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Panufnik Around Three Corners Piano Trio Score and Parts

EP 71829


ROXANNA PANUFNIK

Around Three Corners Piano Trio

Score

EIGENTUM DES VERLEGERS

ALLE RECHTE VORBEHALTEN

ALL RIGHTS RESERVED

EDITION PETERS LONDON

路 FRANKFURT/M. 路 LEIPZIG 路 NEW YORK


in memory of Alexander Kelly

Commissioned by Barnes Music Society for TRIANGULUS

This score is a facsimile of the composer’s manuscript, reflecting the state of editorial work and correction as of 21st April 2009


ROXANNA PANUFNIK Around Three Corners Piano Trio

This 8'30" piece consists of a gentle lullaby-like theme flanked by three variations, either side, pitched in an almost palindromic/mirror structure (see below!). Each Variation has a mood of its own, incorporating various instrumental effects to emphasize that mood. Variation 1 is a bustling welcome with a reversal of roles as the strings provide the harmony and the piano has the melody. Variation 2 ("In perfect harmony, not...) is marked "disconcerted" as the trio, having welcomed you enthusiastically, are not completely confident about the musical journey they are embarking on.... Variation 3 ("Everyone's prepared") involves everybody preparing their instruments - the piano has pencils jangling on its strings, the violin plays half-col legno, which means that she is using both the hair and the stick of the bow at the same time, and the 'cello is pizzicato (plucked). The mood is more confident, but completely off the rails... At this point the Theme makes its appearance in its true and un-diluted form, as a piano solo. This is followed by Variation 4 ("Pull yourself together!") with a vicious rendition of the Theme. This is counteracted by a romantic and more contemplative Variation 5, leading straight into Variation 6 which completes the palindrome by ending as we began.

Variation 1 fast, up a minor 3rd Variation 2 slow, tonic - reversed intervals Variation 3 fast, down a perfect 4th

Variation 6 fast, up a minor 3rd THEME (tonic)

Variation 5 slow, tonic Variation 4 fast, down a perfect 4th

Hence the title "Around Three corners" - also inspired by the meaning of Triangulus (for whom it was commissioned, by Barnes Music Society) which translates as "From Three Corners". Roxanna Panufnik


in memory of Alexander Kelly

Around Three Corners Roxanna Panufnik

Violin

Violoncello

 

Piano

 4

Vln

Vc.

Variation 1 q = 60

 

pp

 

Vc.



3

p

3

3

3

  

  

  

3

3

3

3

3

3

 

cresc.

3

3

3

3

mp

3

3

3



   



          

3

3

3

3

3

3

3

 

 



                  mp

mf

( mp )

      

3

3

3

  

cresc.

3

  





3

           

3

p

3

3

 

(sim.)    

                  3 cresc.

          

3





(sim.)

        



                 

3

p

  



  

3

  

                 

  

 

  Pno

p

pp

6

Vln

  (slide) 

  Pno

 

(slide)

 

3

 Edition Peters No. 71829 Copyright 1996 by Hinrichsen Edition, Peters Edition Limited, London

3

3

3

  

3

 




                                                     

8

Vln

3

3

3

3

Vc.





   

Vc.

 

  



3





3

3

3

 

 

  

3

 

3

 

 

 13



 

  

 



                  3



 

 

3

3

   

3

 

3

   

3

3

    

3

   

  

 

3

3



3

 

 3

   

  

 



       

  

     



3

3

3

3

 



 3

3

    Pno



   f



3

   

    

3

Vc.

mf

3

 

(cont. with plenty of pedal, ad lib)

Vln

 

   

3

mf

3

  

   

 

3

3

          

                 

  

Pno

3

cresc.

11

Vln

3

cresc.

 Pno

3

cresc.

3

          



3



2

 3



 

 

   

3

 

3

3

     

 



       

 


3

15

Vln

Vc.

       



  

     

                   

        

3

   Pno



Vln

Vc.

Pno

 19

3

3

     

             3

 

  

3

3

3

   

3

  

3

3

 

3

 

Pno

           





    

 

 

 3

Vc.



