I gliss.

arco



mp

 p

(add harmonic)


6

C

OPEN FORM, basically lightly and quick tempi, with much space for the soloist pages 6 & 7 are played together

conductor indicates ensemble dynamic Fl.

Fl. 3

Fl.

7

mp

mf

mf

con sord. (harmon, stem removed)

mf

fz

mf

f

senza sord. (when poss.)

3

mp sul pont.

3

f

3

Cl. 3

3

f

Vc.

mf

3

Tpt.

f

mp

f

arco

mf

mf

,

mf

pizz.

p

mf arco

5

3

Bsn.

Vc.

f

ff

mf

3

3

Hn.

con sord. (harmon)

Letters C and D are â&#x20AC;&#x2DC;open formâ&#x20AC;&#x2122; for the conductor in dialogue and combination with the soloist. The five orchestral events of each section may be conducted as ensembles or taken apart and cued as solos. Events 1-5 indicated by fingers of left hand. Speed, loudness and downbeat indicated by right hand.

5

3

3

Bsn.

mf senza sord. arco

f

ff f pizz.

arco

con sord. (cup)

Tbn.

gliss.

3

Vn.

ff

mf

5

3

Tpt.

(senza sord.)

ff Vn.

3

senza sord.

3

3

Vla. (senza sord.)

Pno. Vc.

( p - mp )

3

3

6


,

(with page 6) C CADENZA basically percussive

Vn. Solo

pizz. senza sord.

   

   

mp



may be played in any order. Octave and timbre may be altered. Play as a solo cadenza but pay attention to conductor’s entrances and “comments. ”

               

,

very fast but clean

ff

mf

6

       

ff



,

fff



pizz.





7

Play the material through once in this sequence, then materials between

battuto





f



 

pizz.

mp

 ff

 

  

f

f

,

  ff

mp

ff

ff

mf

3



mf

,

 mp

  

,

nat.

f

mp



 

mp

ff

3



mp

f



  ff

  

 fff

(pizz.) repeat, arhythmically

  f

mp f



,

f

       



,





f

 

   

5

mf

arco sul pont.

 

   

pizz.

3

pizz.

mf

   

    ff

  

 

         



3

fff



3

  

mp

ff



arco sul pont.





ff

mp

 

mf

,

,

mp ff

battuto

mf

,

3




8

D

improvise on this pitch sequence, but more slowly than at letter C and using octave transpositions. basically arco (nat., sul pont., sul tasto, tratt., harmonics) (2nd time)

Vn. Solo

OPEN FORM* con sord. (harmon, no stem)

5

3

3

3

Tpt.

Fl.

mf

3

p pizz.

mf

p

p mp

gliss.

6

sul pont.

mp

mf

nat.

to pont.

Vn.

Vc.

fff pp

mf

mf

f

3

5

f

mp

mf

Fl.

p

mp

5

pizz.

nat.

mf

Cl.

3

to pont.

arco

mf

Vn.

mp

p

f

5

mp

fff

5

3

p

p

mf

p

p

f

mp

mf

con sord. (cup) 5

3

Tbn.

p

mf

3

mp

p

flat of hand clusters Vla. Pno.

pp

mp

*same instructions as letter C

mf

3

f


E Fl.

9

OPEN FORM c. 60" Vary tempi of events. Virtuoso. Basically quick bursts and long linked sequences of single and combined timbres. Conductor may introduce a fermata at any point.

       3

f

fz

mp

Hn.

 

   

mp

p

      3



 

(cup)

pp

mp

mf



mp

Tbn.

pp fz

f

mf

      

3

    p

mf

mp

mf

            mp

3

    

pizz.

Vla.

