Brown CENTERING

Peters Contemporary Library

ISSUU Version For perusal only

BROWN Centering for Violin solo and Ensemble

Full Score

EP 11128

ISSUU Version For perusal only

ISSUU Version BROWN ForEARLE perusal only

Centering for Violin solo and Ensemble

Full Score

ALLE RECHTE VORBEHALTEN

· ALL RIGHTS RESERVED

EDITION PETERS L E I P Z I G · L O N D O N · NEW YORK

P R I N T E D A N D D I S T R I B U T E D B Y FA B E R M U S I C

ISSUU Version For perusal only

Earle Brown

centering (1973)

Commissioned by the London Sinfonietta for Paul Zukofsky

Program Note Score in C Instrumentation

The title of the work is also that of a book by Mary

The work is dedicated to Mary Caroline Richards

Caroline Richards, an old friend whose poetry and

and to the memory of Bruno Maderna who was

philosophy and example have been of great value to

a very close friend of mine and whose death

Solo Violin

myself and many other artists and friends. The book

I heard of as I was in the process of completing

Flute

concerns itself with mental and physical “centering”

the work. The very last 5 notes (for solo violin)

Clarinet in Bb

in the sense of balancing and the gathering and

are quotes from Bruno’s first oboe concerto.

Bassoon

focusing of one’s resources as necessary to “perform

Horn in F

well” in any life situation.

Trumpet in C Trombone

In the music I have used the center frequencies of the

Piano

violin and piano and of the total ensemble as structural

Violin

points of balance and imbalance around which the

Viola

form moves in and out of centers of repose. Within

Violoncello

the composed continuity there are three “open-form” areas; two are cadenzas for the solo violin and one is

Duration: approximately

a kind of cadenza for the conductor, working with the

20 minutes

three instrumental trios (woodwinds, brass, strings).

SEaTINg PLaN:

(lid open) Pno.

C l.

B s n.

Tpt.

H n.

Fl. Solo Vln.

Cond.

Trb.

Vlc.

Vl a .

Vln

.

Earle Brown

ISSUU Version CENTERING For perusal only for Solo Violin and Ensemble

I

 

§b

 



 Piano

I

 ff

    

(depress silently) sost. P

* 

  fff

                    

c.20" slow random touches for resonance

 

pp

  

 

pp

Pno.

Vn. Solo



 

I

c.10"

LH mute by fingers on strings inside piano



 

mf



 

p

c.10"



   3

slowly move fingers

 

 



*hold until resonance nearly gone

sul pont. . . . . . . . tasto. . . . . . . . . . . . . pont. trem. . . . . . nat. trem. . . . . . . . with LH pizz.

Violin solo



c.10"

Earle Brown (1926–2002)

c.10"



 

sul A*

rhythmic suggestion

3

   



pp mp p *unstable frequency fluctuations, erratic and arhythmic but slow, between G# and A§, and as double stop, starting by holding a ‘pure’ quarter-tone between, for c. 10"

c.5"

c.15"

down the strings for random percussive sounds and harmonics (> >)

3 3              

  

(improvise similar rhythm) (> >)

pp

mix: . . tratto pont. trem. . . .tasto. . . nat. trem. . .pizz. .pont. . batt. . nat. tratto, etc. ( >) accelerate and intensify dynamics



[   ]

 Vn. 

Edition PetersLitolff/Peters 11128 Nr. 11128

I  mp

         3

    

pizz. Vla.

Vc.

very fast irregular rhythms repeat figures as necessary for the 5" duration





mp



pp



       



p

3

   3        p



Copyright Verlag © 2007 by Henry Litolff’s © 2007 by Henry Litolff’s Ltd & Co. KG,Verlag Leipzig

2

2

A



 Pno.

pp











 

c.15"















mp

f



mp

 I  Vn. 

§b

  __ __ __  

p



,

fff

p

pp

__ __ __ __  (together)

sost. P

 

to nat. . . . . . . . . . . . . . nat.

mf

mp

cue piano

f

,

     

  

depress silently

 sul pont.

