"Moonlight, Refracted" for clarinet, piano and two percussionists

Kirsten Soriano Broberg

MOONLIGHT, REFRACTED

Clarinet in b-flat, piano and two percussionists 6 minutes

Program Note for the Natura Cycle Natura is a cycle of interwoven pieces with an imagined programmatic design inspired by nature that creates a dramatic profile for the cycle. The cycle creates a journey for the listener that begins deep within the ocean (“Undercurrents”), moves to gardens with falling rain (“Rain Gardens”), transitions to autumn wind rustling between leaves (“Air”), evolves to snow falling through the sky (“As if Snow”), evokes the stillness of winter (“In Stillness”), represents the Earth thawing and plant life beginning to grow (“Murmur”), describes a tree forming (Branching”), is followed by moonlight glimmering on the water (Moonlight, Refracted”), forms constellations in outer space and ultimately ends with the formation of a solar system and life forming on a planet (“ConstellationsàCelestial Dawning”). The pieces of the Natura cycle contain macro-harmonic and pitch connections in that each successive piece ends on the sonority or sonorities on which the following piece begins, even when the pieces are presented in a modular fashion. The primary pitch materials for Natura are derived from the acoustic/overtone scale, a chromatic inversion of the acoustic/overtone scale (the “undertone” scale), various overtone structures, inversions of overtone structures (“undertone” structures), a twelve-tone row based on the ordering and ranking of partials in an overtones series (a twelve-tone overtone row), fundamental/partial content of flute and English horn multiphonics and diatonic scales. Seamless transitions from one sonority or spectrum to another include the use of “pivot partials,” intermediary steps from one sonority or spectrum to the next through gradual oblique motion, pitch accumulation from a smaller set to a larger set or chromatic saturation and pitch subtraction from a larger set or chromatic saturation to a smaller set. Symbolically throughout, descriptions of processes occurring beneath the surface of the Earth or its oceans are depicted by undertone structures and scales, whereas evocations above the surface of the Earth and its waters are drawn from overtone structures, overtone scales, the twelve-tone overtone row, spectra from woodwind multiphonics and diatonic materials. Other relationships include partials, fundamentals and residual tones that “branch” from a sequence of sonorities with inherent pivot partials. These serve as tools and creative inspiration for me to develop the key materials in the cycle in as many ways as are possible and to ultimately create a dramatic trajectory for the listener.

—Kirsten Broberg, 2016 The works in the Natura cycle, when performed in its entirety, are to be performed in the following order without pause: 1) "Undercurrents" for alto flute, contrabass clarinet, piano, percussion, violoncello and contrabass (6’) 2) "Rain Gardens" for piano (9’) 3) "Tendrils" for clarinet (note: "Rain Gardens" and "Tendrils" overlap when the whole cycle is performed) (9’) 4) "Air" for woodwind quintet (5’) 5) "As if Snow" for piano, harp and percussion (8’) 6) "In Stillness" for bass clarinet and string quartet (9’) 7) "Murmur" for alto flute, contrabass clarinet, bassoon, marimba and cello (6’) 8) "Branching" for flutes, clarinets, English horn, bassoon, French horn, piano harp, percussion, two violins, viola, violoncello and contrabass (6’) 9) "Moonlight, Refracted" for bass clarinet, two percussionists and piano (6’) 10) "Constellations" for piano, harp and percussion which, when succeeded by “Celestial Dawning,” gradually transforms into a piece for full orchestra (6’); and 11) "Celestial Dawning" for orchestra (9’) Natura—Macro-Harmonic Structures and Modularity The eleven pieces of the Natura cycle may be arranged and programmed in a number ways. First and foremost, all of the works are extractable and may be performed individually. In addition, they may be programmed in a variety of combinations and sequences.

