Seven Regressions (2018)

Page 1

Matthew Sandahl

Seven Regressions (2018) for Oboe, Piano, Violin, and Cello


2

Seven Regressions was written for and dedicated to the Ecce Ensemble on the occasion of the Summer of 2018 Etchings Festival. “The young child may be seen as a metaphysician and epistemologist in miniature, trying to establish a recognition of, and a characteristic style of engagement with, the surrounding world, through a certain implicit self-understanding. One hypothesis is that in writing, one is often handling difficult experiences that trigger anxieties about those earlier accomplishments. One has a kind of attenuated access to the earlier transitional space where so much as at stake in setting oneself reliably in relation to things.” Frank B. Farrell (from Why does literature matter?) General Graces notes are articulated before the beat. Glissandi begin immediately upon articulation and last entire notated duration. Tremolos are unmeasured and as fast as possible. Strings: mst = molto sul tasto msp = molto sul pont flaut (flautando) = very light and fast bowing, producing an airy sound. (play all gestures marked flaut sul tasto unless specified otherwise) Special performance instructions: Mvt. V is a text score. It asks performers to play through the pitches of Mvt. II from memory as fast as possible, with specialized instructions regarding articulation and dynamics. Individual practice of this movement is strongly discouraged, and ensemble rehearsals should be kept to a minimum. Imperfections should be embraced – allow memory to act as a filter on the material. Mvt. VI also involves text instructions and variable (non-through-composed) performance elements: From measure 13 onwards the oboist is presented with multiple staves of music. The oboist is to jump freely from stave to stave between each measure as they move forward in time. These sections involve repeated cells – the idea is to create maximum variation with each pass through the cell. The last cell involves indeterminate rhythms. The oboist is to play fairly regular rhythmic values within each measure, varying the durations of the silences. Each measure should last about as long as it did before, q=ca. 56. Throughout the movement the other performers are asked to abandon their notated part and begin “imitating” the oboe part, attempting as best as possible to play in unison with the oboist. During the last cell of the movement, the oboist is to get quieter with each repetition. As the oboist gets quieter the other parts get louder. The desired effect is an uncanny and somewhat stilted performance energy.


3

Seven Regressions I. Matthew Sandahl

Delicate, in one motion q = ca. 60

nœ œ 4 &4 ‰ J

Oboe

rit.

œ ‰ ≈ nœ ™ J J

˙

œ bœ

œ

œ ‰ J

Œ

Œ œ

˙

œ

j ‰ Ó œ

ppp mp

◊ÿ 3 œ 4 & 4 Œ œJ Œ

œœ J Œ

˙˙ Ó

Πpppp

Piano

sempre ppp

{

?4 Ó 4

œœœ œb -œ œœœ

Ó

˙˙

nnœœ ‰ Œ

‰ ‰

œ bœ œ

?

Œ

3

r nœ

‰ #œ #œ “‘

nœ Œ

& j #œ

#œ ™

“‘ *

°

Violin

° 4 &4 ppp

Œ

j #œ “‘ *

rit. (ord)

3

Bb œ œ œ J o

Œ

°

Delicate, in one motion q = ca. 60

“” bœ

œ œ œ

œ

µœ nœ

mst

n.v. ˜œ j R ≈ #œ ÍÍÍÍÍÍÍÍÍÍÍÍ ¯¯¯¯ œ #œ ™ o ppppp

œ

‰ ‰ o p

flaut.

≈ Œ #œ œ B ˙

˙

œ œ

ppp mp

nœ Violoncello

4 ¢& 4 Ó

arco msp

pizz.

3

Bb œ

mst

3

Œ #œ ˙

j œ e Œ œ ‰ p

o

?

Œ

j nœ ˙ o

œ nœ

˙

p ppp

mf mp

œ

r≈ ‰ œ


4

q = ca. 40

3 &4

Ob.

U ∑

3 &4

U ∑

?3 4

U ∑

Pno.

{

q = ca. 40

#˙™ Vln.

