Contemporary
PANUFNIK Orchestrapaedia for orchestra Full Score
EP72442
ROXANNA PANUFNIK
Orchestrapaedia for orchestra
Full Score
EIGENTUM DES VERLEGERS
路
ALLE RECHTE VORBEHALTEN
ALL RIGHTS RESERVED
PETERS EDITION LTD A member of the Edition Peters Group FRANKFURT/M. 路 LEIPZIG 路 LONDON 路 NEW YORK
Instrumentation 2 Flutes 2 Oboes 2 Clarinets in B2 Bassoons 2 Trumpets in B2 Horns in F Timpani / Percussion (1 player): Cymbals (suspended, ride), Glockenspiel, Snare Drum, Tambourine, Gong (optional) Strings
Duration c.18 minutes
Co-commissioned by the Welsh Sinfonia and Cheltenham International Music Festival, with support from Geldards LLP and the Ernst von Siemens Foundation.
This score reects the state of editorial work and correction as at March 2013
Composer’s Note When Welsh Sinfonia approached me for a piece that could mirror Britten’s Young Person’s Guide to the Orchestra, but for chamber rather than the original symphony orchestra, I felt daunted before they had even finished the sentence! However, once I found the beautiful Welsh folk song ‘Dros yr Afon’ (a gorgeous multi-moded major/minor/Dorian 19th-century air_, the characters of the various instruments formed in my head, my mind began to race and each of the instruments started to take their own very unique anthropomorphic story and style. With them, came the concept of having a “Day of Chamber Orchestra”, with the action all taking place over 24 hours. These instrumental characters have been brought to life by my very talented graphic designer brother, Jem Panufnik, and you’ll see them as each of their stories emerge… The piece starts with each instrument having a phrase of The Theme, the accompanying chords mirroring its oscillation between major and minor. Then all instruments play the melody together, to make sure the listeners have taken it on board! A. In Mysterious, Moonlit PERCUSSION, it’s nighttime. We hear sliding timpani glissandos, gleaming cymbal and a glimmering tambourine, as the moon glides in and out, from behind clouds. B. Insects prevail as in Shimmering, Fluttering FLUTES butterflies, dragonflies and moths hover and flit around the breaking dawn, with the help of a flute and its little sister, the piccolo. C. But it’s all just too much for the Emotional OBOES. They aren’t morning-people. Their desperately sad wails of protest, at having to get up and out of bed, ends with notes spat out, huffily, as it reluctantly accepts the day has started. Here you’ll recognize the dotted rhythms or “Scotch snaps” from the theme. They start to cheer up as… D. …Sassy CLARINET and DOUBLE “Big Daddy” BASS cruise into sight. Here, the theme takes a distinctly jazzy feel as siren Sassy CLARINETS swoop into hip-swaying action, accompanied by a ‘walking’ bass-line which Big Daddy BASS, still fragile from the last night’s partying, starts to take over. But instantly falls back to sleep. However, he is rudely awoken by a furious Sassy, with the help of a brass-playing alarm clock and is girded into apologetic funkiness. The party atmosphere takes over the whole orchestra and a big-band jamboree heralds the height of our morning. E. But… Oh. Big Daddy BASS, having stolen the Bassoon’s walking bass-line, is in trouble. The Even More Emotional BASSOONS , in their fragile hung-over state dip and soar with grief, stuttering indignantly and huffing at the injustice of it all! F. I’m very glad to tell you that this mood doesn’t last too long. In comes the irrepressibly bright BRASS Fanfare to cheer us all up and prepare us for… G. Señor Trompeta the Mexican TRUMPET, he’s dangerous! Irresistible to women and deadly to men, full of passion