The overarching macro-design for the cycle allows each work to seamlessly progress from one to the next in that each piece generally ends with the pitch or sonority on which the following piece begins. This remains true even when the cycle is arranged in a number of combinations and orderings. The possible design schemes are as follows: 1) TendrilsàBranching” Clarinet Concerto with "Tendrils" for solo clarinet followed by "Branching" for flutes, clarinets, English horn, bassoon, French horn, piano harp, percussion, two violins, viola, violoncello and contrabass; 2) “MurmuràBranching” for Skeletal Chamber Orchestra with “Murmur" for bass clarinet, bassoon, marimba and cello followed by "Branching" for flute, clarinet, English horn, bassoon, French horn, piano harp, percussion, two violins, viola, violoncello and contrabass; 3) Natura Piano Sonata with "Undercurrents" version for solo piano followed by "Rain Gardens" for solo piano, "Moonlight, Refracted" for solo piano and "Constellations" version for solo piano; 4) Natura I with "Tendrils" for solo clarinet followed by "Air" for woodwind quintet, “In Stillness" for bass clarinet and string quartet, "Murmur" for bass clarinet, bassoon, marimba and cello and "Branching" for flute, clarinet, English horn, bassoon, French horn, piano harp, percussion, two violins, viola, violoncello and contrabass; 5) Natura II with "Undercurrents" for bass flute, contrabass clarinet, piano, piano, percussion, violoncello and contrabass followed by "Rain Gardens" for piano, "As if Snow" for piano, harp and percussion, "Moonlight, Refracted" for solo piano, “Constellations" for piano, harp and percussion and “Celestial Dawning” for full orchestra; 6) Natura for Skeletal Orchestra with all of the pieces from the entire cycle except the three last pieces; and 7) Natura Complete for full orchestra with all eleven pieces in the order prescribed above.

Macro-Design for Natura Complete Below is the macro-design for the Natura cycle in the prescribed order to be followed when the entire cycle is programmed. The opening sonorities for each piece are show under the name of the piece followed by the final pitch or pitches. The starting and ending pitch or pitches are separated by a dotted barline. The angled lines show the possible pathways and pitch connections between the various movements if a subset of the eleven works is programmed: Various Performance Paths for Natura

Moonlight, Refracted Kirsten Broberg

Slowly, spaciously q = 52

Bass Clarinet in Bb

& 43

b˙™

œ b˙

ppp

Percussion 1: Vibraphone Glockenspiel

3 &4

b ˙˙ ™™ – —

vibraphone: arco

Œ

pp

œ b˙

b ˙˙ – —

b ˙˙ — –

Œ

vibraphone: soft mallet on top line arco on bottom line Percussion 2: Crotales Vibraphone

& 43

B. Cl.

Perc. 1

Perc. 2

Perc. 2

?

&

˙˙˙˙ ™™™ ˙˙˙ ™™™ ˙ ™ ˙ ™

b˙ ™ b˙- ™

∏∏∏∏∏∏∏

bb˙˙˙ ™™™ b ˙™

˙˙ ™™ ˙˙™™

∑

˙™ —

b-˙ ™

Ϫ

- Œ bœ ™ œJ

b-˙ ™ –

- Œ bœ ™ œJ

b-˙ ™

Ϫ

bbbb˙˙˙˙˙ ™™™™ ˙ ™

˙˙˙˙ ™™™ ˙˙ ™™

™ ˙˙˙˙˙˙˙ ™™™ ˙˙˙ ™™™ ˙™

n˙˙ ™™™ ˙™ ˙

bbb˙˙˙˙˙ ™™™ ˙ ™

˙˙ ™™ ˙™

b˙ ™ bbbb˙˙˙˙˙ ™™™™ bb ˙˙ ™™

#˙ ™

˙˙˙˙˙ ™™™ ˙ ™ ˙˙˙ ™™ ˙˙˙ ™™™ ˙˙ ™™ n˙ ™

#˙ ™

˙™

n˙ ™ –

Ϫ

#˙ ™

œ™ #œ ™

n˙ ™ –

∑

##˙˙˙˙˙˙ ™™™ # ˙˙ ™™™

˙˙˙˙˙ ™™™ ˙˙˙ ™™ ™

Ϊ

arco

Ϊ

soft mallets

˙˙ ™™™ ˙™ ˙

soft mallet

˙™

œ™ ‰ Œ

∑

∏∏∏∏∏∏∏

{

?

˙™ —

b˙- ™

- Œ bœ ™ œJ

arco

Ϫ

˙˙ ™™ ˙™

˙˙ ™™ ˙™

™ nbn#˙˙˙˙˙˙ ™™™ n ˙˙ ™™™ ˙™ ˙™

b˙™ bb˙˙˙ ™™™ b ˙™

˙™

˙˙ ™ nn#˙˙˙˙˙˙˙ ™™™™ ˙™

˙˙˙˙˙ ™™™ ˙˙˙˙ ™™ ˙™

n˙˙ ™™ ˙ ™™ ˙

œ œ J Œ

‰

˙˙ ™™ ˙ ™™ ˙

?