3

f

f

3 

ff p

mp

5

fff

pp mp

mp

mp

p

p

5

f

p

mp 6

p

  3

    

mf

  

3

mp

mf

p

pp

5

mf p

mp

mf

mf

mf

mp

p

p

3

mf

3

mp

 

pizz.

ff

p

mf

3

p

 mf

   3

p

arco

 

mf

ff

arco



p

pp

mf

mp

p

 

5



       

arco nat.

pp

   

mp

mp

mp

p 3

p

p

  

mp

3    

mp

pp

  3     

p

5

p

mp

3   

    



3

f

3

p

arco nat.

pizz.       



p

f

 

p

p

 

3

  

pp

p

p

p mp

mp

mp

5

ff

mf

mp

     

  



     

arco

mf

3

 

  

p

ff

f

3  3              

pp p

7

3

p

p mf

mf

p

mp

  

 3          

arco nat.

mf

p

      3    

fff



f

mf

3      

 

mf

pp

pizz. nat.

nat. gliss.

mp

mf

pp f 7

       

5

     

mf

mf

  

3

    

p

p

arco

     

sul pont.

mp 5

mf



f

3

   

mp

f

      

sul tasto gliss. sul pont.

      

mf

 gliss. pizz.   arco  Vc.  

p

 

mp

arco nat.

Vn.

3

mp

3 3               

p



6

f

ff

mp

5

 

    

p

           3

p

p

3

p

mp

  

     

 3    

p

(Harmon)

Tpt.

   

3

f

3

3

3

3

5

mp

pp

5

mf mf

  

       p

Bsn.

p 3

Cl.

      

 p



mp



 3

pp

    p


10



nat.

 

Vn. Solo

sul pont.

3    

p



nat.

  

 

    

9



nat.

ff

 mf

    

7

f



mp

mf



p

Vn. Solo

9

p

mp

3

fff f

p

     

pizz.

p

pizz.

con sord.

p

6

mf



   



ff

ffff



 

p

   p

AFAP

 f

 

 7

  p

mp

sul pont.

 

3

 

                                 f

mf

f

p



(add harmonic)

f

mp

                      

con sord.

p



 

3

mp



con sord.

   pp

p

          

I semi-articulate

 

mf

sul pont. quasi gliss.

5





 

ff

 



p

 Vln. 

Vc.

mf

5    arco         sul pont.       

enter after mid-point of trio

Vla.

 gliss. 

 

      

sul pont.

(add harmonic)

(Solo vn. follows as conductor cues all harmonics for Trio) Vn. Solo

   

pizz.

AFAP

 

Vn. Solo



 



 ff

quasi gliss.

 mp



 mf

                     c.12"

pizz.

     3

mf

   ff

arco

 

mp



f



  

sul tasto

pp

mp

 

nat.

3

p

f

3

 mp

,


F

Bsn.

 

1 sign

2 signs

f

 I Cl.   

   

mp

2 3

I 



1 sign

3

I

 



u, 1

 

mp

I

3

I  

   

p

I3 

,

  

mp

p

f

pp

 

mp

3

 

ff

p

p

mp

,

 

ff

ppp

       p

ff

 

 

 



p



 







  











f

ff



pp

 

mp 3

   Vla.  

  p

        mf

f

p

1 sign 1

           fff p        

I

gliss. pizz. 

con sord.



3

 

mf 5

  p

     

arco

,

c.5" 

p

mp

senza sord.

senza sord. pizz.

 



ff

I

5

pp

sul D



Vc.

3

mf

,

senza 1 sord. arco

mf 5

1

mp

 

p 3

1 sign

con sord. (cup)

Tbn.

 I    1

  

1

I

Tpt.

Vn.

mf

11

3 signs

2

I 

p

con sord. (harmon, stem removed)

 

2

Hn.

Vn. Solo

1

 I  Fl.    

legato

3 signs

    mp

3

  f

ppp


12

OPEN FORM conducted dynamics pp + - mp

G

soloist free, conductor follow and/or contrast with soloist** c.40"-60"

c.20"

     

Fl.

mf

  

Cl.

6

clicks

p

ff

        f

mf

Bsn.

pp

p

5

open

Tbn.

inarticulate, very fast

etc.

[ ppp]

wind sound only through instrument

p

Tpt.

wind sound through instrument (no tone)

f

mf

pp

p

mf

4

open

pp

pp mf

BRASS

Hn.

key clicks

       

    

pp

sim.

  

Vc.

mp

inarticulate sul pont. (behind bridge)

inarticulate sul pont.

 EA

D G

Vn.

inarticulate trem.

etc.

 vary and repeat figures randomly, as solo cadenza. Signal cond. before going to H. 

