HELLAWELL Inside Story for Violin, Viola and Orchestra Score
EP 71327a
Inside Story orchestra flutes 1 & 2 (2nd d. pice.) oboes 1 & 2 clarinets in Bb 1 & 2 (1st dEb, 2nd d b-Clt) bassoons 1& 2 contrabassoon horns 1 - 4 in F trumpets 1 & 2 in Bb jlugelhorn trombones 1 & 2 bass trombone tuba percussion 1-3 Player 1 Marimba, Vibraphone, CowBell, Glockenspiel, 3 Blocks, Snare drum, Steel drum, Stirred bowl of chickpeas (with chopstick to stir)
Player 2 Tubular bells, Tam-tam, Bath chimes*, Bell tree, Triangle, Suspended cymbal, Clash cymbals, 3 Tom-toms, Tambourine, Rain stick, Toy trumpet*, Chickpea rattle*
Player 3 Marimba, Glockenspiel, Cowbell, Mark tree, Crotales, Triangle, Suspended cymbal, Clash cymbals, Bass drum, Snare drum, 3 Tom-toms, Guiro, 3 Blocks.
harp Solo Violin Solo Viola Strings (1 2 10 8 8 6 players min.)
* may be supplied by composer if necessary
Maecenas Music
Special Techniques STRINGS:
Beyond Bridge
tRf Tap/Knock
~
Pluck/bow the section of open string beyond the bridge. CrosPL.s. a-or Small note heads denote open string to be used (E, G) etc but not the expected pitch! Cello/Bass to tap tailpiece with bow in alternation with the knocking of instrument body with knuckles at a resonant spot.
Screech
A sforzando gliss to highest pitch possible - always very clipped, even when not loud.
Chopstick....::; Tremolo
Basses to sound tremolo open E string with chopsticks either side of string.
Repeat . Boxes
String players should treat boxes for repetition of a phrase individually, with no attempt at coordination with the section as a whole. Many boxes allow for individual pauses ad lib.
v
E
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Chickpea Bowl ~
Stir c 30 chickpeas in china mixing bowl with chopstick. The ringing sound may be improved by resting bowl on a hard surface.
Piets Hellawell
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166
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167
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f
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s······-···--------------·
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Tubular bells
A
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<sr··----------------------------------------------------------------------------------··············-----------·············-------------············------------, A
It> VIa. sol0
Vln I
--
f
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ff
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ff
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f
A
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dim. a poco a poco
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Vc
div.a2
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ff
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f
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3
/73
lll72
174
1.,
37
175
'"I'
Fl.
to Piccolo
A
"'
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v
p
Ob
"' a.
p
IV
p
•
IV
-
p
p
B sn
p n
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:
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pp
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p
.v
p
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B.Tbn
..-
Clash Cymbals v
Trian£1e
A·~ ~~~a~~£'~ Vln. solo
I"' ~
VIa. solo
-
:e ... ~
- "t:
~.
b.'
b.·
pp
dim.
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-
~
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t
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b.'
-
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c--~.
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Vln I v
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p
v
p
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col leg.
a
bl>j:
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col k:g.
-'i.a..a..a..a.
col leg.
P.
colk:g.
p
p Vc
Db
~
*(Where 8 violas are not available, as many parts as are available from lop downwards should play.)
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38
f1}7fi
10
'9
f€
II
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O>wbell
3 Temple blocks
;; Perc.
pp
(v/n. solo)
~
-··~
Vln. solo
I"'
1>.-
-
piu.
VIa. solo (.roll mpatjir.rt. but d~;/y building)
ar<:O
-
piu.
-
-_. _.....
;.
=-
.......,
-··....., ·~
piu.
m<nop :!;
-
suiAo!~
Ssoli
I"' sulponl.~
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suiDI%
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mp
sulD~
A .~
mp_-=
VI nl
sulDI>~
sulporll.~
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mp sui D
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II
VI nil
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piu.
piu.
1'"""'1
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a
....
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mp
A
VIa
1::::;;:'-;,
I
-
-
~-
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-
·-
......................._ I
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;I
~-
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~ap/knock~ 11.1
• ( 3 Wood blocks eM be used here for variety, Ad tibJ
Cbsnr~~~~~ /82
~
/83
39
~
=
~
Hn
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'
= p
Glockensoiel
=
=
p
8-------------------------
sui A
-~
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sui A
~~
=--~--路 sui A
~-
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vc.
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+-
a.;:;;,._r
1
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Db.
