Ister, for Chamber Orchestra

Full Score

Ján Števuliak

Ister tone poem for Chamber Orchestra

London, 2020-2021

Ján Števuliak

Ister tone poem for Chamber Orchestra

Transposed Score Duration ca. 5 minutes

Ján Števuliak (b. 1999) is a composer, organist, sound artist, performance artist, and author of installations.

Raised in a rural environment of the Orava region in Slovakia, his early musical education was influenced by folk and church music. Starting studies in London led him to explore and experiment with different genres and processes of creating instrumental music.

Naturally, ideas such as reevaluation, impressions from different cultures, perception of returns to the past and nomadic feelings have influenced his recent works greatly. Ján’s music and its concepts are also reflecting on the subjective or objective human connection to its surroundings and the impact exerted by individual or humankind on it. Sonic features in Ján’s works are often a result of finding a way of translating extra-musical phenomena, working with thematic restraints, aleatorism or post-processing.

Towing Boats on the Danube Ladislav Mednyánszky

Ister is a personal contemplation of the genre of a tone poem. It looks back on nationalistic tendencies of the 19th and 20th centuries, adopts and transforms ideas behind works of composers such as Dvořák or Moyzes writing in this style. Ister is a Greek name for the River Danube. While previously mentioned composers in their works Má Vlast or Dolu Váhom focused on rivers exclusive to their countries, which suited their nationalistic views, the river Danube flows through ten countries. It is a natural resource for live ecosystems and human activities, a barrier that requires effort to overcome. Nations that developed on its banks share history, their cultural traits and the musicality of their people in its core has been passed down for centuries from the Ancient Greeks.

Hence, this tone poem alludes to the journey of the Danube from the Black Forest to the Black Sea, suggests flashes on the cultures that are present around it, draws on Ancient Greek music theory to produce tonal material that alters as tributaries alter the waters. It also contains moods and atmospheres that reflect composer’s subjective perceptions.

Instrumentation

2 Flutes (2nd Flute doubling Piccolo) Oboe Cor Anglais 2 Clarinets in Bb (2nd Clarinet doubling Bass Clarinet in Bb) 2 Bassoons (2nd Bassoon doubling Contrabassoon)

2 Horns in F 2 Trumpets in Bb Tenor Trombone

Timpani (3 drums, sized 32’’, 28’’, 25’’) Percussionist (Vibraphone, Glockenspiel, Suspended Cymbal, Tam-Tam, Low Wood Block, Bass Drum)

Harp

1st Violin 2nd Violin Viola Violoncello Double Bass

Instructions

General -material is often presented in the boxes or cells. These are mainly to be performed freely, for the duration of the line that succeeds the boxes. Please notice these in advance -when executing boxed figures, be aware of how long they last and make sure to listen and coordinate with the rest of the orchestra -width of graphically represented vibratos should not exceed a major 2nd -some asynchronous parts are featured in the section starting with letter C. To return back to synchronized material, rehearsal mark D is provided -crescendo and diminuendo from and to nothing is used often throughout. Where not possible, an effort to realise al niente attack is welcome but not necessary -accidentals last one bar, in asynchronous passages, they last from beginning to the end of the passage Woodwinds -play non vibrato, unless where specified -figuration

in the oboe part calls for a short pitch-bend gliss immediately after the pitch

-figuration calls for a pulsing effect, it is executed with greater breath pressure and soft tonguing, but slurred

Brass Mutes: Horns in F- Horn mutes Trumpets in Bb- Harmon mutes, Straight mutes Trombone- Cup mute -Harmon mute manipulationachieved by manipulating the stem

eg. from open to closed, or a trill-

-figuration calls for a pulsing effect, it is executed with greater breath pressure and soft tonguing, but slurred

Percussion Timpani -cloth to dampen timpani required -when manipulating the tuning mechanism, adhering to notated pitches should be approximate Percussionist

-cello bow required -triangle beater required -place Wood Block in close distance from Suspended Cymbal

Harp

-random bisbigliandorapid alteration of specified pitches, in a free order, for the duration of the succeeding line -where subsequent material is to be performed after random bisbigliando, free one hand required to execute it -pedal trillD

-pedal gliss

D

_

_

alternate between tunings D

D

-results in a metallic sound of the tuning mechanism

Strings -the string part is freer, it is supposed to create a flowing texture, so the performers do not necessarily have to be exactly synchronized and correct as long as the overall texture is continuous -quarter tone flat-

, quarter tone sharp-

-st.- sul tasto, sp.- sul ponticello, msp.- molto sul ponticello, nat.- naturale -epb.- excessive bow pressure -figuration eg. ‘nat.

msp.’ calls for a continuous change from eg. nat. to msp.

-light snap- a pizzicato that differs from others around it with stronger dynamics (mf)

-starting at section B, durations of notes beamed together are orientational, barlines serve as a tool to synchronize with the rest of the orchestra -overall, try not to change bow at change of pitch, at downbeats or with other string players, as to create continuous tones -players divide at their stands (eg, Vln I- 1.3.5 and 2.4.6)

March 2021

sounds 8ve higher

1

Fl.