° 3 &4

œ R

#œ ≈

œ

®

U Œ

U Œ

ppp

Vc.

?3 ¢ 4

™ ##O˙ ™

Oœ R

##Oœ

®

ppp significant pause before moving on to movement II


5

II. Light, fleeting, and understated q = ca. 72 3

nœ 4 & 4 ææJ

Oboe

. œ. œ ≈ ‰

Œ

Œ

Œ bœ

b -œ J œ ≈

3

Œ

Œ

j bœ œ

5Π8

Ϊ

4 4

5Π8

Ϊ

4 4

‰ Œ

5Π8

Ϊ

4 4

Œ

5Π8

Ϊ

4 4

œ R ≈ ‰

Œ

5Π8

Ϊ

r œ ≈ ‰

Œ

ppp pp mf mf p

3 nœ 4 &4 ‰

œ œœ œœ

œ Œ

œœ

œœ

œœ ≈ ‰ R

b -œ J ‰

Œ

pp pp >j f bœ

mp Piano >j œ

j nœ

{

?4 Ó 4

Œ

mf 3

3

œ

œ

œ ≈ ‰ R

#nœœœ ‰

œœœ

œœ

#>œ

œ Œ

.j

œ

Light, fleeting, and understated q = ca. 72 flaut. msp. Violin

° 4Ó &4

nœ J

. œ œ ‰

ppp

bœ mp

p

Œ

p

flaut.

r ≈ ‰ œ

Œ

Œ

œ J

œ J

slight overpressure

flaut.

nœ Violoncello

4Ó & ¢ 4

j r ≈ ‰ #œ œ ppp

p

Œ j bœ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ¯¯¯¯¯¯ b œ o mp

Œ

Πmf

?

4 4


6

13

#-œ Ob.

4 & 4 bœj . p

4 &4 ‰

j #œœœ

œ

Œ

Πmf

bb œœœ

œ

œ

j œ

mf

3

Œ

Œ

ppp

nœ nœ ppp

Œ

-œ J

j #œ.

3 r 4 œ ≈

p

ppp

j œ

Œ

Œ

Œ

j nœ nœ

3 4 Œ

Œ

Œ

ppp mp p

Pno. mf

{

?4 Π4

Œ

#œ. J

Œ œ-

3 &4 ‰

Ó

#œ J

œ

œ J

n œ> *

°

arco msp

arco pizz. Vln.

° 4 Œ &4

j bœ

j b œ.

#œ J

œ

œ R

j nœ

‰ j nœ

ppp

r ≈ œ

3 4 Œ

Œ

3 bbOœ 4

Oœ R

Œ

mp p pizz. Vc.

? 4 bbOœ ¢ 4

Oœ ≈

Œ

Œ

nœ J

nœp mf

ppp

arco 3

Œ œ o

œ

œ >.

p

Œ

mp

f p

f brief pause before moving on to movement III


7

III. Fleeting q = ca. 100

bœ œ™

3

4 &4 Œ

Oboe

œ J

Œ

œ J

œ R ≈ ‰ nœ

p

mp

Dry and impersonal

œ ≈ ‰ R

‰ #œj ˙

Œ

f

œ

j ‰ œ

Ó

œ-

œ-

f

“” j bœ

3

œ Mechanical

œ

4 &4 Œ

œ ‰ œ

nœ nœ œ ‰

œ Œ

Œ

n œœ #œ

j ‰ œ

Œ

Œ

pp j nœ

Piano p

{

4 &4 Ó °

Œ

> œ. J

Œ nœ-

œ-

mp

mf 3

mf

#œ.

?

œ.

nœ ‰

‰ bœ

Œ

&

#œ mf

*

Fleeting q = ca. 100 flaut. mst msp ord.

msp

n -œ

3

(ord.) 3

nœ nœ bœ µœ Violin

° 4 œ &4 œ œ

O O ‰

Œ

ææj ææj ‰ nœœ Bbœœ

œ R ≈ ‰

Warm

Œ

œ œ nœ

˙

˙

œ

mp

ppp

˙

œ

mp

ppp

œ

f p

mf

p

mp ppp (ord.)

