Contemporary
Panufnik Powers & Dominions Concertino for Harp and Orchestra Full Score
EP 71865a
ROXANNA PANUFNIK
Powers & Dominions Concertino for Harp and Orchestra
Full Score
EIGENTUM DES VERLEGERS
路
ALLE RECHTE VORBEHALTEN
ALL RIGHTS RESERVED
EDITION PETERS LONDON
路 FRANKFURT/M. 路 LEIPZIG 路 NEW YORK
for Cathy
Commissioned by Autumn in Malvern Festival & Music at Oxford
st
First performance on 1 November 2001 at the Sheldonian Theatre, Oxford by Catherine Beynon and Britten Sinfonia, conducted by Nicholas Cleobury
This score is a facsimile of the composer’s manuscript, reflecting the state of editorial work and correction as of February 2009
ROXANNA PANUFNIK
Powers & Dominions Concertino for Harp and Orchestra
Instrumentation Solo Harp
Horn in F
Harp
2 Flutes (1 doubling Picc.)
Trumpet in B-
Vibraphone
2 Clarinets in B-
Strings (min. 6.6.6.4.2)
2 Bassoons (2 doubling Contra)
Duration c.15 minutes This concertino for harp and orchestra is an analogy - between harps and their commonly associated players: angels. These two things are often portrayed in a mainly ethereal and “light” way but both can have great power and awesomeness. For example, the harp is often heard (if at all in larger orchestras!) in a tinkley, textural way with not enough of its melodic, rhythmic and darker sounds exploited; Angels are often depicted in a rather sugary manner and we forget their capabilities to exert enormous force and energy. Hence the title Powers & Dominions (two names of the middle hierarchy of angels) in a literal and lateral description of this piece. It is in two “Parts” - not “movements” because the darker and more moody Part II derives much of its material from the brighter and more joyous Part I. It starts with arrivals/landings of Angels around the orchestra (the only literal programmatic depiction). Another source of inspiration for this Part are several lines of Edward Taylor’s (1646-1729) reworking of Psalm 24. God is gone up with triumphant shout: The Lord with sounding Trumpet’s melodies: Sing Praise, sing Praises out, (...) And hear Heart-cramping notes of melody (...) Mixing their Music, making ev’ry string More to enravish as they this tune sing. The whole piece is based on a harmonic progression which is only heard in its undiluted form at the very end) and a mode created out of the 3rd harmony. I have kept the orchestration fairly light because of the balance challenges presented by the harp - to this end, I have also used a 2nd harp within the orchestra - partly to act as a ghost in backing up the soloist in louder passages, but also to aid my more bitonal moments (difficult to convey on a single harp because of its non-chromaticisity). In much of the work, the soloist, orchestral harp and vibraphone act in a concertante manner. My thanks go to the inspirational Sister Raphael at Stanbrook Abbey, to Peter Smith of Autumn in Malvern Festival for initiating this commission and to Nick Turnbull of Music at Oxford for helping to make it happen and introducing me to Edward Taylor’s verse. Roxanna Panufnik
for Cathy
Powers & Dominions (score in C)
Enigmatically... q = 72
Flute 1/ Piccolo
Flute 2
Clarinet 1 in Bb
Clarinet 2 in Bb
Bassoon 1
Bassoon 2/ Contra.
Horn in F
Trumpet in Bb
SOLO Harp
ORCH. Harp
mp
p
p
p
p
mp
(set C# B# Gb)
mp
(damp)
Vibraphone
mf (damp)
p
Violoncello (4)
mp
Double bass (2)
mp
p port. (holding a quaver of the note before sliding)
pizz.
pizz.
port. (holding a quaver of the note before sliding)
3
3
Edition Peters No. 71865a © Copyright 2001 by Hinrichsen Edition, Peters Edition Limited, London
mp
3
mp
Viola (6)
mp
Violin II (6)
p
Violin I (6)
Roxanna Panufnik
p
p
PART 1
p
div. pp
arco pp
2
Fl.1
PICC.)