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T
=
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40
. f\}85
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186
I"
187
~
FL 0
I"' Cbsn
~
~
t\ Hn
"
~
~
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p
f"' con sord.
~
Tp<
I"'
p con sord.
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-
p'---""'
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g------------ ----------------,
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k
_E
---------,
r----._
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mp
I"
s------------------ ---------,
_r
=::::--.-,
mp 8------------------ ---------,
~nl/1~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~-~~~~~~~!~~~,~~~~~~~9 8------------------ ---------, ,;:.::.
----
0
mp
I"
I"'
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I" ~
"'
........ sui pont.
~
~.
I"'
--
-
Vc.
*' -
(non legno)
sui pont. (non legno)
o,
-
-
A/88
189
190
191
192
~a
193
I"'
Fl.
~~
A OJ
Ob
41
p
... A
a.
...
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Bsn
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~
~-
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(son!.)
A
Tpt
....
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(sord.)'T
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_.,....
a-otals
A
Glockenspiel
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·A
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5
--
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1:::: b
·-
u
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VIa solo
;;;;;so1uto
s··---------------------,
8~~~r
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I'"'
--== 8-----------------------,
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s·--------,
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A
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o
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8"i:~~-,
A
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(fT)
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sui pont. ~
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,...
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-
.-
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Vc
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""
~
~
(fT)
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42
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•194
/97
/96
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~
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mf n
Hn
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p
A
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-
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p"'
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p---=
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v
p
I
•
to Piccolo Trumpet
con sord.
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mf
Tpt
con sord.
--
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mf con sord.
mf
con sord. B.Tbn
mf
Triangle ,OJ
J
.r-h
A
,_.;__
3
-
J
Vln. solo
"'
"'
-$VII"
b#i:
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....,.
:;J ":it
D
----::-.,. .::!'
*-
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:;J
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f s···--------------------------·---,
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.
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s------------, ~
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poco ~
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....
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rut.
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1'""""-:1 (menop)
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VIa
Vc
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- -
"'
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(m:",;,p)
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(meMp)
= I'"M
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~
~-
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.....
r ....
v 111!"""1 "===='-~
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98
Fl.
199
200
~
I"'
~
ff
f
,.....,
:;;.-
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I
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r--1.=
-=--===
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dim.
...
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f
-
II
ff
-···
...
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piuf A
Hn
>
I"
f
1"
A ~OJ
Tpt
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v
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'A
Tbn.
"'
B.Tbn.
""
Tba
"'
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#'Ot'
dbn.
dbn. dbn.
---- =~ ... ....
r
f
~,.,.,=-
f
.- f-.,.,
=-
f f'ii.:l' .. #;;I
>-
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""
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QOials
nat.
5
A
,.,
~
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VIa solo
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,.,
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A
--
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f
ff
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f.ronor~
f.ronore
.,
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na. arco
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;r
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f
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cliv. al
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ff
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if:
tutti
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Vln.sol 0
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>
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dim.
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202 ,,..__
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44
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to Bass Oarinel
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dim.
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L-J_.I l-j...J
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206
dim.
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dim.
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s
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>
~~~~.... =7"....
>
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Vln n
:~ l!!:..if'~~)~l!!:
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pkggiero
:!F'-:1'
di.v.a3
mpnovib.
~novib.
div.a3
Vc
-
-
..
con sord.
VIa
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-
-
-
..___...
:::--.... ::---... ----.._
- --
"Feu.;:
.__... ~
I"'
-c~
...
cresc.
3 .roloviolin.r
.., 3 solo violins
h
I"' h
Vc
,.,
:;, .renza d;m.
----~
~--
3 solo viC~Iin.r
h
.! ,_r~
~~
3 solo violin.r
A
Vlnl
--
-
~~if.~ VIa sol0
h
..nm~
~ Vln.sol0
.::;.:::.
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senza dim.
~ "¥J .unza dim. ...._~
ft¥' .unza dim .
mp .renza dim. mp senza dim.
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~
II
58
[.t~- =Conduceor cue] n.b. all dural ions an:: approximate and relctive; acci.dentals apply only 10 one pitch untll M
[A]
t
[7"-10'1
-
SoloViola
A
piu..
";.
piu..
Broadly
(.i'• C.JOO)
sf
f
;;r.:-..
(espre.r.r)
.JL.-
===-
ri.roluto
f
Violin I
ViolinD
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~-
'!'-
f'F
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piu..'f
Pin mosso
Atempo
(J!~ICIXI.moloe ac:beruodo &enlpf'&)
t
<-.i'=J =100-> (c.)