7

sul pont.

inarticulate, very fast

[ppp ]

erratic trem.

3

wind sound through instrument (no tone)

 

* arco behind bridge

Vn. Solo

key clicks

p mf

Vla.

 

inarticulate trem. sul pont.

 

inarticulate trem.  sul pont.





mf *graphics may be followed, but are also merely suggestions of improvosational style.

 

as before

 

STRINGS

  1

mf WINDS

2

wind whistle

pizz. behind bridge

arco behind bridge

as before

 

 

as before

 **cues may be for collective groups or for individuals


H Pno.

Vn. Solo

 AFAP   

   3

   

f

  

mp

Pno.

arco sul pont. Vn. Solo

       

  

 

p



3

 ff



pp

pp

 

pp

Vn. Solo

 

p

 mf

6

 

 

p



 

fff



,

pp

    

pizz. arco

ff

mf

3

pp

   

mp

 

           Vla.        Vc.  

pizz.



mp

f

mp

arco

p







5

pizz.

 mp





 

    

mp

 

p



*

 

pp





   

very resonantly

etc.

f

 

 



2

        

 pizz.              Vc.            pp

etc.

nat.



   

etc.

  

arco sul pont.

   

    

1

Vn.

3  

 

ff

  



pizz.

fff







mp 3

mp

pp

trem. sul pont.





Event 1: On solo or ensemble cue from conductor, slide fingers very gently up and/or down the string (while arco) producing natural harmonics. Conductor indicates tempo and direction of gliss. (up, down or random.)

AFAP



 



f

p

5

,

3

f

Play the material once through as written, then Vn. and Pno. ‘Open Form’ between * – * with events 1 and 2 cued in, until Vn. Solo cue for last system. All Pno. figures lightly and quickly.

*

13


14

J

SEQUENCE: Event 1 , Event 2, with touches of 1 as accompaniment pp , then 3, 4 and 5, after strings have arrived at their fermata.

Fl.

Event 1: A single sign for each chord. Expressively, legato, broadly, strongly, warmly, basically quietly. At least once through, inventing rhythm of chord changes – vary durations and dynamics, with or without stops (silences) between.

   

Hn.

 

  

Cl.

Bsn.



  

con sord. (cup)

Tpt.

Tbn.

Vn.

  pp



 

pp

Vla.



 Vc.   

 

 











 

 









 Fl. 

    

Cl.

Bsn.

pp

 pp    3

3

     

3

 

Hn.

(cup) Tpt.

      3

 

pp

5 5

pp



quickly

4  

3

     pp

3

   (cup)

Tbn.

pp

3



















 







  

    

 

 









pp Vln., Vla., Vc. after first 2 cues from conductor, follow Soloist.

moderately











nat.



 



pp

 

sul pont.

Vn. Solo

  con sord. (cup)    





  

 

   

 

 

 

Vln.

     pp

Vla.

Vc.

3

3

pp

 

 



slowly

 

 

 

5  

5









pp





3



      ,    pizz.


A single sign for each chord. Expressively, legato, broadly, strongly, warmly, basically quietly.

K Fl.

 

 

 

   Bsn.    Hn.   (cup) Tpt.  

 

Cl.

Tbn.

(cup)



15

 

 











 

 





ppp ppp ppp ppp

ppp

ppp

Pno.

Vn. Solo

 pp

 

 

 





 Vn.  Vla.

 

Vc.

 

Vn. Solo

 Vn. Solo

mf



  

mp

ppp

ppp

   

ff

mp

  pp



     3

 vibr.

      

3

pp

         p

  

mp



5

p

3

 

p   ff



3

mp



mf



 harm.  gliss.

quickly

sul E fff

pp



 



p

,    

 , 

sul A

sul D

 

mf

 

,  

sul G

ppp

  

c.20"

ff

mp

ppp

  

senza sord.

ff

Pno.

con sord.



mp

mp quasi gliss.



mp

mp

c.30"

sul pont.

quickly

 

 

 ,



pp

   

nat.

3



mf

mf

p

mp

pp

21 Nov. 1973 Balt.

ppp


EP11128, Earl Brown Centering, score  

Rental Material

Read more
Read more
Similar to
Popular now
Just for you