(change to
10
Bsn1
Bsn2
3
Fl.2
Cl.1
3
p
p
p
3
3 3
Cl.2
p
Hn
Tpt
Solo Hp
mf
p
3
Vln I
Db.
3
3
port. (holding a quaver of the note before sliding)
port. (holding a quaver of the note before sliding)
p port. (holding a quaver of the note before sliding)
(still C#, B#, Gb)
(don‘t damp)
port. (holding a quaver of the note before sliding)
(C#, B#, Gb)
3
3
Vc.
Vln II
Vla
mf
Vib.
3
Orch. Hp
Hn
3
18
Tpt
Vln II
Vla
Vc.
3
3
A little slower 3
3
3
3
3
3
3
mf
(q = 60)
quite freely
mp
3
3
mf
mp
(C#, B#, Gb)
ppp
mp
p
(C§, B§,)
3
f
3
3
Vc.
3
Vla
3
Vln II
Vln I
3
Orch. Hp
mp 3
21
Solo Hp
(LH)
Hn
Tpt
3
3
Vln I
mp
Solo Hp
3
pp
pp
3
Solo Hp
(fingered)
Orch. Hp
mf
Vln I
3
Cl.1
Cl.2
Bsn1
Bsn2
Hn
Tpt
Solo Hp
Orch. Hp
Vib.
Vln I
Vla
Db.
mp
mp
f
3
f mp
Tempo I
q = 72
mp
ppp
ppp
ppp
ppp
ppp
f
3
3
mf
3
f
3
ppp
mf
(fingered)
Fl.2
28
Picc.
3
25
4
mp
p
p
mp
mp
mp
mp
3
pp
p
(pizz.)
3
mp
Fl.2
sim.
sim.
Cl.1
sim.
Cl.2
32
Picc.
Bsn1
Bsn2
5
sim.
3
3
Orch. Hp
Vln I
mp
3
(slide)
3
Vln II
Vla
3
mp
3
mp
Vc.
mp
Db.
3
3
3
34
mf
cresc.
Fl.2
Bsn1
Hn
mf
mp
cresc.
3
3
Solo Hp
Vib.
3
fff
3
f
mf
cresc.
Vla
f
(slide)
p
sim.
cresc.
p
(slide)
p
(slide)
p
ff
sim.
cresc.
Vc.
cresc.
cresc.
Db.
cresc.
sim.
sim.
Vln II
3
ff
Vln I
cresc.
Orch. Hp
mf
cresc.
mp
Tpt
Cl1&2.
Bsn2
Picc.
”GOD IS GONE UP WITH TRIUMPHANT SHOUT:• q. = 104
6
(slide)
(”God
arco
mf
mf
f
(”God
mf
f
is
gone
f
(”God
up...•)
(div.)
gone
is
(div.)
up...•)
is
gone
(div.)
up...•)
Solo Hp
Vln I
Vln II
Vla
(”with tri - umph - ant...•) (”with
(”with
Vc.
Db.
tri -umph -
tri - umph -
ant...•)
ant...•)
(”with
(”with
(”with
tri - umph - ant...•)
tri - umph - ant...•)
4
7
tri - umph - ant...•)
cresc.
cresc.
38
4 (”with tri -4umph - ant
ff
shout:•)
shout:•) (div.) ff
4
ff shout:•)
cresc.
mp
mp
8
43
Picc.
(e = e)
Cl.1
Cl.2
Fl.2
Tpt
mf
mf
mp
mp
Vln I
(Gb)
sub. p
Vln II
sub. p
Vla
sub. p
Vc.
Db.
mp
mp
mp
mp
mp
Orch. Hp
Vib.
Solo Hp
mf
Hn
mf
”THE LORD WITH SOUNDING TRUMPET‘S MELODIES:•
48
Picc.
mf
Fl.2
Cl.1
Hn
Tpt
mf
f
f
mf
mp
cresc.
f
f
cresc.
mp
Vln II
cresc.
cresc.