(msp)

mst

msp 3

Violoncello

4 & ¢ 4 nœ

≈ œ ˜ e. >

j >

r Bœ

nœ ™ ≈ ‰

Bbœ. msp J nœ

Warm

?

œ ≈ ‰ R

Œ

œ

˙

> mp

f

ppp

œ


8

j & ‰ #œ ˙

Ob.

œ

j ‰ œ

Œ

‰ #œj œ

j ‰ œ

˙

Œ

∑ œœ. 3

& Ó

Ó œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ-

œ J

Œ

‰ œ

‰ #œ J

J Ó

‰ b œ-

ppp p Pno.

?

{

∑ *

& °

“” bœ Vln.

° & ˙

˙

œ

mp

ppp

˙

œ

˙

mp

˙

˙

˙

j ‰ œ o

Œ

Πo

ppp pizz. 3

Vc.

? ˙ ¢

˙ mp

œ ppp

˙

œ mp

˙

˙

˙

˙

œ J

Œ

Œ

j Œ nœ

&

ppp

o mp attacca into movement IV


9

IV. Delicate, in one motion q = ca. 100 rit.

n œ œ™ bœ J

4 &4 Œ

Oboe

˙

œ

œ ‰ J

w

œ

Œ

Œ

w w

˙

œ

j œ ‰

ppp p mp p

3

4 &4 Ó

◊ÿ œ œ™ Œ

Ó

œœ ‰ J Œ

œœ ‰

Œ Ó

r œ

w ww

ppp Piano

p 3 3

{

?4 4

∑ j #œ

nœœ Œ œ

‰ œœ Œ Ó

Ó

?

Ó

Œ

Ó

&

#œ #˙ *

° “‘

Delicate, in one motion q = ca. 100 rit.

Violin

<“> ° 4 <b> w &4

nœ œ J ‰ Œ

˙

˙

˙

µœ œ™

˙

j nœ ˙ ˙ #œ B ˙

˙

j‰ Œ œ

ppp p

ppp

p mp

arco.

3

˙ Violoncello

4 Ó & ¢ 4

œœ Œ J

˙ ?

˙

œ œ J ‰ Ó

3

#w

œ nœ œ ˙

p

ppp

p

ppp

œ n œj œ mp

˙

j‰ Ó œ œ


10

V.

Instructions for all performers: Play through all of the pitches of your part from Movement II. (Play in the order they were written.) Play from memory. Play as softly as possible – risk a failure in sound production. Articulation is extreme staccato throughout. Play as quickly as possible. Do not coordinate with other members of the ensemble (other than beginning together.) Avoid individual rehearsal of this movement as much as possible. Allow memory to act as a filter on the material (“misremembrances” are ok.)


11

VI. q = ca. 56

nœ œ

3

3

Oboe

° 4 ¢& 4

‰ œ œ J

Ó

œ nœj œ œ bœ ™ nœ nœ

j œ

nœ œ ‰

bœ œ J

3 j ‰ ‰ bœ œ bœ œ œ ‰ œJ œ

nœ œ œ œ3 œ œ nœ œJ œ J J

mp

4 & 4 n nww nw

∑ w bw w w w

w

##w w nw n bww nw

nnww #w

mp

Piano

{

? 4 #w 4# w °

#w #w

q = ca. 56

Violin

° 4 Œ &4 nœ ˙ nœ ˙

j nœ œ ‰n œ œ

˙˙ Œ

nnœœ

œœ

Œ

. 3O. O. bO O O b O b œ œ œb œ œ œ Œ

3

j nœ

Œ œ

œ œ

Œ nœ

nœ œ

j ‰ Œ œ

‰ nœ œ

p 3

arco pizz. Violoncello

3 ?4 Œ ‰ #œ œ n œ ¢ 4

p

mf

Œ

nOœ BBOœ n ‰ ‰Œ J p

bœ Œ

œ

n˙ ‰ j bœ

nœ ˙

œ µœ

œ

Bœ J ‰ Œ #˙

œ

j‰ œ


12

8

# œ œ 3n œ ‰ #œ œ J J J 3

3

nϪ Ob.