8 ° <#>œbœ# œ ‰ &

nœ. ‰ J Ó

3

Ob. 1

Cl. 1

Bsn.

Hn.

¢

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pp

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1.

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3

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(bowed)

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o

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˙

pp

5

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o

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˙™

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∑

ææ ww

p

msp.

st.

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b˙

∑

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o

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5

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pp

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pizz.

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*

pp

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˙

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5

? ? <B><B>~w

msp.

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Œ

light snap

st.

w

w

5

st.

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o

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pp

5

#œ

pp

o ∑

Ó

Œ

#˙ ™

nat.

o

pizz. # œ n œ * #œ#œ

w pp

pp

execute pitches in the box in a random order for the duration of the line. Leave substantial rest in between the pitches execute pitches in the box in a random order for the duration of the line. Shorten the rest between the pitches

2

p

∑

p

w

pp

pp

w

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?

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Œ

(close to the edge, dampen)

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pp

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∑

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msp.

¢

‰

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Vc.

1.

∑

*

pizz.

ppp

Vla.

j #œ. ‰ p

#w o

& <µ>w B

1.

Ó

∑

1.

ppp

#œ œ œ œ™

Vln. II

Œ

∑

∑

ææ ww

° & Vln. I

j ‰ # œ. pp Ó

(Pedal Depressed)

&

∑

b˙

∑

Œ

pp

Cb.

j bœfi

∑

∑

Vib.

Hp.

1.

&

° &

Tpt.

Tbn.

∑

msp.

p

5

A

° &

∑

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&

∑

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∑

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14

Fl.

Ob. 1

&

Cl. 1.2

Bsn. 1.2

Hn. 1.2

¢

1.

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bw o

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p

j œ.

Ó

(bowed, Pedal Depressed)

&

Vib.

‰ œJ. Ó

‰ œJ. ‰

œ.

J

Œ

° Ó & Ó

Tpt. 1.2

Tbn.

? ‰

1.

w

w

pp

& &

pizz.

œ bœ b œ b œ bœ

**

p

Vln. II

&

msp.

<b> w

5

œ b œ œ œ œ ˙™

pp

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st.

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p

pp

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st.

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st.

5

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w

p

˙™

3

pp msp.

œ œ œ œ œ œ œ œ œ œ ˙™

p

5

5

Vla.

?

w

ppp pizz.

œ bœ

œ

pp

bœ bœ

#œ œ œ œ œ ˙ msp.

p

5

w

w

st.

pp

**

p

? <#> w

Vc.

Cb.

¢

?

st.

w

w

pp

ppp

w

o

∑

pizz. bœ bœ ** bœ œ p

execute pitches in the box in a random order, for the duration of the line. Shorten the rest between the pitches

3

Fl. 1.2

Bsn. 1.2

Hn. 1.2

Tpt. 1.2

4

Fl. 1.2

Bsn. 1.2

Hn. 1.2

Tpt. 1.2

5

Fl. 1.2

Hn. 1.2

Tpt. 1.2

slow slide trill

6

Hn. 1.2

Tpt. 1.2

7

Hn. 1.2

Tpt. 1.2

slide trill

8

Hn. 1.2

Tpt. 1.2

9

° &

∑

∑

3 4

∑

∑

∑

∑

Picc.

&

∑

∑

3 4

∑

∑

∑

∑

Ob. 1

&

∑

∑

3 4

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

50

Fl.

Senza Tempo Play as fast as possible

bœ & œ #œ œ œ nœ œ œ #œ œ œ œ œ nœ œ œ #œ œ œ œ œ nœ œ œ #œ œ œ œ nœ œ œ œ

C. A.

ca. 5’’

p

mf

∑

&

Cl. 1

&

∑

Bsn.

?

∑

Cbsn.

?

Cl. 2

¢

∑

∑

∑

∑

∑

3 4

∑

∑

∑

∑

∑

∑

3 4

∑

∑

∑

∑

∑

∑

3 4

∑

∑

∑

∑

Hp.

Vln. I

∑

3 4

∑

∑

&

∑

∑

3 4

∑

∑

? ˙

>˙

b˙ ™

pp

mf

mp

{

/ Ó

Ó

Œ

pp

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mp

D

¢

10

?

Œ

3 4 #œ Œ >

Œ

mp

3 4

3 4 œœ

œœ

msp.

p nat.

mf

pp

3 4 œœ

nat.

œœ

b œmsp. mf

>œ mf

∑

#>œ Œ

Œ

˙™

slow slide trill

Œ

Œ

∑ Œ

Œ

œœœœœœœœ œ œ œ œ œ œ œ œ Œ

Œ

œ

mp

∑

l.v.