Orch. Hp
f
Bb cresc.
f
mp
f
9
f
cresc.
Vln I
cresc.
Solo Hp
Vib.
cresc.
Bsn1
cresc.
Cl.2
Bsn2
C§
ff
3 C#
3
3
3
3
3
mf
mf
Vc.
Db.
f
mf
Vla
ff
C§
mf
mf
Fl.2
Cl.1
Cl.2
Solo Hp
mp
mp
p
p
p
p
p
mp
Vib.
mp
mp
Orch. Hp
mp
p
mp
p
ff
(”Sing
Praise,
52
Picc.
10
sing
57
accel.
Picc.
cresc.
Fl.2
cresc.
Cl.1
cresc.
Solo Hp
Db.
out,•)
Prais - es
Tpt
cresc.
Cl.2
cresc.
mp
62
poco
Picc.
poco
poco
poco
11
mf
Fl.2
mf
Cl.1
mf
Cl.2
mf
Bsn1
mp
Bsn2
Hn
Tpt
mp
mp
mp
mf
mf
mf
mf
ff
(set Bb) ff
(don‘t damp) Solo Hp
ff
ff
Orch. Hp
Db.
mf
(don‘t damp)
poco
12
67
Picc.
f
Fl.2
sub.p
f ff
”MAKING EV‘RY STRING MORE TO ENRAVISH...•
q = 72
ff
f
Cl.2
ff
f
Cl.1
suddenly, but intensely, subdued
poco
sub.p
ff
sub.p
sub.p
f
Bsn1
ff
f
Bsn2
Hn
f
f
Tpt
ff
ff
ff
6
6
6
6
6
6
6
Solo Hp
sub. mp
fff
Orch. Hp
Vln I
fff
Vln II
is
gone
(div.)
(”God mp dolce
(div.)
mp dolce
Vc.
Db.
mp dolce
mp dolce
6
13
71
Picc.
Hn
Tpt
Solo Hp
mp
Vln I
mp
6
mp
6
Vln II
Vla
6
6
f
6
6
6
6
6
6
etc...
(div.) p
mp
up• etc...)
Db.
mp
6
Orch. Hp
mp
Cl1&2.
Fl.2
Bsn 1&2
mp
pizz. mp
6
poco 14 Bsn 1&2
Hn
Tpt
74
rall.
poco
6
6
6
6
6
6
6
6
Solo Hp
Vln I
Vln II
Vla
arco (div.)
arco
Orch. Hp
Vc.
Db.
pizz.
(pizz.)
ppp
ppp
(dreamy and slightly disorientated...)
78
Picc.
q = 48
p
Fl.2
p
Cl1&2.
Hn
Tpt
Solo Hp
(bend note down)
15
(bend note down)
p
Bsn 1&2
(bend note down)
mp
mp
(mp)p
(slightly out of tune?)
(slightly out of tune?)
(slightly out of tune?)
f
f
Orch. Hp
Vib.
f
Vln I
Vln II
Vla
Vc.
Db.
ppp (slow slides)
ppp (slow slides)
ppp (slow slides)
(slow slides)
(slow slides)
(just aim for these bracketed notes - don‘t actually play them)
(just aim for these bracketed notes - don‘t actually play them)
16
accel.
Picc.
Cl1&2.
Bsn 1&2
Hn
Tpt
Vc.
Db.
(bend note up)
(bend note up)
sim.
sim.
sim.
sim.
sim.
(G§)
(just aim for these bracketed notes - don‘t actually play them)
(just aim for these bracketed notes - don‘t actually play them)
(just aim for these bracketed notes - don‘t actually play them)
Vla
(sim.)
Orch. Hp
Vln II
(sim.)
Solo Hp
Vln I
(bend note up)
Vib.
Fl.2
80
(G§)
poco
82
Picc.
Fl.2
Cl1&2.
Bsn 1&2
Hn
Tpt
3
mf
3
mp
mp
div. pp
pp
(sim.)
unis.
(sim.)
(sim.)
(sim.)
(sim.)