  

 

                 



3

3

      

3

 

 

3

 

  

3

3

3





3

        3

 

 

3

   

 

3

   

3                  3

3

             

 

3

 

          

3

  

   

                 

   

3

     

3

 

3

      

3

 

 



3

 Vln



  

 

         

17

3

3

3

       

  

3

3

3



 

                





 

  

   

 

 

   

  

3

3

3

3

3


4

 22

Vln

Vc.



dim.

3

dim.

Vc.

Vc.

3

rall.

3

 

mp

    

  

      

dim.

dim.



3

3

p



            p

3

3

3

3

                 p

dim.           3

              

3

3

3

3

3

 

"In perfect harmony, not...." disconcerted...

p



 







p

 mp

cresc.

   

 



 

mp

 









mf

     

    

 

        

 

  

  

  

   

mp

p

  p

  



sul tasto p

pp



     

          

            

  

     

norm.

     



  

pp





mp

norm.

p



    

 

 



port.









   



q = 60

Attacca



   Pno

     

   

31

Vln

Variation 2

 Pno

mp

mp

3

 

25

Vln

        

  Pno

  

  

     






     

38

Vln

Vc.

   

mp

pizz.



mp





 

  



   



accel.

44

Vln

Vc.

 

         



Vc.

Pno

Vc.

Pno

       mp 

     

 

mp



(slide)



pp

 (slide)   

  

 

arco

 

 

pp

p

  



 





 



  

 

5

 

pp

         

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

   

         

  

Variation 3

"Everyone's prepared" More confident & slightly off the rails....

q = 132 (pizz.)

 

mp



  

mp

 

arco

 (pizz.)          



       

         half col legno (i.e. half hair, half stick)

       

     

        

       

(staying level throughout)

(prepared) (prepare piano - place pencils lengthways, 2 or 3 deep, on strings behind dampers)

53

Vln

 

cresc.

pizz.





   

   pizz.   

cresc.

49

Vln

 

mf

Pno



     

(slide)

    

               

   

 



     

             mp 



       

       

                


6

 57

Vln

Vc.

    



 

trem.



   

   

 



mf

 

 

pizz.

trem.



   

 

arco

sfz

       

Pno

pizz.

glis s.

ss gli

.

h.c.l. mf

sfz



   

  



  

arco

mf

 

  

     mp

  61

Vln

Vc.



                  3

   

  Pno

3

3

3

nat.



  

        

      

     



                        3

mp

3

mf

f

  65

Vln

Vc.

h.c.l.



       

ff

mp

       ff       

Pno

ff

        

        mp cresc.

       

3             3

  

 

nat.







f

    mf

 

   f

     

    

   


 69

Vln

Vc.

Pno





 

p

           

Vc.

   

 77

Vln

Vc.

Pno

Vln

Vc.

Pno

  

   

 

 

  

      



 

    

   

 



     

 

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

   

arco

 

      

    





 

       

  

 

                             mp

   

 

81

 

 

  

Pno

 

 (slide - no vibrato)

 

     

  

7

 

      

 

  

   

  

pp

 

mp

 

   

         

73

Vln

 

f

  

f

    

           f         f

   

h.c.l.

  

mp

 

     

     



      

   

(waver in pitch)

 

       



  

   

  

      

  

 



     

   

(violinist quickly gets up to remove piano preparation. What they do with the pencils is their own choice... - sits down just in time to play )

    

   

pp

(NB VIOLINIST unprepares piano)


8

 86

Vln

Vc.



pp

Theme

 

   

q = 60

 

   

arco

 

 Pno

        

 

 

   

        

           



mf

mp

            mf

mp

p

  

   

   

 

 94

mp

  

Pno

         

 

p

cresc.

         f

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

mp

  

          

    (Don‘t release pedal hold over to next Variation)

 

103 rall.

Vln

Vc.

Pno

Variation 4 "Pull yourself together!" q = 54

Attacca   

          

q = 132

           

 

 

 

 

  

              

 

 

                      mf



f p

f p

ff p

 

mf

 

Vicious...







  

f p

 

  

fp



 




9

 109

Vln

Vc.

   

Pno

  115

Vln

Vc.

 

 

 

 

 

 



(sim.)