,

 __ __ __  

mp







pp



Vn. Solo



ISSUU Version For perusal only



 f





fff



__  __ __  

p

p

 

pizz. Vla.



Vc.

 q = 70



pizz. arco

    arco

Vn. Solo

3

mp f



p

  p





5

3

p



 

pp

mp





 



mf



 

pizz.

ff

mp

5

arco      Vn. 3

  Vc.   arco

Vla. 3

3

p



pp











mp

p

pizz.

  

3



f



         

 arco       

  

f

f

 

mp

   

arco



mf

mf

 

sul pont.

 strum          3 

 



pizz.

   

pizz.

f

f

mp

, fff

ISSUU Version For perusal only 

3

(no tempo)

arco

Vn. Solo

 

3

 



p



 

mp

  3



I

 



p



pizz.

  

I

I

  

 ff

gliss. sord.

,              

ff

ff

ff

 

u

  pp nat.

Vn.

 Vla.   



arco sul pont.

AFAP*

            mf

  Vc. 

pp

 

nat.

ppp

p



AFAP

            

arco sul pont.

mp

nat.



  ppp

p

pp

pp

*As Fast As Possible (cleanly)

 c.20" con sord.

Vn. Solo





mf

  

mp

 (4")   ff

, gliss. 

,

gliss.

(5"-6")         ff

quasi gliss. mf



mp



3

     mp



sul pont.



(5")

   nat.

p 3

mf

mf

pp

3

4

ISSUU Version For perusal only 

4

* as fast as possible

B [very legato] soft attacks  Fl.  

Cl.

Bsn.





Tbn.

 



 Vn.  

Vla.

Vc.





     *                                          

c.10"

pp

                                              pp  

 

 



  

  



 



               

            pp

                                                    pp con sord. (cup)                                                      

con sord. (cup)

  

[ p<>pp ]



Vn. Solo

     

[ p<>pp ]

 Hn. Tpt.





c.10"-12"

                                



         

 

The three trio groups may be raised or lowered dynamically; stopped or restarted, either independently or in pairs.



Conductor must have at least one group sustaining at all times.



Players watch for conducted stops, starts, changes of loudness, and very short attacks (with edge of hand, fingers straight up.)





pp

pp



c.4"

 

                                                 

c.30"-40"



            

  

[ p<>pp ]

 

  



   

   



                            

     

*not vertically synchronized.

All nine instruments must be absolutely equally balanced dynamically, in relation to one another; none predominates. Sound result is a dense “wave” of sound

                        

allow a moment to put mutes on con sord.

pp



ppp

con sord.

pp



ppp

con sord.

pp



ppp

*Instruments will naturally arrive at the fermata at slightly different times. Timing is to begin at the point when all have arrived.

Fl.

   

I ,  mp



Cl.

Bsn.





mf

 3

p

I

p

I 

     

mp p

p

,   

p

  

ISSUU Version u For perusal only 

[3 signs] moderately fast

mp

mp

p

  

 3



p

  

f p

f

f

,   

p p

   

 

Vn. Solo

Vla.

Vc.

 

Vn.

Vla.

Vc.

p

ff

 

fff

3

 ff



c.8"

 , 3            p mp pp p 5





  mp

 

5



p

pp

  



Vn. Solo

arco

pizz.

senza sord.

Vn.

5

  

pp



pp c.12"

con sord.

mp



pp

 



 pizz. arco              nat.

pp



pp

mf

p ff

u senza sord.

mp

3

         pizz.

mf

arco

p

mf ff

I quickly 5

tasto



p

3



 

  pizz. 

          Flute       



arco

3

mp

mp

mf

sul pont.

p

3

    3

f mf

ff

mp

u

mf

  

to cadenza

mp

  

senza sord.

I 3pizz. arco

pizz. ,        con sord.          5 

p

f

I gliss.

arco



mp

 p

(add harmonic)



5

6

ISSUU Version For perusal only 

6

FORM, basically lightly and quick tempi, with much space for the soloist C OPEN pages 6 & 7 are played together

Fl.