and semi-quavers. The strings, in the scorching afternoon sun, hide behind cactuses, trembling below him - the men in fear and the Señoritas with desire… H. Herr Alpine HORN, equally devastatingly attractive (glacial on the outside but HOT on the inside) woos his ladies with dulcet tones and stoical chords … He has completely unfurled Fräulein HORN who, as the sun starts to set behind the piste, faints prettily into the snow. I. It’s evening and the mood for romance continues. The Loving LOWER STRINGS give a new meaning to viola d’amore! The violas, in all their beauty, swoop and turn, dizzy with ecstasy. And, joy oh joy, the love is requited by the ‘cellos who, handsome and rugged, echo the violas’ amorous sentiments! J. HOORAY – it’s céilí time!! The Dancing VIOLINS take the floor, tapping, whooping, and clapping their way through the jig-ged up Theme! The Finale begins with a… K. Carnival of the Instruments, in which everyone gets a chance to show off, once more! L. Our lovely little orchestra leaps, bounds, prances and positively gallops to The END – there’s no holding them back, as they trip the light fantastic towards the musical fireworks finish-line! My deepest thanks go to Welsh Sinfonia for giving this concept to me and to both them and Cheltenham International Music Festival for commissioning the work. Thank you Jem Panufnik, for bringing my characters so beautifully to life! Also, thanks to musicians Ben Hoffnung (who came up with that wonderful Timp riff in the jazzier sections), Jason Yarde, and Paul Moylan for their time and indispensible percussion and jazz advice. Enormous gratitude also to the online music community, who responded to a Twitter and Facebook appeal for a title – Bob Wild came up with “Orchestrapaedia” and Richard Herriott supplied our educational strand with the Ian Fleming-esque “Strings, Wind, Brass, BANG!!”. This work was co-commissioned by The Welsh Sinfonia and Cheltenham International Music Festival, with support from Geldards LLP and the Ernst von Siemens Foundation, respectively. The piece is dedicated to my hilarious children, Kasia, Ellie, Ben and my nephew Wolfie and lasts approximately 18 minutes. Roxanna Panufnik January 2013
Dedicated to my children, Kasia, Ellie, Ben and my nephew Wolfie
Orchestrapaedia Roxanna Panufnik
Theme: Dros yr Afon q = 56 1. Solo
Flutes 1&2
2 4
3 4
2 4
3 4
2 4
3 4
2 4
3 4
2 4
2 4
3 4
2 4
2 4
3 4
mp
Oboes1&2
Clarinets 1&2 in Bb
1. Solo
2 4
mp
2 4
1. Solo
3 4
mp
Bassoons 1&2
2 4
3 4
1. Solo
2 4
mp
Trumpets 1&2 in Bb
Horns 1&2 in F
2 4
3 4
2 4
2 4
3 4
2 4
1. Solo
p
+ SUSPENDED & RIDE CYMBALS, GLOCKENSPIEL, SNARE DRUM, TAMBOURINE (and if available, GONG) Timpani
2 4
3 4
2 4
3 4
2 4
3 4
2 4
3 4
2 4
3 4
2 4
3 4
2 4
3 4
2 4
3 4
2 4
3 4
2 4
3 4
2 4
Theme: Dros yr Afon q = 56 div.
Violin I
2 4
pp
Violin II
2 4
div.
pp
Viola
2 4
pp
div.
pp
Violoncello
2 4
3 4
2 4
3 4
2 4
Contrabass
2 4
3 4
2 4
3 4
2 4
Edition Peters No. 72442a Copyright Š 2013 by Peters Edition Ltd, London
2 10
Bsn.1&2
2 4
3 4
Hn.1&2
2 4
3 4
Timp.
2 4
3 4
2 4 1. Solo
mp
2 4 gliss.
2 4 mp
Vln. I
2 4
3 4
2 4
Vln. II
2 4
3 4
2 4
Vla.
2 4
3 4
2 4
Vc.
2 4
3 4
2 4
uni.
uni.
port.
port. p
tutti
1. Solo
p
mp
2 4
Cb.
19
3 4
3 4
a.2.
3 4
a.2.
Tpt.1&2
Fl.1&2
1. Solo
2 4
mp
tutti
mp
p
2 4
3 4
2 4
2 4
3 4
2 4
gliss.
3 4
2 4
3 4
2 4
3 4
2 4
3 4
2 4
3 4
2 4
port.
2 4
mp
gliss.
.
gliss.
3 4
glis
Timp.
2s 4
uni.
Vln. I
3 4
gliss.
2 4 p
3 4
Vln. II
2 4 p
3 4
Vla.
2 4 p
Vc. mp
Cb.
3 4 3 4
p
2 4
p port.
2 4 mp
port.
3 4
3 27
3 4
Fl.1&2
3 4
Ob.1&2
3 4
Cl.1&2
2 4 a.2. mp a.2.
mf
2 4
mf
2 4
mf a.2.
mp Bsn.1&2
Tpt.1&2
3 4
2 4
3 4
2 4
3 4
2 4
Vln. I
3 4
2 4
Vln. II
3 4
2 4
Vla.