˙™

˙™

bœ ™ œ™

˙™

˙™

bbb˙˙˙˙˙ ™™™ ˙ ™

˙˙˙˙˙ ™™™ ˙ ™

arco

b˙ ™ bbbb˙˙˙˙˙ ™™™™ bb ˙˙ ™™

˙˙˙ ™™ ˙˙˙ ™™™ ˙˙ ™™

#˙ ™

˙™

n˙ ™

˙™

Ϫ

#˙ ™

œ™ #œ ™

n˙ ™

œ™–

Ϫ

#˙ ™

œ™ #œ ™

n˙ ™

ϪРϪ

Ϊ Ϊ

arco

˙™ ˙™

˙™

b˙™

˙˙ ™™™ ˙˙ ™ ˙™

soft mallets

˙˙˙˙ ™™™ ˙˙ ™™ ˙˙ ™™

-˙ ™

# ˙™ ##n# ˙˙˙˙˙˙˙ ™™™ ™ ˙˙˙ ™™ #˙˙˙ ™™™™ ˙ ™ ˙

˙˙˙˙˙ ™™™ ˙˙˙ ™™ ˙˙˙ ™™ ˙˙˙ ™™™ ˙ ™™ ˙

™ #bn˙˙˙˙˙˙ ™™™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

&

∑

˙™

b˙- ™

b-˙ ™ –

˙™ ˙™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

b˙- ™

˙™ –

™ bbb˙˙˙ ™™

˙™

- Œ bœ ™ œJ

arco

˙- ™

-œ J

œœœ œ b œ œ œ œ œœ

b˙ ™ b˙™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

&

˙˙˙˙ ™™™ ˙˙˙ ™™™ ˙ ™ ˙ ™

œ ˙

soft mallet

bb˙˙ ™™ nbbbb ˙˙˙˙˙˙˙ ™™™™ b n ˙˙ ™™

˙˙˙˙ ™™™ ˙ ™

˙™

˙™ ˙™

-œ ™

Œ

œ b˙

b˙ ™ b˙™

˙- ™

j œ-

soft mallet

b˙ ™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

Pno.

™ œ™ œ

˙™

Œ

-˙ ™ –

-œ J

œ- ™

arco

Œ

œ b˙

∑

˙™ —

˙™

-œ ™

arco only

˙™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

Perc. 1

˙™

Œ

œœ œj b œ œ b˙˙˙ ™™™ œ œœ œ b œ b ˙˙ ™™

∑

b˙ ™

-˙ ™ –

-œ J

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

21

∑

-œ ™

soft mallet

n˙ ™

œ b˙

b ˙˙˙ ™™™ b ˙˙ ™™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

?

∑

˙™

& ˙˙˙˙ ™™™ #˙ ™

= B. Cl.

?3 4

-˙ ™™ – ˙—

-j œ

œ œ œœ b œ œ œbœ

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

{

&

˙™

œ œb˙

pp

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

Pno.