Fl. 3

Fl.

conductor indicates ensemble dynamic

7

mp

mf

mf

con sord. (harmon, stem removed)

mf

fz

mf

f

senza sord. (when poss.)

3

mp sul pont.

mf

f

Cl.

Tpt.

3

3

3

f

Vc. 3

3

f

mp

f

arco

mf

mf

,

mf

pizz.

p

mf arco

5

3

Bsn.

Vc.

f

ff

mf

3

3

Hn.

con sord. (harmon)

Letters C and D are ‘open form’ for the conductor in dialogue and combination with the soloist. The five orchestral events of each section may be conducted as ensembles or taken apart and cued as solos.

Events 1-5 indicated by fingers of left hand. Speed, loudness and downbeat indicated by right hand.

5

3

3

Tpt.

Bsn.

mf senza sord. arco

f

ff f pizz.

con sord. (cup)

arco

Tbn.

gliss.

3

Vn.

ff

mf

5

3

(senza sord.)

ff Vn.

3

senza sord.

3

3

Vla. (senza sord.)

Pno. Vc.

3

( p - mp )



3

6

ISSUU Version , For perusal only , , 

Play the material through once in this sequence, then materials between

CADENZA (with page 6)

C basically percussive Vn. Solo



pizz. senza sord.

   

    

mp



may be played in any order. Octave and timbre may be altered. Play as a solo cadenza but pay attention to conductor’s entrances and “comments. ”

                     

,

very fast but clean

ff

mf

6

       

ff

,



fff



pizz.







f







 

mp

 ff

 

 



f

f

,

  ff

mp

 ff



mf

    ff

ff

f

3



,

mf



 mp

mp

pizz.

 

mp

ff

3



mp

f





  ff

  



 fff

(pizz.) repeat, arhythmically

  f



mp f



,

f

        



,





f

 

   

5

mf



 

   

pizz.

3

arco sul pont.

mf

   

nat.

  

 

           

  

3

fff





3

  

mp

ff



arco sul pont.





ff

pizz.



mf

battuto

mp

 

7

,

mp ff

battuto



mf

3





,

7

8

ISSUU Version For perusal only 

8

on this pitch sequence, but more slowly than at letter C and using octave transpositions.

D improvise basically arco (nat., sul pont., sul tasto, tratt., harmonics)

(2nd time)

Vn. Solo

OPEN FORM* con sord. (harmon, no stem)

5

3

3

3

Tpt.

Fl.

mf

3

p pizz.

mf

p

p mp

gliss.

6

sul pont.

mp

mf

nat.

to pont.

Vn.

Vc.

fff pp

mf

mf

f

3

5

f

mp

mf

Fl.

p

mp

5

pizz.

nat.

mf

Cl.

3

to pont.

arco

mf

Vn.

mp

p

f

5

mp

fff

5

3

p

p

mf

p

f

mp

mf

con sord. (cup) 5

p

3

Tbn.

p

mf

3

mp

p

flat of hand clusters Vla. Pno.

mp

pp

*same instructions as letter C



mf

3

f



ISSUU Version For perusal only

fz

p



9

E OPEN FORM c. 60" Vary tempi of events. Virtuoso. Basically quick bursts and long linked sequences of single and combined timbres. Conductor may introduce a fermata at any point.     Fl.    3

f

mp

p

Bsn.



 

   

mp

p

    Hn.   (Harmon)

3







Tbn.



 

pp

mp

mf



mp (cup)

pp fz

mf

      

   

mp

p

mf

           Vn.  mp

3

    

pizz.

Vla.