 

 

  

  

mp

mp









mp p

 

Pno

  121

Vln

Vc.

Pno

   

  

  

  





 





      

 

  

  

  

           p f

 

dim.

                      



     

  

          

  

          

 

     

 

 

 

 

 

  

   

mf

mf

 

                           p  mp p mp p mp p f p f

                          

  

      



 

 



 

 

 

 

 



 

 

          



arco

arco

                

                                       (sim.)


10

 127

Vln

Vc.

mp

 

 



 mp

 

Pno

detache

mp

  

 

 

 

  

     

       

  

 

    

  

 

   

                   

    

mf

cresc.

  ff   

  

mf

 

  

   

  133

Vln

Vc.



  

Vc.

arco

 

 Pno



   

   

 

  

p  

  

 

  

 

  



mf

    p f

 

 

  

    

 





   

 

  

  

           

(flatten and correct)

     

norm.

 

 

mf



    

  

 

              

f

 

f

   

mf

      p

p

trem.

  

      f

           

 

mf

 

 



 

139

Vln

 

trem.

        

Pno

 

   



          cresc.

                cresc.     


11

 145

Vln

Vc.

   

Pno

  

 152

Vln

Vc.



 



 

  

mp

   

   

arco          

fff





p

 



port.

port.

p

         

   

arco

fff

 

 

    

q = 60

 

    

      

Pno

fff



Variation 5

rall.

port.

pp

p

        p

       

       

molto pedale

   





mp

  

 

mf

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

  

   

       

mp

   

mf

   

  158

Vln

Vc.

Pno

 mp









  







           

   

mp

     p     

   

   

           

 

   

        

   

                            

p

 

       

      


12

    



 

163

Vln

Vc.

 167

Vln

Vc.

Pno

 

         

Pno

mp

   

 

  

   

    

 

  

 

 

  



  

 

 

  

  

 

 

  

 

      

   

 

 

 

 

 



 

 



                        

 

    mp   

   

 

mp

     



p

  

  

  

pp

       

pp

       

     

 

     

 

p

       





  171

Vln

Vc.

Pno

Variation 6 q = 60

             

arco

p

           

          

arco                                                     3

     

        

3

p

3

3

3

3

   

3

3

3

3

3

3

       3 3 (plenty of pedal, ad lib.)

3

3

  3

3

  


13

 174

Vln

Vc.

(sim.)

Vc.

3

3

 

mp



3





3

3

3

3

mp



3

3

 

mp

mp

3

3

  

mf

3

 

3

3

3

3

3

3

3

 



cresc.



                  cresc.

3

3

3

3

3

3

         

cresc.

 

                  3

3

3

3

3

        

 

                 

3

 

  



                 

 

3

          

3

           3

3

      

   

3

 Pno



   

 



178

Vc.

3

p

Pno

Vln

3

  

 

                 

176

Vln

(sim.)

  Pno





3

3



  

 

 

  

3

  




180

Vc.

 183

Vln

Vc.

Vc.

cresc.





  

 

3

 

 

3

 

   

     

  

3

3



 

          

3



3

   

 

3

 

 

 

3

3

  

 

 

 

3

3

3

3

3

3

3 3                   3

3

   

  

 

 

               

3

             

                      

3

3

 

3

3



       

       



   

 



 3

            3

       

 



3

3

3

3

f

3

 

3

  



mf

3

mf

   

   



3

3

3

  

cresc.

   Pno

3

3

186

Vln

                 

3

     

Pno

          

3

cresc.

 Pno



3



               

  3

3

             

                                         

3

               

3

3

3

  

 



Vln

                                   







14

3

3

3

  

3

   

3

3

         

3

3

     

3

     

      


15

 189

Vln





              

Vc.

 Pno

 





Vc.

 

3

 

  

    

3

3

 

   

 

   

 

   

                   3

3

3

3

3

  

      

           

dim.

dim.

3

3

dim.          3

3

 



3

3

3

3

3

 

 

 

 

mp

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Photo © Keith Saunders

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 71829

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

Around Three Corners

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

Profile for Edition Peters

Panufnik - Around Three Corners  

Panufnik - Around Three Corners