3
pp
Db.
pp
Vc.
3
pp
Vla
3
(C§)
Vln II
mp
Orch. Hp
Vln I
6
Vib.
3
3
3
3
6
17
3
q = 60
6
mf
Solo Hp
mf
18
84
Picc.
Fl.2
3
3
Cl.1
Cl.2
Hn
Tpt
Tpt
3
Orch. Hp
Vln I
Vln II
Vla
Vc.
Db.
3
3
mp
mp
f
div. mp
mp
f
mp
mp
3
3
3
3
Solo Hp
86
Hn
Cl1&2.
Bsn 1&2
(change to FLUTE)
Orch. Hp
Solo Hp
port.
port.
port.
mp
mp
88
Fl1&2.
Cl1&2.
Hn
Tpt
Vln I
p
p
p
3 3
3
3
(pedal gliss)
Vln II
Vla
Solo Hp
91
Cbsn
Vc.
Bsn1
(change to CONTRA)
Vla
Vln II
Db.
19
q = 44
(Fl 1 change to PICC.)
Orch. Hp
p
Solo Hp
Bsn1
Bsn2
rall.
Vc.
Db.
q. = 104
pizz.
mp
pizz. mf
mp
mf
pizz.
20 Bsn1
Cbsn
A little slower
97
q. = 90
mp
Solo Hp
ff
(C#, B#, Gb)
Orch. Hp
Vib.
ff
mf
pizz. Vln II
Vla
Vc.
arco
Db.
p
div. f mp pizz.
arco p f pizz.
p
arco unis.
mp
Faster...
q. = 104
102
Fl.2
Cl.1
Cl.2
Hn
Tpt
Vln I
mp
mp
mf
cresc.
mp
cresc.
cresc.
mf
cresc.
mp
arco
unis. cresc.
arco
cresc.
mp
div.
cresc.
Vla
Db.
mp
cresc.
mf
Vc.
cresc.
mp
mp
Vln II
cresc.
cresc.
cresc.
(pedal gliss)
Vib.
Orch. Hp
mp
21
cresc.
Solo Hp
mp
accel.
Cbsn
Bsn1
Picc.
mp
mp
arco mp
mp
cresc.
cresc.
cresc.
cresc.
poco
22
106
Picc.
Fl.2
Cl.1
Hn
Tpt
Vib.
Vln I
mf
mf
cresc.
cresc.
cresc.
cresc.
mf cresc.
fff
ff
ff
ff
cresc.
cresc.
cresc.
cresc.
ff
ff cresc. fffposs. cresc.
fffposs.
cresc.
fffposs.
cresc.
ff
ff
mf
cresc.
ff
cresc.
mf
mf
Vc.
ff
mf
Db.
ff
mf
cresc.
fff cresc.
Vla
ff
mf
Vln II
ff
cresc.
Orch. Hp
Solo Hp
poco
mf
mf
Cbsn
cresc.
Bsn1
mf
Cl.2
cresc.
mf
cresc.
cresc.
f
ff
ff
ff
rall.
Hn
Tpt
(not spread)
109 (q. = 132)
f
mf
Solo Hp mf
(C#, B#, Gb) cresc.
Orch. Hp
Vib.
p
Vln I
p
p
Vln II
p
p
Vla
p
p
Vc.
Db.
sub.mp
p
p
23
PART 2
q = 60
accel.
Sinisterly...
24
114
Bsn1
Cbsn
Solo Hp (C#, F#, Ab)
mp
mp
(don‘t damp)
f
(sim.)
(start waggling C#/§ & F#/§ pedals - actually touching base mf of harp, approx. speed of semi-quavers )
q = 72
(stop)
Orch. Hp
(start waggling D#/§ & A#/§ pedals actually touching base of harp, approx. speed of semi-quavers)
mf
(waggle C§/# & F§/#/, touching base of harp)
(stop)
mf
Db.
mf
120
Cbsn
p
Solo Hp
f
p
mp
3
(pluck hard enough to hit soundboard)
(waggle Ab/§ & D§/#)
(sim.)
