Of Song and Magic (cello solo)

OF SONG AND MAGIC

FOR SOLO CELLO

By Juhi Bansal

Commissioned by Landscape Music for the Visions of the Wild Festival

Program Note: Of Song and Magic takes inspiration from a profound experience diving and hearing humpback whale song underwater. These songs are spectacular for many reasons – they build upon tiny melodic motives which are transformed and developed over the course of the music; from nearby, the song is felt as vibrations in the water as much as it is heard; and finally – from the listener’s perspective – the songs emerge and fade into underwater noise (that of bubbles, feeding fish, waves and moving water). This piece draws upon all these distinct elements to create something evocative of whale song, drawing on Hindustani techniques and raag Bhairavi in addition.

Note to the performer: The ornamentation in this work draws heavily on Hindustani tradition and specifically techniques for playing the Sarangi. I would recommend listening to some of the many recordings available online to get a feel for the ornamentation. (None of the techniques used are foreign to Western music, this is simply to clarify the kind of emphasis, rhythmic pacing, how notes/slides are approached and left etc of the traditional ornaments.) Examples of the sarangi playing in raag Bhairavi would be ideal listening in preparation, but any example of the sarangi playing within a raag are sufficient.

Copyright ©2021 by Juhi Bansal Music All rights reserved

juhibansalcomposer@gmail.com www.juhibansal.com

Notes on performance The style of ornamentation in this piece draws on Hindustani tradition (specifically techniques of playing the sarangi - an Indian string instrument). While none of the techniques will be new to Western musicians, it is essential that the performer listen to some examples of the sarangi being played to become familiar with the style of ornamentation, particularly in the performance of glissandi.

There are many examples on Youtube and streaming platforms.

Specific notational clarifications: • Small notes are all grace notes figures. Unless indicated, they should not be played as fast as possible, but instead expressively, as melodic ornaments to the line.

• The exception to this is grace notes marked with a slash, which are to be played as rapidly as possible.

• 8th notes grace notes are to be played in time, on the beat. They will steal time away from the larger notes that follow.

• 16th note grace notes are not in time, they will add time to the measure.

• Notes that are bracketed (such as at mm6, mm 12) indicate notes that are barely to be touched during/ at the end of a glissando. There should be no clear arrival to these. In addition, the bracketed note should always be approached with a diminuendo (followed by a return to the prevailing dynamic on the next note.) e.g. the figure below would be performed as:

• Slurred ties (e.g. at mm 56) are used for sustained chords or held notes where bow changes will be necessary. Rearticulate at the change of bow as smoothly as possible.

•Three types of fermatas are used: = short hold; = medium hold; = long hold.

• Commas indicate very short breaths, these are bare lifts before the next phrase.

• e. s. p. = extremely sul pont.

• Wherever a change in speed of tremolo is indicated (e.g. at mm 17) this should be played fluidly and gradually, so that the sound moves seamlessly from tremolo to non tremolo.

With great freedom, q = 100 - 110 espressivo, cantabile

   

  

 

 

(artificial harmonics)

Violoncello

f





        

7



3

    

11

  4        



(bring out this sounding upper melody) gliss.

extremely sul pont. sul G sul D 11

  

  

 

 

  

 

16







 

 



  







pp

 





 

slow down tremolo



 

 



gliss.



f

  

ff

gliss.



 

f

rit.

Move gradually to 22

 

  

 

slow down tremolo

 

 

 



              

        3



rit.

Move gradually to 4:3

 

  

 

simile

gliss.



ff

  

ord

   pp

 



pp



 

 

 

 

gliss.





gliss.



4:3



pp

a tempo e.s.p.

ff

  



  pp

 

 

4:3









 

  

  

ord

 

a tempo  mp





226

5             



    



 

e.s.p.

 



ff

 3    

31

 

  

ff 36

  

 

41









mf

  

 

slow down tremolo

 



52

   



  







   



  





  



3







ff sub.



ord



gliss.







                3

f





5

   



         

 ss.  li  g             

56

 

3

4

  





e.s.p.

4

           gliss.            



a tempo

ord

p

   

4

pp

 3     4     gliss.                   

Move gradually to

p

47

 



rit.

Move gradually to

 3    

 gliss.     

 

5

4

  

 





   

 

  



 

    3

  

    

 



4

 

62



67





   



  







           



  

            5







  



3

 3   3                             heavily



3

3

   4  4 4 4 4                                            4   cresc.   accel.

73

                                                      

80



                                                 

(q = 180 - 200 )

85

fff

91

   

   

q = 120-130 cantabile, with rubato

  

   



                      (rearticulate open C & G as needed)

      

   



 98         4

 

         

102

107



 

       

 

rit.



    

        

 



4

     

119



4

       

p

 

  



 gliss.



 

sul C



sul G

4

 

        

       



        

     

 

   



 



        4

      

f sub.

4



 

  

    3             

131



      



 

gliss.

 

 





f sub.

   

4

     

 

 

f sub.

     

  



 



 









   

f sub.

 

4

Like the opening, q = 100 - 110

   

126

 

      

   

Driving, q = 120-130

p

112





4         

 

 

 

 



       

 3              