∑

mf

p

#>Ϟ 3 Π#Ϟ Π4

ca. 5’’

mf

pp

bœ œ œ

∑

f

#œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ

mf

pp

nat.

p

Ó

>œ p

3 ˙ 4

3 4 Π#Ϟ Π#>Ϟ D _ nat.

3 bœ 4 œ

∑

mf

mf

p

pp

l.v.

b>œ œ

p

bnat. œ

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∑

? œ

Vc.

Cb.

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∑

B œœ

Vla.

Œ

?

& œœ

mf

mf

∑

p

>œ

>œ

&

° bœ & œ

Vln. II

Senza Tempo Play as fast as possible

∑

°? ¢ >œ Œ

p

mf

3 4

f

Perc.

ca. 7’’

œ bœ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& Tpt.

Timp.

Senza Tempo Play as fast as possible

p

p

&

¢

Bass Clarinet in Bb

∑

∑

f

Hn.

3 4

∑

ca. 4''

° &

Tbn.

mp

Œ

Œ

p

œ

ff

mf

∑

∑

∑

∑

∑

∑

♮

bœ œ

msp. mf

œ >œ

bœ œ

bœ œ

nat. pp

mf

œœ

mf

œœ

pp

œœ

mf

nat.

msp. mf

œœ

œœ

pp

mf

pp

3 4 œ

œ

œ

œ

pp

mf

pp

3 4

bnat. œ p

pp

l.v.

mf

bœ

bœ

mf

pp

bœ mf

#œ œ

° &

∑

&

∑

&

∑

56

Fl.

Picc.

Ob. 1

Œ

∑

accel.

#œ œ œ *

2 4

pp

∑

#œ œ œ œ

2 4 Œ

∑

*

mp

p

bœ œ œ * 2 4

Ó

∑

Senza Tempo Play as fast as possible

pp

f

mp

Cl. 1

B. Cl.

mp

mf

p

mp

f

∑

∑

∑

&

∑

∑

∑

2 4 ‰ #œ œ œ œ *

∑

∑

∑

?

∑

∑

∑

° &

2 4

∑

∑

&

∑

œ #œ œ #œ

*

mf

∑

p

∑

∑

mf

Timp.

¢

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°? ¢ >œ

œ

œ

Hp.

Œ

Œ

bœ >

∑

∑

∑

∑

?

∑

∑

& œœ p

msp.

?

Œ

œ

mp

Œ

Œ

Œ

Œ

b >œ ù bœ ù bœ ù b >œ ù ff

E♭

l.v.

_

f

f

f

bœ

b >œ

p

mf

f

∑

mf

Œ

∑

5 4

bœ

5 4

j œ

bœ

æ œ œ œ œ œ œ œ œ ˙æ

p

ff

œ

f

mf

œ

œ

f

mf

æ ˙æ

mf

œ

f

5 4 5 4

2 4

∑

∑

∑

∑

5 4

2 4

∑

∑

∑

∑

5 4

E♮

accel.

5 4

œœ

2 4 œœ

œœ

>œ >œ

œœ

5 4

œœ

2 4 œœ

p

f

f

>œ

p

f

* - alternate between pitches freely, as fast as possible

msp.

2 4 2 4

nat. mp

f

œ

nat.

bœ

2 4

f

∑

bœ œ

p

œ

mf

bœ ™

5 4

b>œ >œ

msp.

p

>œ >œ

Œ

∑

bœ œ

bœ œ

nat.

nat.

œœ

2 4 œ

∑

bœ œ

œ

f

5 4

2 4

bœ œ

f

p

¢

E♭

bœ œ

B œœ

p

mp

∑

D

nat.

? œ

b>œ

f

j bœ

2 4 Ϫ

Œ

˙

f

&

p

Cb.

Œ ∑

nat.

Vc.

Œ

∑

° bœ Vln. I & œ

Vla.

œ

/

{

Vln. II

bœ

mf

mf

Perc.

œ

5 4

f

mf

ca. 7’’

mf

5 4

∑

f

& œ bœ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p

5 4

f

∑

2 4

f

f

mp

pp

ca. 5’’ œ œ œ œ œ&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Senza Tempo Play as fast as possible

mp

* 2 4 #œ œ œbœ

∑

5 4 5 4

pp

2 4

pp

Hn.

Tpt.

p

pp

∑

¢

5 4

∑

œ œ bœ *

&

* 2 4 œ œ bœ œ

Bsn.

5 4

mp

f

2 4

?

5 4

f

ca. 7’’

pp

Tbn.

5 4

& œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

C. A.

Cbsn.

D

ff

mf

mp

ff

mf

œœ

mp

>œ >œ

ff

œœ

mf

5 4

œ

>œ

œ

mp

b >œ

5 4

bœ

ff

mf

nat.

bœ

ff

bœ

mp

ff

mf

5 4

11

slide trill

12

13

14

15

16

17

18

ord.

ord.

ord.

19

20

21