Orch. Hp
(sim.)
p
Db.
(stop)
Orch. Hp
Vc.
ff
Db.
mp
(waggle G#/§)
mp
(stop)
mp
mp
mp
mf Bartok‘ pizz. arco f
mp
mp (waggle B§/b)
mf
Solo Hp
Cbsn
25
123
3
Bartok‘ pizz. arco f
mf 3
127
Hn
Tpt
Orch. Hp
mf
(sim.)
(change to Db/§)
(keep waggling!)
mf
Vc.
Db.
mf
Solo Hp
mf
mf
Cl.2
Cl.1
(change to Bb/§) (sim.)
f
(Eb/§)
f
(div.)
(div.)
mf
26
131
Fl.1
Fl.2
Cl.1
Bsn1
Cbsn
Hn
Tpt
sub. mp
cresc.
cresc.
cresc.
mp
(stop!)
div. arco
(motor OFF?) mf
div.
pp
pp
Vc.
Db.
(stop!)
sub. mp
mp
Vln II
mp
p
f
f
sub. mp
f
f
sub. mp
f
Vln I
sub. mp
f
cresc.
Vib.
q = 120
mf
Orch. Hp
Solo Hp
mf
Cl.2
mp
pizz. p
mp
pizz. p
Fl.1 134
Fl.2
Cl.1
Cl.2
Bsn1
Cbsn
p
p
(waggle)
(sim.)
(waggle) ff
ff
27
p
Vln I
dim.
Tpt
Vib.
dim.
Orch. Hp
dim.
Hn
Solo Hp
f
f (sim.)
mp
cresc.
Vln II
Vla
mf
pizz.
pizz.
p
Vc.
p
Db.
28
cresc.
mp
mp
140
Fl1&2.
Cl1&2.
Bsn1
Cbsn
Hn
Tpt
Vib.
cresc.
mf
mf
f
cresc.
mp
Vla
Vc.
cresc.
cresc.
Vln II
Db.
mf
mf
Vln I
mp
mp
accel.
145
Fl1&2.
mf
Cl1&2.
Bsn1
Cbsn
Bsn2
Hn
Orch. Hp
Vib.
cresc.
cresc.
cresc.
f
mf
mf
f
cresc.
29
mp
ff
ff
Vln II
Vla
mp
(don‘t damp)
Vc.
ff
ff
mp
3
mf
3
mf
3
3
3
3
3
3
3
cresc.
cresc.
3
3
3
3
3
(don‘t damp)
3
3
3
3
mf
Db.
mf
Vln I
(q = 140ish)
mp
Solo Hp
mp
Tpt
3
mf
mf
arco
f
arco f
rit. 30
149
Fl1&2.
Cl1&2.
q = 120
Hn
Tpt
ff
cresc.
Bsn2
cresc.
Cbsn
ff
cresc.
cresc.
Bsn1
(Fl1 change to PICC.)
Orch. Hp
Vib.
mf
ff
f
Vln I f
3
3
f
f
Vc.
Db.
3
Vla
3
3
Vln II
3
port.
(waggling C§/# & F§/#)
port.
mf
mf
cresc.
cresc.
pizz.
mf
pizz.
mf
Solo Hp
arco
152
Picc.
mf
Fl.2
Bsn1
Cbsn
Hn
Tpt
mf
Bsn2
fff
f
f
Solo Hp
ff
fff
fff
(damp)
fff
Vib.
Vln I
Vla
port.
fff(damp) fff
Db.
port.
fff
fff
Vc.
Vln II
(don‘t damp!)
ff
set C# B# Gb
Orch. Hp
ff
bassoon) (change back to normal
fff
31
fff
Cl1&2.
pizz.
arco
arco
fff
arco f
(sim.)