3 4
2 4
Hn.1&2
mf
mp a.2. mp
mp
mp
mp
3 4
Vc.
2 4
port. p
34
Fl.1&2
Ob.1&2
Cl.1&2
Bsn.1&2
Tpt.1&2
Hn.1&2
Vln. I
Vln. II
Vla. div. Vc.
Cb. mp
mp
4
A
rall. 41
1.2.
a.2.
Fl 1 to Picc.
a.2.
4 4
a.2.
Cl.1&2
4 4
Bsn.1&2
4 4
Ob.1&2
1.2.
q = 56
4 4
Fl.1&2
1.2.
Mysterious, moonlit PERCUSSION
1.2.
4 4
Tpt.1&2
1.2.
4 4
Hn.1&2
gliss. Timp.
gliss.
4 4
gliss.
(no gliss.)
mp
port.
A 4 4
port.
4 4
rall. 3
3
Vln. I
Mysterious, moonlit PERCUSSION q = 56
p
3
3
3
3
Vln. II p 3
3
port.
Vla.
4 4
p
4 4
Vc.solo
3
mp
Vc.
uni. port. p
mp
4 4
Cb. p
div.
4 4
5 flutter
49
Picc.
p
3
6
Hold triangle beater on cymbal and roll with soft stick Cym.
(struck)
to TAMB.
p gliss.
To Suspended CYMBAL
Timp. back to TIMPS Tamb. (thumb roll)
3
Vla. 3
*) pizz.
3
arco
Vc.solo 3
mp *) try to mimic Timps as closely as poss.
Vc.
port.
Cb.
B
rall. 54
Timp.
3
gliss.
Shimmering, fluttering FLUTES q = 60
To GLOCK.
gliss.
6
6
6
Glock. p
rall. Vla.
Vc.solo
Vc.
Cb.
B
Shimmering, fluttering FLUTES q = 60
6
6 58
flutter
Picc. 6
mp flutter Fl.2
mp 6
6
6 6
6
6
6
6
6
Glock.
pizz. Vln. I p Vln. II p Vla. morendo Vc. morendo Cb. morendo
60
Picc.
Fl.2
6
6
6
6
6
Glock. 6
6
6
Vln. I
Vln. II
62
flutter
Picc.
flutter Fl.2
Glock. pp
Vln. I
Vln. II
7 66
Picc. mf
Fl.2 mf
6
Glock. mp
arco Vln. I p
Vln. II
68
Picc.
Fl.2 6
6
6
6
6
6
6
6
6
6
6
Glock.
Vln. I
almost pitchless, clacketing insect-like col legno Vln. II mp
battute
almost pitchless, clacketing insect-like col legno Vla. mp
battute
almost pitchless, clacketing insect-like col legno uni. Vc.
mp
battute
almost pitchless, clacketing insect-like col legno Cb. mp
battute
6
8
C 70
Emotional OBOES Tempo Primo q = 56
Picc. mp
3
flutter sim.
Fl.2 6
6
p
6
6
Timp.
6
port.
p to TIMPS. Glock. pp
C
Emotional OBOES Tempo Primo q = 56
arco Vln. II pp arco Vla. pp Vc.
Cb.
3
72
Back to FLUTE
Picc.
sim. Fl.2 p
6
6
6
Ob.1 mp sim. Cl.1 p
6
6
6
6
Tpt.1 pp
Hn.1 pp arco Vln. I p
6
9 74
FLUTE:
6
sim.
Fl.1 p
6
6
6
mp
Ob.1 3
3
3
mf sim.