° ¢&

j nœ

bœ œ J

Œ

‰ j nœ œ

œ œ J

bœ bœ œ œ

3

œ nœ

≈ Œ

œ nœ

œ bœ œ ‰ J

œ

mf f

mf

∑ & bbnbw w ww

Ó n˙ n˙

nnnw w w

Pno.

f mf

{

? nw nw

nw bw

Œ

j œ Ó œ

3

nœ Vln.

° &

Œ œ

œ œ

j ‰ œ

˙

Œ

Oœ™™

Oœ J

##Oœ

b˙˙ b˙

Ó

˜œ J ‰

Oœ ‰ ‰ J

œ

Œ

œ J ‰

mf

o mp

ppp pizz.

Vc.

? ¢

˙

œ

j œ ‰

Œ bœ

˙

j ‰ Œ œ

j ‰ nœ

arco

j Oœ o

3

Oœ ‰ œ p

œ

˙

j œ ‰ Œ

mp

ppp


13 Each system is a possible path through this passage. Jump freely between systems after each measure. Avoid repetitions of measures and predictable patterns. Vary as much as possible with each rehearsal and performance.

2x total

Ϫ

3

13

œ 3

bœ ° ™ &™

œ

œ J

œ bœ nœ ≈ #œ

‰ nœ

nœ œ J

nœ ‰ J

œ ™™

f

n3œ nœ & ™™ #œ

Ob.

™ ¢& ™

œ

nœ œ

œ ‰

nœ J

™ œ nœ

3j bœ

3

œ J

Ϫ

nœ œ

œ J

nœ J

Œ

nœ ™

3

œ J

r ≈ bœ œ

j œ

bœ ™

œ

j nœ

bœ J

Œ nœ

j nœ

j œ

nœ ‰

nœ J

™™

œ ≈

™™

2x total 3

& ™™

bœ ‰ bœ

Πw w

˙ ˙

Œ

n˙ ™ n˙™

™™

‰ nnœœ

˙˙

Œ

b˙˙ ™™ b˙™

™™

œ

˙

œ J

Pno.

3 3

{

? ™™ <b>˙˙ <b> ˙

Œ bœ

œ

Play two times, then drop out and begin imitating the oboe by ear, attempting as best as possible to play in unison with the oboist. Start ppp and get louder as the oboe gets softer.

Vln.

#œ J

° ™ &™

‰ f

Œ

™™

Ó

ppp 2x total

Vc.

? ™™ ¢

Œ bœ

˙

œ f

j œ ppp

Ó

™™


14 3x total 16

As before.

° ™œ &™

œ

œ œ & ™™

œ. J

œ

œ

3

œ ‰

Œ

œ

œ

œ œ J

Œ

œ

Œ

œ

œ ‰ œ

Œ

Œ

œ

j œ

3

‰ œ

œ œ œ™

3

œ J

œ

3

œ J

œ J

œ

œ œ

œ Œ J

™™

Ó

™™

3

œ

œ

œ

œ

3 3 3

&

Ob.

™™ œ

œ

œ œ

œ

œ J

‰ œ œ Œ

‰ œ

œ J

œ œ J

œ

œ

œ œ

œ

œ

œ

œ œ™ J

œ Œ

œ œ

œ

œ

Œ

™™

Œ

3 6

œ œ

œ

œ

Ϫ

œ

& ™™ Œ

™ ¢& ™ ‰

œ J

œ

œ

œ

œ Œ

œ J

œ

œ

œ

3

œ œ œ J

œ œ

œ

œ J

Ϫ

˙ ‰

3 œ œ J

œ J

œ J

™™

œ ≈ ‰ R

™™

Play three times, then drop out and begin imitating the oboe by ear, attempting as best as possible to play in unison with the oboist. Start ppp and get louder as the oboe gets softer.

nnn œœœ & ™™

Œ

3

Ó

##œœ ‰ œ

Ó

ppp

Œ

™™

Œ

™™

™™

ppp

Pno. 3

{

? ™™

nœ #œ

Π&

Ó

Ó

‰ bœ bœ nœ

Play two times, then drop out and begin imitating the oboe by ear, attempting as best as possible to play in unison with the oboist. Start ppp and get louder as the oboe gets softer. mst Vc.