32
Freely
156
(q = 60)
(Bb)
Solo Hp
(pedals still C#, B# & Gb)
mf
f
(waggle Ab/§)
(waggle C§/# & Gb/§)
(stop)
Solo Hp
(q = 120)
3 3 3 3 3
fff
fff
fff
f
f
fff
3 (stop) f 3
3
158 (spread)
(can be doubled with 3 Db octave)
(hit metal strings with flat hand)
3
3 3 3 3 fff
3
163
f
f
Solo Hp
3
fff
3 3 3
3
f
f
fff
fff
(waggle C§/#/ & F§/#/)
q. = 90 166
p
poco accel.
cresc.
Solo Hp
mp
33
poco 169
q. = 120
cresc.
Solo Hp
cresc.
mf
f
ff
(chords can also be doubled, if desired, in octave below in left hand)
( ff ) (LH)
poco
2 mf
Solo Hp
( ff )
q = 60
rall.
174
(RH)
(not spread)
2
q = 52 181
6
6
6
6
6
6
6
6
mf
Solo Hp
(mf)
dolce
6
6
6
6
6
6
6
6
rit.
184 q = 44
mp 6
Solo Hp
p
Orch. Hp
34
q = 44 Ethereally
(Fl 1 back to normal) 186
Fl1&2.
Cl1&2.
Bsn 1&2
Hn
Tpt
(flutter gently) pp
pp (flutter gently)
rit.
A tempo
(Bsn 2 back to normal) (flutter gently)
pp
pp
(flutter gently)
(flutter gently)
mp
Solo Hp
pp
p
Orch. Hp
(motor ON)
Vib.
p
Vln I
div. pp
arco div.
Vla
pp
Vc.
div. pp
sub. p
mp
(fingernail gliss)
sim.
sim.
mp
pp div.
Vln II
pp
sim.
mp
mp
sim. mp
sub. p
sub. p
sub. p
sub. p
35
Fl1&2.
Cl1&2.
Bsn 1&2
Hn
Tpt
Orch. Hp
Vib.
Vln I
(in 4 = 2+2+2+3)
192
mf
Vc.
mp
mp
p
mp
p
mp
p
mp
Vla
(e = e)
p
mp
Vln II
(e = e)
p
36
Slightly faster
198
Cl1&2.
Bsn 1&2
Hn
Tpt
pp
q = 48 p
p
pp
pp
p
con sord. pp
p
con sord. pp
p
3 mf
Fl1&2.
Solo Hp
3
3
3
3
(in 4 = 3+2+2+2)
7
7
3
Orch. Hp
Vln I
Vln II
Vla
Vc.
3
3
3
3
3
3
7
7
pp
pp
pp
7
pp
Db.
mp
mp
mp
pp
pp
pp
37
204
Fl1&2.
mp
Bsn 1&2
sim.
mp
mp
Hn
sim.
mp
sim.
Tpt
mp
sub. p
sub. p
sub. p
sub. p
sub. p
(in 6 = 3+2+2+2+2+2)
sim.
Cl1&2.
f
mp
mp
mp
3
3
3
3
(pedal gliss.)
(slide) pp
pp
p
p
3 3
Vln II
Vib.
Vln I
3
3 Orch. Hp
mp
Eb
mp
Solo Hp
sim.
3
3
(slide)
Vc.
Vla
div.
38
p
p
(2+2+2+3)
(in 4 = 3+2+2+2)
208
Fl1&2.
Cl1&2.
Bsn 1&2
Hn
Tpt
p
p
p
f
3
Solo Hp
3
Orch. Hp
Vib.
Vln I
Vln II
Vla
Vc.
Db.
mp
unis.
mp
39
rall.
(in 4 = 3+2+2+2)
213
Fl1&2.
Cl1&2.
Bsn 1&2
Hn
Tpt
pp
pp
pp
pp
pp
p
5
5
Solo Hp
7
port.
Orch. Hp
7
Vib.
Vln I
pp
Vln II
pp
Vla
Vc.
Db.
pp
7
ppp
pp
7
pp
7
ppp
ppp
pp
7
ppp
pp
(div.)
port.
port.
(unis.)
pp
pp
Photo © Keith Saunders
Powers & Dominions
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 71865a
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