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Contemporary

Panufnik Rose for solo violin and ensemble Full Score

EP 71871


roxanna panufnik

Rose for solo violin and ensemble

Full Score

EIGENTUM DES VERLEGERS

ALLE RECHTE VORBEHALTEN

ALL RIGHTS RESERVED

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


Instrumentation Solo violin Flute Clarinet in BHarp Violin Viola Violoncello

PERFORMANCE NOTE Rose is one of seven “birthday candles” commissioned by the Mobius Ensemble to celebrate their 10th anniversary. Each “candle” features a member of the Ensemble as soloist the others accompanying. My soloist is the wonderful violinist Philippe Honoré, who told me that a formative book during his childhood was Le Petit Prince by Antoine de Saint-Exupéry. The Little Prince lives all alone on a planet with the sinister Boabab trees until one day a beautiful single rose grows and completely entrances him. She is beautiful, beguiling but capricious (and coughs whenever she doesn’t get her own way!). We hear her theme the first time, alone with little echoes amongst the other instruments to depict her solitude on an empty planet. Then her melody becomes slowly more and more lushly accompanied, until the third time it occurs, when the other strings play chords in a rhythm that depicts the irregular breathing of a Little Prince in love... Roxanna Panufnik 19th June, 2007

Duration c.5 minutes

This piece is dedicated to Philippe and the Mobius Ensemble

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


for Philippe and the Mobius Ensemble, on their 10th birthday

Rose  e = 224  

Flute

 



  

  

very deeply felt

  

mp

   

 

 

Va.

Vc.

 Vl.s.

Va.

Vc.

mp

  

  p

  



pp

   

11

 

pp

     3

mp

            

3

port.







 

capriciously!

  mp



    6

pp







 

port.







   

Edition Peters No. 71871 © Copyright 2008 by Hinrichsen Edition, Peters Edition Limited, London

  

mp

                 

p

G.P.













(echoes, in an empty echoing planet)

 

 Vl. 



(Vc: with C string tuned down a whole tone, to Bb)

7

  

mf

Vl.





3

 



Viola

Vl.s.



  

Violoncello

Violin solo

Violin

 

Harp

  

Clarinet in Bb

ROXANNA PANUFNIK



 capriciously!

       p 



6

capriciously!

     

 

pp

6




2

            

14

  

Vl.s.

Vl.

 

 

    









     



  

mp

p

quite capriciously!

Vc.

 









mf

  

Va.

   

ppp

          

pp



   port.   3           

19

Vl.s.

  Vl.  

Va.







 

 Vc.   



       port.

mp

(little pitch slide down, as echo fades away)



         port.

p

(little pitch slide down, as echo fades away)

  

       port.

pp

  Fl. 

Cl.



Vl.s.

24

Vl.

Va.

  

G.P.

                   

      

  

  

mp

mp

pp

                   pp      mp



                     

mp

as echo fades away)   (pitch  flattening,        Vc.   ppp

pp






3

  Fl.  



  



30

Cl.

  

Vl.s.

  Vl.   Va.

   

f

 

 

   39

 

Vl.s.

 

Vl.s.

 

  

    

     

 3

     

 

    

 morendo

    

3

mp

    

     

  

mp

mp

a tempo e = 224

      pp       pp

  



morendo

morendo

   

      

     

 

morendo

    

mp

      

pp

    

    

    



     

   3                      



 

3

mp

    

    

44

Hp.

  



    

      mp

 

 

Hp.

3

 

 

             

3

Vc.

           





3                    Vl.    

Va.

 



 mf



 

rall. 34

Vl.s.

    

mf

 



  

 


4

Hp.

  

 Hp.

  

port.   

Vl.s.

     

 

   

port.

 

mf

   



                               

 

 port. 3         

  

   

 

 

                                      

60

rit.

   

  

    

 

   

  

  

  

3

         



        

a tempo e = 224

  

 

  

mp

p

p

    

  

mp

      



like the uneven breathing of a little prince in love....

 

  p

p

p

3



 



 Vc.     





                       

  Vl.   Va.

 

 

Cl.

55

  Fl.  

Hp.

   

Vl.s.

         mf                     

  

51

   

  

Vl.s.

Hp.

       

       

Vl.s.

a tempo e = 224

rit.

48

 

   

 3

 3



3

   

  

 3

 3

 

3

  

   

 3

 3







 




64               Fl.    

very deeply felt





5

3









 very deeply felt  3                   Cl.           mp                             mf Hp.                               mp

Vl.

    

Va.

Vc.

 

 

Vl.s.

 

3

  

3

 

    



 Vc.   

 3

 3



    

3



 3



  



3

3





  

       

  



    

 

  

  

 3

 3



  









 3

3



 

  



   







  

  

 

         

     

    

rit.

 

   3

 

     

 

3

3

 

  

3



3



          

3

    

  

Va.



    

  

  

Vl.

3

 Cl.     

Vl.s.



68     Fl.  

Hp.

  



  



3

  

 3

3



  

  


6

a tempo e = 224

71    Fl.  

port.



        



        

mf

 Cl.    

port.

mf

a tempo e = 224

rit.

   



 port.   

 

  

port.

  

   



                             f                               

Hp.

  

port.

Vl.s.

Vl.

  

Va.

mp

  

   Vc.   

mp

       



mf

mp

3









  

 3        port.     Fl.   3            Cl.     port. 74

Vl.s.

Va.

  

  Vc.   

 

3

3

3 



3

3

            

port.

 



   



   



 3     





    

3

3





 

                                             

3              port.

  Vl.   

 

 



3







          

 



  



 



 

 



 

3

3

  

 

Hp.





 

 

 

 

3

  

3

  



  





  



 

 







3

 



3

 3

  

3

  

  

 3



3





3

 


 Fl.  78



Cl.

Hp.

    

   

     

   

   

    

 

 

7



   

  



                                        

Vl.

     

Vl.s.

   



  Vc.  

 

Va.

 82     Fl.      Cl.     rit.

 

 

   







 



3

3

a tempo e = 224

   

3

3





 



 

3









 

 

3

3

3





Vl.s.

Vl.

Va.

 

  

                              mp                                     

 

 Vc.  



 

3



mp

pp





 

pp

mp

 

    

 

pp

 

mp

3

3

3





 

 3

 3



3

   

 p

 p

 p

 3

 3

 

 



   

  

   



 

 

    3

 

Hp.

    



 

 



   


8

87



 

Hp.

 

Vl.s.

Vl.

(don't damp)

  



 

 



ppp

 

 



Vc.

 

 

ppp

















mp





mp

ppp

Va.



ppp

 mp

 mp

  Fl. 

rall.

92

Cl.



pp



  

    

 

   

 



















pp

    

Va.

Vc.

 

Vl.s.

Vl.





p



pp

morendo

morendo

morendo


Photo © Keith Saunders

Rose

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 71871

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Panufnik - Rose  

Panufnik - Rose