Cl.1 mp
6
6
6
6
3
3
3
a.2. Bsn.1&2 mp 3
Tpt.1 p 3
Tpt.2 p
Hn.1 p
3
3
3
3
Hn.2 p
76
Ob.1 mf Ob.2 mf 6
6
6
6
Cl.1 sim. 6
6
6
6
Cl.2 sim. Bsn.1&2
3
3
3
3
3
3
3
3
Tpt.1
3
Tpt.2
Hn.1 3
Hn.2
3
3
3
3
3
3
3
10 78
Ob.1 mf
3
3
Ob.2 3 6
6
6
6
Cl.1
6
6
6
6
Cl.2
Bsn.1&2
3
3
3
3
3
3
3
Tpt.1
3
3
Tpt.2
Hn.1 3
3
3
3
3
3
3
3
Hn.2
80
Ob.1 3
mf
f *)
Ob.2 f *) these accented notes should be spat out, huffily... 6
6
6
6
Cl.1
6
6
6
6
Cl.2
Bsn.1&2 mf 3
3
3
3
3
3
3
3
Tpt.1 mp 3
Tpt.2 mp Hn.1 3
3
3
3
mp 3
Hn.2 mp
3
3
3
11 *)
82
Ob.1 mf
*) these accented notes should be spat out, huffily...
Ob.2 mf 6
6
6
6
Cl.1 6
6
6
6
Cl.2
Bsn.1&2 3
3
3
3
3
3
3
3
Tpt.1 3
Tpt.2
Hn.1 3
3
3
3
3
3
3
3
Hn.2
Cb. mf
a.2. *) 84
1.2.
Fl.1&2 mf *) these accented notes should be spat out, huffily...
Ob.1&2 6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
Cl.1 sim. Cl.2 sim.
sim.
Bsn.1 6
6
6
6
6
6
6 3
6 3
sim. Bsn.2 3
3
3
3
6 3
6 3
Tpt.1 3
Tpt.2
Hn.1 3
Hn.2
Cb.
3
3
3
3
12
accel.
86
6 8
Fl.1&2 mp Ob.1
mp
3
6 8
3
6 8
p
Ob.2 mp
p
6 8
3
Cl.1 p
mp
6 8
Cl.2 p
6 8
Bsn.1 3
p
6 8
Bsn.2 3
3
p
3
6 8
3
Tpt.1 mp
p
6 8
Hn.2
D 88
Cl.1
q. =84
6 8
mf
6 8
Cl.2
Sassy CLARINET & special guest Groovy DOUBLE BASS
. gliss
12 8
mf
f
2
2
2
12 8 mf
Bsn.1&2
6 8
12 8
Tpt.1
6 8
12 8
92
a.2.
2
mp
port.
Cl.1 2
port.
ss . gli
Cl.2
Bsn.1&2 a.2. Hn.1&2 p
13
rall.
96
Fl.1&2 mf
Ob.1&2 mf
Cl.1 mf
Cl.2
1. solo Bsn.1&2 pp
Tpt.1&2 mp
Hn.1&2 mp
(forgetting themselves and drifting off to sleep) pizz. rall.
2
Cb. p
Faster q. = 96
101
Angry and reproachful!
G.P.
Cl.1&2 ff
mf
f
mp
f
mp
Tpt.1&2
Hn.1&2
RIDE CYMBAL Cym.
p AD LIB.
S. D.
p
Faster q. = 96 G.P.
Suddenly AWAKE, with a start!
Cb. ff
mf
2
2
2
2
2
por
t.
4
4
14 106
Cl.1&2 f
2
mf
Tpt.1&2 mf
mp
2 2
Hn.1&2 mf
mp
Cym.
S. D.
po rt .
port.
4
Cb. 2
f
2
mf
4
4
accel.
110
Cl.1&2 f
Tpt.1&2
Hn.1&2
Cym.
S. D.
accel. Vln. I
Vla.
Vc.
Cb. 2
4
4
2
4
Back over to Sassy Clarinet
E
q. =84
a.2.
15
113
Fl.1&2 f
a.2.
gliss.
Cl.1&2 ff
(Happy again!) Cl.1 2
f
2
(Happy again!) Cl.2
a.2. Bsn.1&2 mf sub. a.2.
4
4
2
Tpt.1&2 f
4
4
4
4
a.2.
Hn.1&2 4
4
f
Cym.
S. D. THANK YOU, BEN HOFFNUNG! Timp. mf
E
arco
Back over to Sassy Clarinet q. =84 2
4
marcato
Vln. I mp
2
molto portamento!
marcato 4
2
2
Vln. II mp
molto portamento! 2
marcato
Vla. 4
mp
2
molto portamento!
pizz. Vc. 4
2
mf sub.
2
arco
Cb. mf sub.
2
16 116
Fl.1&2
Cl.1 2
Cl.2 2
f
4
2
Bsn.1&2
1.2.
2
Tpt.1&2 2
mp
1.2.