°? ™ ¢ ™Œ µœ ppp

˙

j œ

Œ

Ó


15

4x total 1st = f 2nd = mf 3rd = p 4th = ppp

As before, but in free time: Maintain fairly regular rhythmic values for sounding pitches each unit (each measure). Vary duration of silences between sounding gestures. Each measure lasts roughly four beats in q = ca. 56, perhaps faster but not slower. 20

° ™ &™

œ. œ. -œ -œ -œ œ.

-œ -œ

œ.

œ. -œ

-œ.

œ.

œ.

-œ -œ -œ

œ. ™™

b -œ œ.

-œ œ.

œ.

œ.

. . bœ. œ bœ. œ bœ.

<n>-œ

& ™™ -œ

-œ b-œ -œ œ.

œ.

œ. -œ

™™ -œ œ.

œ.

#-œ

& ™™

™™

Ob.

œ.

œ.

-œ œ.

œ. œ.

#œ.

<n>œ

œ

œ

& ™™

™™ -œ

œ.

& ™™ -œ & ™™ ™ ¢& ™

œ.

œ.

bœ.

œ.

œ.

œ.

œ.

œ.

#-œ -œ œ. ™™

b-œ bœ.

œ. œ. œ.

-œ œ. -œ œ.

œ.

œ.

œ.

œ. œ.

<n>-œ œ.

œ.

œ. œ.

œ. œ. œ.

œ.

œ.

™™ œ.

™™


16

VII. play (a) twice, separated by brief rests from performance. then play (b), followed by a significant pause. then play (a) for a third and final time, concluding the piece.

(a) Dramatically, like a cue in a film score. q = ca. 72 molto rit.

œ

4 &4 Œ

Oboe

œ #œ

œ

œ œ œ

˙

œ J

œ œ œ œ

Ÿ~~~~~~~~~~~ j j œ œ

4 &4 ‰

Œ

U ∑

Ó

ppp

∏∏∏∏∏∏∏

mp

3

nb˙˙ n˙

œ ‰

j #œ

U ∑

nœ Œ

p mf mp Piano

{

?4 Œ 4 °

nœ J

∏∏∏∏∏∏∏

pp j #œ

fff

n˙ n˙

Π*

Œ bœ >

j ‰ bœ ˙

œ

U bw w u

molto rit. Dramatically, like a cue in a film score. q = ca. 72

œ œ #œ Violin

° 4 & 4 œœ

3 j œœ œœ # œ

3

j œ œ

Œ

œ ™ # œ œ #œ ™

Violoncello

B4 ¢ 4‰

mf

œ J

˙

U w

mf

p

nϪ

Πo mf

p

œ

p

p

œ œ œ™

Ϫ

?

bœ œ Ó

Ó

j bœ

œ mf p

mf

œ

U bw

p

o

p

&


17

(b) Still, impersonal. q = ca. 40 breathe when necessary

∑ Ob.

&

™™ œr

™™ nw

Œ

Ó

ppp

“” ∑ Pno.

{&

5

œ5.

œ.

œ.

œ.

™™ ‰

œ.

œ.

™™

ppp

Still, impersonal. q = ca. 40 retake bow when necessary Vln.

° &

™™ œœr ≈

™™ ww

Œ

Ó

ppp flaut 6

œ. ∑ Vc.

¢&

™™ ≈

œ.

œ.

œ.

œ.

œ.

œ.

6 œ. œ.

œ.

œ.

œ.

œ.

6 œ. œ.

œ. ≈

ppp

Œ

™™


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