˙™

& #˙ ™ &

Œ

œ˙ ™

b˙™

b˙

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

11

Œ

˙™– ˙ ™—

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

=

Œ

– ˙˙ —

œ

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

{

˙˙ —–

Œ

b ˙˙ –—

pp

3 &4

Piano

˙˙ ™™ – —

b˙™

œ b˙

b˙˙ ™™ n˙˙˙ ™™™ n˙ ™

˙˙˙˙˙ ™™™ ˙ ™ ˙˙ ™™ ˙˙ ™™™ ˙™ ˙

‰Œ

2

˙™

33

B. Cl.

Perc. 1

Perc. 2

˙™

∑

&

n˙ ™

˙™

™ ###˙˙˙˙˙ ™™™

˙˙˙˙ ™™™ ˙ ™

˙™ # ˙˙ ™™

n˙˙ ™™™ ˙™ ˙

soft mallets

˙˙ ™™™ ˙™ ˙

˙˙ ™ #˙˙˙˙ ™™™™ ˙ ™™ ˙

˙˙˙˙ ™™™ ˙˙ ™™ ˙ ™™ ˙

˙˙ ™™ ˙™

˙™

-œ ™ -œ Œ J

-˙ ™

-œ arco -œ ™ -œ J

˙™

#œ ™ œ ™

-˙

-˙ ™

mallets -œ soft -œ ™ -œ ˙™ J

#œ ™ œ ™

˙™

˙™

Ϫ Ϫ

˙™

soft mallets

Œ

##nn˙˙˙˙˙˙˙˙ ™™™™ ™

˙˙ ™™™ ˙ ˙˙ ™™ ˙™

arco

b ˙™ nb˙˙˙˙˙˙ ™™™™ ˙ ™

˙˙˙˙˙ ™™™ ˙˙˙ ™™

#˙˙˙ ™™™ ˙™ ˙™

˙˙˙˙˙˙ ™™™™ ˙˙ ™™

˙˙ ™™™ ˙˙ ™ ˙™

n˙˙˙ ™™™ n˙ ™

˙™

#n#˙˙˙˙˙˙˙˙ ™™™™ ™

˙˙˙˙˙ ™™™ ˙˙˙ ™™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

#˙ ™

˙™

˙™

˙™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

˙˙˙˙˙˙˙™™™™™

{

n˙ ™

˙™

˙™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

˙™ & nn#˙˙˙˙˙˙ ™™™ ?

#˙ ™

arco

˙™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

˙™

˙™

˙™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

˙™

&

˙™

∑

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

Pno.

?

˙˙ ™™ ˙™ ˙™

#˙˙˙ ™™™ ˙™ ˙™

˙˙ ™™™ ˙˙ ™ ˙™

=

45

B. Cl.

Perc. 1

Perc. 2

&

˙™

b˙™

Ϫ

bœ œ J

b˙™

Ϫ

bœ œ J

˙™

˙™

#˙ ™

˙™

nnb˙˙˙˙˙˙˙ ™™™™ b˙˙ ™™

˙˙˙˙˙ ™™™ ˙˙ ™™ ˙ ™

nb˙˙˙˙˙˙ ™™™™

˙˙˙˙˙ ™™™ ˙ ™

arco

˙˙˙˙ ™™™ ˙˙˙ ™™

b˙˙ ™™ ˙˙ ™™ ˙ ™™ ˙

Ϫ

˙˙ ™™ ˙˙ ™™ ˙ ™™ ˙

˙˙ ™™ ˙˙™™

Ϫ

#œ ™

Ϫ

˙˙ ™™ ˙˙™™

bb˙˙˙˙ ™™™ b˙˙ ™™™ b˙ ™

Ϫ

Ϫ

Ϫ Ϫ

˙™

Ϊ

∑ œ™

Ϫ

˙™

˙™

œ œ œ

œ œ œ

Ϫ

soft mallets

n#n˙˙˙˙˙˙ ™™™ n˙˙˙ ™™™™ ˙™ ˙™

˙˙˙˙ ™™™ ˙˙ ™™™ ˙ ™

∏∏∏∏∏∏∏∏∏∏∏∏

?

˙™

soft mallets

˙™

˙™

˙™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

& n#b˙˙˙˙˙˙ ™™™™ ˙ ™

b˙ ™

˙™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

{

&

˙™

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

Pno.

?

˙˙˙˙˙˙ ™™™ ˙˙ ™™™ ˙˙ ™™ ˙™

=

53

B. Cl.

Perc. 1

Perc. 2

? & &

Pno.

˙™ œ™

Ϫ Ϫ

∏∏∏∏∏∏∏∏

? #˙˙˙ ™™™ ˙˙ ™™

Ϫ Ϫ

‰ Œ ∑

˙™

∑

˙˙ ™™™ ˙˙ ™ ˙™

∑

∑ ™ œ™ œ

∑ œ™ œ™

∑

˙™ # ˙˙˙ ™™™ ˙ ™™ ˙

˙™

˙™

∏∏∏∏∏∏∏∏∏

{

&

˙™

∑ ˙˙ ™™ ˙˙ ™™ ˙ ™™ ˙

˙™

mediium hard mallets rubber core

œ œ œ

œ œ œ

move to glockenspiel

∑

∑

∑

Œ Œ

œ œ œ

œ œ œ

œ œ œ

œ œ

˙™ ˙™

˙™ ˙™

˙™ ˙™

˙™ ˙™

˙™

˙™

œ œ œ

œ œ œ

glockenspiel

œ — œ

∑

∑

œ œ œ

œ œ œ

˙™ ˙™

˙™ ˙™

™ ? ˙

˙™

œ œ œ &

œ œ œ

63

B. Cl.

Perc. 1

Perc. 2

Pno.