2
2
Hn.1&2 mp
Timp.
Vln. I 2
2
p
2
Vln. II 2
Vla. 2
2
Vc.
2
Cb.
p
17 119
ss. gli
Cl.1 mf
f
ss. gli
Cl.2 mf
f
Bsn.1&2
Tpt.1&2 2
2
Hn.1&2
Timp. ff
2
marcato
Vln. I 2
mf
2
marcato
Vln. II 2
mf
marcato Vla. 2
mf
2
4
2
4
Vc.
Cb.
2
18 122
Fl.1
Fl.2
Ob.1 mf
Ob.2 mf
Cl.1
Cl.2
Bsn.1&2
Timp.
div. Vln. I 2
Vln. II 2
Vla. 2
Vc.
Cb.
flutter 124
Fl.1 mp
19
4 4
flutter Fl.2 mp
4 4
flutter Ob.1 mp
flutter Ob.2
4 4
4 4
mp
4 4
Cl.1 mp
Cl.2 mp
4 4
4 4
Bsn.1&2 mp
Timp.
4 4
Vln. I
4 4 div.
4 4
Vln. II
div. Vla.
4 4
Vc.
4 4 mp
4 4
Cb. mp
F
20
even more Emotional BASSOONS q = 52
126 a.2.
Fl.1&2
4 4
Ob.1&2
4 4
Cl.1&2
4 4
Bsn.1
4 4
Timp.
4 4
3
3
flutter
p
p
p mp
gliss.
mp
F
even more Emotional BASSOONS q = 52
4 4
Vln. I
pp
gently pulsing
4 4
Vln. II
4 4
Vla.
pp uni.
gently pulsing
pp div. arco Vc.
4 4
Cb.
4 4
p
morendo
p
morendo
129
Fl.1&2
Ob.1&2
Cl.1&2 p
Bsn.1 3
3
mp
3
mf
Bsn.2 mf uni. Vln. I
uni. Vln. II div. Vla.
3
3
3
3
3
3
3
3
p uni. pizz.
Vc.
p
3
pizz. Cb. mp
3
3
3
3
3
3
3
21 132
Ob.1&2 pp Cl.1&2
3
Bsn.1 3
mf Bsn.2 3
Vln. I
Vln. II
sim. 3
3
3
3
3
3
3
3
3
3
3
3
Vla.
Vc. 3
3
3
3
3
3
3
3
3
3
3
3
Cb.
135
port.
4 4
Bsn.1 6
f
3
5 4 *)
4 4
Bsn.2
5 4
*) these accented notes should be spat out, huffily...
6
4 4
Vln. I
6
6
6
5 4
sim.
4 4
Vln. II 3
3
3
3
Vla.
4 4
Vc.
4 4 3
Cb.
3
3
3
5 4 3
3
3
5 4 5 4
3
4 4
3
3
3
3
5 4
22 137
Ob.1&2
5 4
p
*)
(Stuttering with the injustice of life!)
5 4
Bsn.1
4 4 *) these accented notes should be spat out, huffily...
Bsn.2
5 4
Vln. I
5 4
Vln. II
5 4
Vla.
5 4
Vc.
5 4 5 4
139
(flutter)
4 4
6
6
6
6
6
6
4 4
6
6
6
4 4 3
3
3
3
3
3
4 4
3
3
3
4arco 4 3
Cb.
(flutter)
a.2.
4 4
3
3
3
3
arco
3
3
3
3
4 4 (flutter)
a.2.
rall.
1.2.
Fl.1&2 mp Ob.1&2 mp
6
6
6
6
6
6
6
6
Cl.1
Cl.2
Bsn.1 6
mp Bsn.2
6
mf
mp
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
Vln. I
Vln. II sim. 3
3
3
3
Vla. arco Vc. 3
Cb.
3
3
3
G
Bright BRASS fanfare, heralding.... q = 78
23
141
Fl.1&2
Ob.1&2
Cl.1 mf
Cl.2 mf
Bsn.1 mf
Bsn.2 mf
Tpt.1 mf
Tpt.2 mf
Hn.1 mf
Hn.2 mf (SUSPENDED) Cym.
Timp. mf
G Vln. I
Vln. II
uni. Vla.
Vc.
