Page 1

Contemporary

Dubugnon Incantatio Op. 12 for cello and piano Score and part

No. 72127


richard dubugnon

Incantatio Op.12

for cello and piano

Score

EIGENTUM DES VERLEGERS

ALLE RECHTE VORBEHALTEN

ALL RIGHTS RESERVED

EDITION PETERS FRANKFURT/M. 路 LEIPZIG 路 LONDON 路 NEW YORK


INCANTATIO Op.12

Evocatio - Apparitio - cadenza - Saltatio

Duration c.16½ minutes

First performed on 24 February 1997, at Duke’s Hall, Royal Academy of Music (London), Matthew Sharp (vc), Dominic Harlan (pno)

Recorded in 2002 on a Naxos CD 8.555778

Version for viola and piano (op.12b) available on sale: EP 72134

This score reflects the state of editorial work and correction as at August 2011


INCANTATIO Op.12b

Lento espressivo q = 72

  

Violoncello

   

Piano

        

4

Vc.

pp



librement

p

3

      







p

 

pp

5

       

    

 

Edition Peters No. 72127 © Copyright 2010 Hinrichsen Edition, Peters Edition Limited, London

6

   

sfz p

3      

p

3

p



 

     

sul pont.

p

  

     

       

   

mf

arco    

 

      pp 3 

 

mf

         

mf  

pizz. m.g.



 

 

    Vc.

 

pp

pp

9

     

3

a tempo

rit.

5



 

       



 

mp

 



Vc.



3

  

 

 

7

Richard DUBUGNON, Op.12

I EVOCATIO

3

  

  3

     

 

mp


4

      ord.

11

Vc.



5

 librement         5            6







 

p Sub.

                

17

Vc.



    

a tempo con moto q = 90 Vc.

 



   f

   

       

 

 

  

  

p

mf

              



  

                         



 





Vc.

      

accel.

                 

22

 

3   rall.                                    3 3 3 3  3 f





  

mf

20

             

    

       

   f      f

       



Vc.



f

   

mf

       6       

 

 

  

   

13



f

 

  

 

 

 

  



  

  

 

 

           

  

  





         



   

 

    


II APPARITIO

11

Ectoplasmic q = 90-100

                                                      

1

p

 



 p

       

mp

 mf

mp

         

    



        

                                                    

3

Vc.

 

p

mf

   

p



    



 

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

mf



             

mf

  7

Vc.



     

       

 

  

mf

5

Vc.

p

mf

    



 

     

                

    



p

           

            

 

  

  

                                                             cresc.                                    cresc.

f


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

12 9

Vc.

 

 

 

dim.

 

   

f

dim.

    

              

 

                     

 

p

 

 

p

   

 



   

   

                                                     

11

Vc.

 

mp

   

 

 

  

la main droite toujours p

   

mp



mf



                         

 

mf

    15

Vc.

 

 

 

p

           

13

Vc.

 

mf

    



p



 

 

mf

    

  



p

dolce

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

 

           

 

   

p cresc.

senza cresc.

 



  

 

                                                    p cresc.                       


III SALTATIO Prestissimo volando e. =172

Vc.

  

     

Vc.

 

2

   



     

                                    p

ff

2

ff

           6

pizz.

   

2

sfz

  

19

2

p

                     2



 sffz                                         p

ff

                               2

11

Vc.

 

     

pp

       

17

Vc.

     

arco

sfz



    p

pp

              

                

       

pizz.

                

arco

p

    

         sfz

   

         



          

           mf



         

ff

 


20 23

Vc.

 

pizz.

    

       

arco

         

                   pp

p

mf

 

                    pp

28

Vc.

p

                

   

  

   

    

 

     

p

 

2 2

34

Vc.

 

mp spirituoso

    

       2

       Vc.



mf

     p

  

 

 

           

  

        

f

           

p

  

                                 

  

     

  

 

   

  

2 2

                

2

    

pizz. secco

2

2

2

40

2

    4

   

  

     

2             

2 2

   

2

     

mf

       4

                  p

mf

     

         

  

    

4

4

4 4

   

arco                   p

     

2             

4

4

 

    

        f

             f

                                     


Richard Dubugnon studierte am Pariser Konservatorium und erlangte seinen Abschluss in den Fächern Kontrabass, Kontrapunkt und Fuge mit Auszeichnung. Außerdem studierte er Komposition bei Paul Patterson an der Royal Academy of Music in London und wurde 1998 zum „Composition Fellow“ ernannt. 2007/08 war er „Composer in Residence“ beim Orchestre National de Montpellier, für das er den Orchesterzyklus Arcanes Symphoniques vollendete. Daneben entstand unter anderem das Konzert Battlefield für zwei Klavier, das von Katia und Marielle Labèque uraufgeführt wurde. Dubugnon lehrte Komposition an der Purcell School bei London und ist Kontrabassist; in dieser Rolle ist er regelmäßig als Kammermusiker sowie an der Pariser Oper tätig.

Edition Peters No. 72127

w w w.e d i t i o n p e t e r s .c o m

Incantatio Op. 12

Richard Dubugnon studied at the Paris Conservatoire, graduating with prizes in Double Bass, Counterpoint and Fugue. He also studied composition at the Royal Academy of Music in London with Paul Patterson, becoming a Composition Fellow in 1998. In 2007-8 he was composer-in-residence with the Orchestre National de Montpellier, for whom he completed the Arcanes Symphoniques cycle for orchestra. Other works include the Battlefield Concerto for two pianos, premiered by Katia and Marielle Labèque. Dubugnon has also taught Composition at the Purcell School; he is a double bassist, playing regularly as a chamber musician and with the Opéra de Paris.

Dubugnon

Photo © Marie-Sophie Leturcq

Richard Dubugnon

Incantatio - extract  

Piece for Cello and Piano by Richard Dubugnon. Complete score is available from Edition Peters. Email: sales@editionpeters.com Tel 020 7553...