~
~
SoloVln
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~
f
-=-
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f
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;-
Repeal, ov~rlapplng and compeling, ad. lib. c. 8" then vln slop, then vla.
:
!:----~----c ~A;.!
f
sf
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p;z./'!'-
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Db
f""l
(
...
)
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1(Motif• 1may be repeated ad. 111. during repeatl.
-
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SOloVIa L
Db.
.,;,.
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]
Repeat ad.llb.
-------+!-+-----
J = speed from soli After several
t----c.IOI'-''
(The conductor must allow time for the 1st Basses
c.?" -----'----'-o-take---<+':i'he[:E-bo-w_an_d_•o_p::he
59
m-w-e)------<~
Individual players. be gill box. Ofl bearins pteoedinaplayer. Begin 'Pf6adioa c:utwardt fnJm lnder, who beaD each ~~ection. U.e only q>en llrinp.
,
consord.
to
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lodividual plroyenbegio. box onbeariagprecedinapllyw. Beginspreadina wtwatd1 from leader. wbo besO each :tectiOII. Use only q>en string~.
Db.
con sord. arco nal.
,...,
di:. '"'I
Stopon'Celloentryl
1""1
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t
The solo 'memo mosso' c.
+When lhe vioh reachu: tbif pod move to:
VJo
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+
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+
-
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J =60
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60
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f sempre e .rlri-::::wo
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When 1be c::aoductor iadicates stop,e:ldtplayer A to complete the Clln'eOt cyde
A
Vln I
I"' Wben 1bo conductor indie~~tes ltop, e•ch player it to ccmplele lbo oumnt cycle
~
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Vl
• When lbe oondudor indicatelltop, each player iJ to complete the current cycle
Vc
t
Resume chop stick tremolo
When lbe concluctor indica1es stop. each player is to complete the CUirent cycle
...
Db When tbe conductor iodiQites stop, each ptayer ill to complete tbe cutreDI cycle
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-
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Stir Olick pea bowl
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ark to be very loose, and fo coordinnation pllfJ)OOI only. Accidentals now la throughout tbc bar.
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Vln I • 11 violintolo
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violin !_Olo
Vln n
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if
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'
playem complete final repeat)
:
t
if
t
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[R] "Tempo I" Adagio}= 84 2
Bsssoons
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29
65
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[J •
triplet l' = 126 from 1' = 84; Probably less ifV was pocomeno mosso]
68
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36
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Inside Story
Piers Hellawell (b. 1956) has worked with the Schubert Ensemble of London, Hilliard Ensemble, RTÉ Vanbrugh Quartet and BBC Scottish Symphony Orchestra, for whom he wrote Dogs and Wolves (2006), among others worldwide. Works include: Cors de chasse, a concerto commissioned for Håkan Hardenberger (trumpet) and Jonas Bylund (trombone) by the Philharmonia Orchestra; Degrees of Separation, commissioned for the opening of The Sage Gateshead (2004); and Syzygy, premiered in Sweden by Swedish Chamber Orchestra and Stockholm Chamber Brass in 2013. More recent collaborators include Paul Watkins (cello), who premiered atria in 2013, and Fenella Humphreys (violin), for her ‘Bach to the Future’ project. Hellawell is currently Professor of Composition at The Queen’s University of Belfast.
Hellawell
Photo © Gerry Hellawell
Piers Hellawell
Piers Hellawell (*1956) hat mit vielen internationalen Ensembles zusammengearbeitet, darunter das Schubert Ensemble of London, das Hilliard Ensemble, das RTÉ Vanbrugh Quartet sowie das BBC Scottish Orchestra, für das er Dogs and Wolves (2006) schrieb. Daneben entstanden Cors de chasse – ein Konzert für Håkan Hardenberger (Trompete) und Jonas Bylund (Posaune) im Auftrag des Philharmonia Orchestra –, Degrees of Separation zur Eröffnung des Kulturzentrums The Sage im englischen Gateshead sowie Syzygy, das 2013 in Schweden vom Schwedischen Kammerorchester zusammen mit Stockholm Chamber Brass uraufgeführt wurde. In jüngster Zeit folgten atria (uraufgeführt 2013) für den Cellisten Paul Watkins sowie ein Beitrag zum Projekt „Bach to the Future“ für die Geigerin Fenella Humphreys. Piers Hellawell ist Professor für Komposition an der Queen’s University Belfast.
Edition Peters 71327a
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