Bright BRASS fanfare, heralding.... q = 78
24
molto vibrato 146
6 8
Tpt.1 3
3 3
Tpt.2
6 8
Hn.1
6 8 3
6 8
Hn.2 3 3
3
3
6 8
3
Timp.
...Mexican TRUMPETS
H 151
Tpt.1
6 8
Tpt.2
6 8
q. = 90 molto vibrato
2 2
mp Hn.1
6 8
Hn.2
6 8
Timp.
6 8 sub.mp
...Mexican TRUMPETS
H 6 8
Vln. I
6 8
Vln. II
q. = 90
p
p
161
molto vibrato
Tpt.1 2
2
molto vibrato
mp
2
2 3
Tpt.2 mp Vln. I
Vln. II
Vla. 2
mp
mp
25 169
2
Tpt.1 mf
2
mf
2
Tpt.2 2
Vln. I mp Vln. II mp Vla. mp
176
Tpt.1
Tpt.2
Hn.1 mp 2 4
2
Hn.2 mp Vln. I p Vln. II p Vla. p Vc. p
185
Tpt.1 mp
mf
2
p
2
Tpt.2 mp Hn.1
Hn.2
Vln. I mp
p
mp
p
mp
p
Vln. II
Vla.
Vc. mp
p
mf
26 193
4 4
Tpt.1 3
mp
3
3
mf
mp
4 4
Tpt.2 3
mf Hn.1
4 4
Hn.2
4 4
Vln. I
4 4
mp
p
mp
p
mp
p
4
Vln. II
4 4
Vc. p
mp
p
4 4
Cb. p
200
Cl.1&2
Bsn.1&2
Alpine HORNS
I 4 4
h = 60
6 4
mp
4 4
Tpt.1&2
4 4
Hn.1
4 4
Hn.2
4 4
4 4 4 4
Vla.
mp
4
6 4
mp
6 4 mp
mf
3
3
3
6 4
3
3
3
6 4
3 3
mf
Alpine HORNS
Vln. I
I 4 4
Vln. II
4 4
6 4
Vla.
4 4
6 4
Vc.
4 4
6 4
Cb.
4 4
6 4
h = 60
6 4
27 208
Cl.1&2
6 4
4 4
Bsn.1&2
6 4
4 4
Tpt.1&2
6 4
4 4
Hn.1
6 4
4 4
3
3
3
3
3
3
3
3
3
3
3
6 4
Hn.2
216
4 4
3
5 4
4 4
3
5 4
4 4
Cl.1&2
Bsn.1&2
3
3
Tpt.1&2
5 4
4 4
5 4
4 4
3
Hn.1
5 4
4 4
3
Hn.2
q = 78
rall. 221
Cl.1&2 a.2. Bsn.1&2 3
Tpt.1
Tpt.2
3
Hn.1
Hn.2 3
28 224
Bsn.1&2
6 4
Tpt.1
6 4 mf
Tpt.2
6 4
4 4 4 4
3 3
4 4
mf
6 4
Hn.1 mf Hn.2 mf Cb.
J 227
Fl.1
Fl.2
Cl.1&2
Bsn.1&2
4 4
4 4
Tpt.2
4 4
Hn.1
4 4
Hn.2
4 4
Vln. I
4 4
mp
4 4
6 4
4 4
pp
mp
p
mp
p
Loving LOWER STRINGS q = 52
div. mp
Vln. II
3
pp
mp
J
4 4
q = 52
4 4
Tpt.1
3
Loving LOWER STRINGS
4 4
4 4
6 4
4 4
pp
div.
mp
Vla.
4 4
Vc.
4 div. 4
Cb.
4 4
pp
mp
mp
pp
mp
p
3
6
mf
29 232
Fl.1
Fl.2
Cl.1&2
Bsn.1&2
Tpt.1&2 ppp
Hn.1&2 ppp
Vln. I
port.
Vln. II
port.
port. Vla. 3
3
3
3
Vc.
Cb.
port.
30 237
Fl.2
Ob.1 p 3
Ob.2 p
p
3
Cl.1&2 p Bsn.1&2
p pp (stagger breathing between parts)
Tpt.1&2 pp (stagger breathing between parts) Hn.1&2 pp Vln. I
Vln. II div. Vla.
uni.
takes over tune 3
3
3
Vc. mf
3
6
mp
port.
3
mf
Cb. p
rall.
242 a.2.
