Panufnik - Homage to Händel by Edition Peters

Contemporary

Panufnik Homage to H채ndel for Solo Violoncello

EP 71938

ROXANNA PANUFNIK

Homage to Händel for Solo Violoncello

Score

EIGENTUM DES VERLEGERS

EDITION PETERS LONDON

· FRANKFURT/M. · LEIPZIG · NEW YORK

for Han-Na Chang

This score reflects the state of editorial work and correction as of April 2009

ROXANNA PANUFNIK

Homage to Händel for Solo Violoncello Duration c. 12 minutes 1. Passacaglia Over recent years, I have had the pleasure of doing two arrangements for super-‘cellist HanNa Chang – Yun Joon Kim’s Korean Elegy for ‘cello and orchestra and a very whacky version of Rimsky-Korsakov’s Flight of the Bumble Bee. When Han-Na requested an original solo work, she also asked me to re-arrange Johan Halverson’s fantasy on Händel’s Passacaglia, from a duet into a solo ‘cello work, so that she did not have to rely on someone else being around to enable her to play it! Han-Na and I have worked very closely on creating a piece that sounds like it was organically written for ‘cello alone, taking advantage of the instrument’s expansive range in pitch and tone – sometimes combining, sometimes incorporating the original violin part, hopefully conveying the magisterial essence of the original duet. 2. Homage to Händel-Halvorsen It therefore seemed logical that my original piece should grow out of the Händel-Halvorsen. We move straight into the next movement without a break, opening with a statement of the basic melody shape, without the dotted notes, which soon becomes dreamy and chromatic. Each note of the initial theme is numbered (see Example 1) and played upon with arpeggiated major-minor ornamentation. Then a complete re-harmonization of the theme occurs (see Example 2), with a chromatic (inspired by Han-Na’s love for the chromatic Andante variation in the Passacaglia) and bitonal, arppegiated accompaniment. This is followed by a driving ostinato, expanding and contracting the last four notes of the theme, taking us into a highly dramatic fantasy on the last Passacaglia variation, finishing with an intense but loving rendition of the “dreamy” theme. rd © Roxanna Panufnik, 23 October 2006

for Han-Na Chang

Homage to Händel Roxanna Panufnik ( *1968)

1. Passacaglia "Frei nach Händel von Johan Halvorsen" sim.                                                                          

Maestoso q=88



 f

sim.

        

             



arco

            

p dolce

              

                     

                

           

           

pp dolcissimo

 

  



7 con espressione

                

spiccato





         



               



              



sim.

             

         

1  



    4                

  







                                                           sim.

   20

           

      



 

 



                         

spiccato

 

pp possibile

            





                             



 



                  

                             rit.

   

          

 



 





         

 

              

 

       

 

            

     



     

    26            27

 

 



 

 

       

 

         



   29



 

                

31                  

   



                    





                  

  









     







  

 



rit.       *)                              6          32

*) first grace note to be played simultaneously with bottom G

                            

9 Andante



                 

             

             

             

               mp

10

Più mosso



                   

 

                   pp  

  40                           pp      43

 

    

     (  )           

Homage to Händel

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 71938

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