3

& Œ

{

œ œ

˙

&

˙™

˙™

œ bœ œ

bœ ˙ œ bœ œ bœ œ œ

Œ

œ œ œ &

œ œ œ

? ˙™ ˙™

˙™ ˙™

∑ bœ œ œ ˙™ ˙™

˙™

˙™

˙™ ˙™

b˙™ bœ œ œ

12 8

œ œ b œ œ b œ 12 œ bœ bœ bœ 8 œ bœ œ

˙™ ˙™

b˙ ™ b˙ ™

˙

98

˙™ ˙™

˙™ ˙™

˙™ ˙™

12 8

=

12 & 8 w™

45

˙™

Perc. 1

fij 5 5 5 5 U 5 5 fi 12 5 r & 8 œ œ œr œœ œœ œœ ™™ œœ ™™ nœœœ œœœ œœœ 4 œ œ œœ œœ œœœ œœœ œœœ ™™™ œœœ ™™™ œœœœ œœœœ

Perc. 2

12 &8

Pno.

˙™

˙™

bœ œ b˙ ™ œ

bœ œ œ œ bœ œ bœ œ œ ˙™ ˙™

˙™

12 8

b œ œ b œ 12 œ œ œ bœ bœ bœ 8 œ bœ œ

™ œ œ œ b˙

œ

˙

73

B. Cl.

˙™

Ϊ

Ϫ

{

Ϊ

Ϊ

fi 45 œ œ œœ Œ

Œ

w™ ? 12 w ™ 8

˙™ ˙™

45

˙ ˙

Ϫ

98 fi œ œ ™ œ œ ˙ ˙ ™™

Ϫ

98 fi œ ˙ ™ œ œ ˙ ˙ ™™

Ó

fij 5 5 5 5 U 5 5 fi 12 5 r n œ œ œ œ r œ œ &8 œ 4 œ œ œ œ œ œœ ™™™ œœ ™™™ œœœ œ œ œ œ œ œœ ™™ œœ ™™ œœ œœ œœ œ œ œ œ œ œ œ œ

˙™

œœ œœ

98 fi œ œ ™ œ œ ˙ ˙ ™™ 98

Ϫ

˙™ ˙™

Ϫ

44

78

w

44 fi œ œ ˙˙ ˙ œ œ ˙ 44 fi œ œ œ œ

w w w w

Ϫ

44 fi œ œ œ œ

˙˙ ˙˙

Ϫ Ϫ

44

w w

˙ ˙˙˙

78 78

˙ ˙˙ ˙

78 78

=

77

B. Cl.

Perc. 1

b˙ ™™

& 78 fi

7 &8

œ

œ bœ

pp

Perc. 2

{

7 &8

Pno.

fi

7 &8

?7 8

bœ œ œ

œ

pp fi œ

œ œ bœ œ

pp

b˙ ™™ fi

˙˙ ™™™™™™ ˙ ˙˙ ™™™™™™ ˙˙ ™™ ˙ ™™ ˙˙ ™™™™™™ ˙˙ ™™ ˙ ™™ ˙ ™™

œ

p

œ bœ

fi

bœ œ œ

œ

p fi

œ bœ œ œ p

œ

˙ ™™ ˙˙ ™™™™™™ ˙˙ ™™ ˙ ™™ ˙ ™™

43

˙˙ ™™™™™™ ˙

43

˙˙ ™™™™™™ ˙˙ ™™

43

ppp

˙˙ ™™™™ ˙ ™™ ˙˙ ™™™™™™ ˙˙ ™™

b˙ ™™

fi

bœ

œ œ mp fi

bœ œ

œœ

mp fi

œ

bœ mp

œ

œœ

˙ ™™ ˙˙ ™™™™™™ ˙˙ ™™ ˙ ™™ ˙ ™™

43 43

4 80

B. Cl.

Perc. 1

& 43

fi

3 &4

bœ

fi

3 &4

bœ mf

{

fi

3 & 4 bœ

Pno.

? 43

58

˙˙˙ ™™™ ˙™

58

pppp

œ œ œ

mf

Perc. 2

b˙ ™

œ œ

œœ

œ

mf

œ œ

œœ

˙˙ ™™™ ˙˙ ™™ ˙

˙™ ˙˙˙ ™™™ ˙˙ ™™ ˙™ ˙™

bœ ™

œ

œœœ ™™™ œ™

œœœ œ

œ™ œœœ™™™

œ œœœ

ppppp

fi

bœ f

œ œ œ

glockenspiel: hard mallets fi

58

bœ f

œ œ œ

When the cycle is performed as a whole, the final measure elides with the following piece in the cycle, "Constellations-->Celestial Dawning" fi œ

58 bœ f

58

œ œ œ

œœ

œ™ œœœ ™™™ œœœ ™™™

œ œœœ œœœ

Ϫ

œ