Ob.1&2
Cl.1&2
Bsn.1&2
Tpt.1&2
Hn.1&2
rall. Vln. I
Vln. II
Vla. mp
3
Vc. 3
Cb.
3
port.
3
31
K 6 8
247
Ob.1&2
Cl.1&2
6 8
Tpt.1&2
6 8
Hn.1&2
6 8
S.D.
6 8
q. = 112
(striking side of snare drum)
K 6 8
Vln. I
Dancing VIOLINS
p
Dancing VIOLINS q. = 112
Solo
mf (all available string players tapping music stands with pencils, as they become free of their last bowed note!)
6 8
StandTap. 3
Vla.
6 8
Vc.
6 8
Cb.
6 8
mp
255
S.D.
port. Vln. I 3
StandTap.
263
HandClap. p
S.D.
port. Vln. I 2
StandTap.
3
32 271
HandClap.
S.D.
tutti Vln. I mf
Vln. II mf
StandTap.
Vla. mp
Vc. mp
Cb. mp
279
HandClap.
Tamb.
port.
port. Vln. I 3
port.
3
2
3
port.2
3
Vln. II
Vla.
div. Vc.
Cb.
uni.
33 1.2.
286
Fl.1&2 mf
a.2. Ob.1&2 mf
Applause and cheers! HandClap.
Applause and cheers! Bsn.1&2 mp
Tpt.1&2 mf
a.2. Hn.1&2 mp
Applause and cheers! Tamb.
Vln. I
Vln. II
Vla.
Vc.
Cb.
34 293 a.2.
Fl.1&2
Ob.1&2 port. Cl.1 3
port.
3
Cl.2
Bsn.1&2
Tpt.1&2
Hn.1&2
Tamb.
300
9 8
6 8
9 8
6 8
9 8
6 8
Cl.2
9 8
6 8
Bsn.1&2
9 8
6 8
Tpt.1&2
9 8
6 8
Hn.1&2
9 8
Fl.1&2 3 3
Ob.1&2 port. Cl.1 2
3
port. 2
3
1.2.
6 8
L 306
Fl.1&2
6 8
Ob.1&2
6 8
Cl.1
6 8
Cl.2
6 8
Bsn.1&2
6 8
Tpt.1&2
6 8
Hn.1&2
6 8
Timp.
6 8
6 8
Vla.
6 8 6 8
Vc.
35 Fl 1 to Picc
ss. gli
4
f
L Vln. I
Carnival of the instruments!
Carnival of the instruments!
div.
uni. pizz.
mp pizz.
6 8
Cb.
mp
316
sim.
Picc. mf
sim.
Fl.2 mf
Cl.1
Timp. div. molto vibrato, saccherine... Vln. I
port.
p div. molto vibrato, saccherine...
port.
port.
port.
Vln. II p
div. molto vibrato, saccherine... p Vc.
Cb.
port.
port.
Vla.
36 323
Picc.
Fl.2
Timp.
port.
port.
port.
Vln. I
port.
port.
port.
Vln. II
port.
Vla.
port.
port.
port.
Vc.
Cb.
328
to Fl. 1
Picc.
Fl.2 a.2. 2
Ob.1&2 mf
2
2
2
2
Cl.1&2 a.2. Bsn.1&2 2
Timp.
Vln. I
Vln. II
Vla.
Vc.
Cb.
por
t.
mf
37 1.2.
336
gli ss.
Ob.1&2
Cl.1&2 mf a.2.
1.2.
glis
Bsn.1&2
s.
4
Tpt.1 4
mf
4
Tpt.2 mf
4
Hn.1&2
Timp.
Vc.
Cb.
a.2.
345
Fl.1&2
Cl.1&2 mf 2
Tpt.1&2 4
Hn.1&2 f
Timp.
Vc.
Cb.
38
a little slower q. = 104
. gliss
353
Fl.1&2 mf
p sub.
Ob.1&2 p sub.
mf
a.2. Cl.1&2 2
p sub.
Bsn.1&2 p sub. Tpt.1&2 mf Hn.1&2 pp sub.
gliss.
Timp.
a little slower
q. = 104
pizz. arco
Vc. mf arco Cb.
s. glis pizz.
s. glis
mf
360
Fl.1&2
Ob.1&2
Cl.1&2
Bsn.1&2
Tpt.1 mp Hn.1&2 2
port.
