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