Vla. mp Vc.
s. glis s. glis
Cb.
mf
39 368
Fl.1&2
Ob.1&2
Bsn.1&2
Hn.1&2
Timp.
port.
Vla.
mf arco Vc. mf
M
The END (no, really!) Faster, again q. = 112
rall. 376
FLUTE 1 change to PICC.
Fl.1&2 mp
Ob.1&2 mf a.2. Cl.1&2 mf
Bsn.1&2 mp Tpt.1&2 mf a.2. Hn.1&2 mp
Timp. mp
rall. Vln. I
Vla.
Vc.
M
The END (no, really!) Faster, again q. = 112
40 384
Fl.1&2
Picc. mf
. iss gl
Fl.2 mp
mf
1.2.
a.2. Ob.1&2 mf
Cl.1&2
Cl.1
gliss.
Cl.2
gliss.
Bsn.1&2
Tpt.1&2
Hn.1&2
Timp.
Tamb.
Vln. I
Vla.
Vc.
41 390
Picc. 3
Fl.2 3
a.2.
3
Ob.1&2
port. Cl.1 2
3
3
3
port.
2
Cl.2 3
Bsn.1&2
Tpt.1&2
Hn.1&2
Tamb.
Vln. I
4
4
4
4
4
4
4
4
Vln. II p
Vla. p
Vc. p
arco Cb. p
42 397
Picc.
Fl.2
Ob.1&2
Cl.1&2
Cl.1
Cl.2
Bsn.1&2 mf a.2. Tpt.1&2
Hn.1&2 mf
S. D.
mp
port. Vln. I mf 4
4
4
4
4
port.
Vln. II mp 4
div.
Vla. mp 4
mf 4
4
div.
Vc. mp
mf
4
Cb. mp 4
4
mf
43 404
Picc.
Fl.2
Ob.1&2
Cl.1&2
Bsn.1&2
Tpt.1&2
Hn.1&2
(or large GONG if available!) Cym. f
S. D.
Vln. I
Vln. II
uni. Vla.
Vc.
Cb.
44 409
Picc. f
ff
f
ff
Fl.2
Ob.1&2 ff
Cl.1&2 f
ff
f
ff
Bsn.1&2
1.2. Tpt.1&2 f
1.2. Hn.1&2 f
Timp. f
ff
Vln. I ff
Vln. II ff
Vla. ff
Vc. ff
Cb. ff
Photo © Keith Saunders
Orchestrapaedia
Roxanna Panufnik (b. 1968) studied at the Royal Academy of Music, and has written opera, ballet, music theatre, choral, chamber and film music. Key works include Westminster Mass, written for Westminster Cathedral Choir to mark Cardinal Hume’s 75th birthday, and settings of Vikram Seth’s Beastly Tales, commissioned by the BBC for Patricia Rozario and the City of London Sinfonia; harp concerto Powers & Dominions; violin concerto Abraham – for Daniel Hope – which exists also as an overture for the World Orchestra for Peace, premiered in Jerusalem under Valery Gergiev; Schola Missa de Angelis (choir of London Oratory School and brass octet); and The Generation of Love, a Shakespeare sonnet cycle (Mark Padmore, Richard Watkins, Julius Drake).
PANUFNIK
Roxanna Panufnik
Roxanna Panufnik ( *1968) studierte an der Royal Academy of Music und schuf Kompositionen für Oper, Ballett und Musiktheater sowie Chor-, Kammer- und Filmmusik. Zu ihren wichtigsten Werken gehören: die Westminster Mass für den Westminster Cathedral Choir, entstanden zum 75. Geburtstag des Londoner Erzbischofs Kardinal Hume; Vertonungen nach Vikram Seths Beastly Tales für Patricia Rozario und die City of London Sinfonia, ein Auftragswerk der BBC; das Harfenkonzert Powers & Dominions; das Violinkonzert Abraham für Daniel Hope, das auch als Ouvertüre für das World Orchestra for Peace existiert und in dieser Form unter Valery Gergiev in Jerusalem uraufgeführt wurde; Schola Missa de Angelis (Chor der London Oratory School und Blechbläseroktett) sowie The Generation of Love, ein Zyklus von Shakespeare-Sonetten (Mark Padmore, Richard Watkins, Julius Drake).
Edition Peters 72442
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