3

f



f



 

 gliss. pizz.    arco Vc.  

f

fff

pp mp



mp 5

p

p





p

mp

mf

  3

mp

mp

mf

5

mf

mf

mp

p

3

pp

  mf

p

pizz. nat.

arco

 



arco nat.

mp

mf

mf

p

  

pizz.

ff

 

     3

p

   3

p

arco

3

mf

p

mp

pp

   3

ff

p

    3

mp

    

5

mp

pp

   

mp

mf

p

arco nat.



pizz.

f

  3     

p

p

mp

     3      

    

 

p

5

p mp

mf



p



ff



p

f 3



3

p



 

p

p

pp







fff



  

p

p

mp

mp

 3   3              mf

mp

mf



p

     

  



f

mf

pp p

mf

3

mp

3

ff

 

3

p

p mf

p

7

  

 3          

  3   

 nat. gliss.   

6

p

f

mf

5

     

mf

mf

mf p

mp

p

f



      3    

3

p

5

    

mp

3

7

pp

      

mp

arco

     

sul pont.

 

mf

mp

5

   

f

mf



        

    

sul tasto gliss. sul pont.

mp

3

mf

ff p

p



3

pp f

      

   





mf

  

mp

mp

arco nat.

ff

6

3 3                 

p

3

3

3



f

5

 

    

p

mp

  

p

p

3

f

mf

mp



  



f

p



  3    

p

Tpt.

3

   

3

3

     

mp

pp

3

5

  

      

5

mf mf

3



Cl.

      

pp

p

arco





3

p

mp



5



       

arco nat.

mp

p



mp





 3

pp

    p

9

10

10





nat.

 

Vn. Solo

ISSUU Version For perusal only

sul pont.

3    

p



nat.

  

 

    





nat.

ff



 mf

    

7

f



sul pont.

(add harmonic)

mp

mf





p

Vn. Solo

mf

9

p

3

fff f

p

mp

     

pizz.



p

6

mf



   



ff

ffff

sul pont.



con sord.

p





 

p

   p

 f

 

 7

  p



  mp



                                   f

mf

f

p



(add harmonic)

f

mp

                      

con sord.

p



AFAP

I semi-articulate

3 3 pizz.      

mp

con sord.

   pp

p



ff

 sul pont.     quasi gliss.      

  



 



mf

 

 



p

 

pizz.

5    arco         sul pont.      

enter after mid-point of trio

 Vln. 

Vc.

5

  

(Solo vn. follows as conductor cues all harmonics for Trio)

Vla.

   

 gliss. 

AFAP

 

Vn. Solo

 

9

 Vn. Solo





 ff

quasi gliss.

 mp



                        



c.12"



pizz.

mf



3     

  

arco

mf

ff

mp

 



f



  

sul tasto

pp

mp

3

 



p

f

nat.

3

 mp

,

1 sign

F legato Fl.

 Bsn. 

2 signs

1

 I 



mf

f

  

mp



Cl.   



3

I

I3

 

,

   p

ff

con sord. (cup)

,

p

ff

 

 I    mf 5

u, 1

 

2

I3 

mp

I

3

I 

   

 f

pp

 



p

,

p

1

3

ff

  

mp



11

3 signs

1 sign

p

1

Tbn.      

 Vn.  

 I

1 sign

mp

senza 1 sord. arco

p 3

1

 

con sord. (harmon, stem removed)

 

  

p

mp

Tpt.

2

I 

I

    



3 signs

2

Hn.

Vn. Solo

ISSUU Version For perusal only

mp

 

ppp

3



 

mf

 

 



p

 













  





 



f

ff



pp

 

 

mp

senza sord. pizz.

   Vc.    mf



f

sord.  senza     Vla.  

p

            fff p        

I

con sord.

mf 5

   p

      

arco

,



c.5"

p

   



p 3

mp 3

1

gliss. pizz. 

ff

I

1 sign



sul D



 

pp





5

    mp

3

  f

ppp

11

ISSUU Version For perusal only 

12

G

OPEN FORM conducted dynamics pp + - mp

soloist free, conductor follow and/or contrast with soloist** c.40"-60"

c.20"

     

2 clicks mf

Cl.

  



p

ff

mf

        f

mf

Bsn.

wind whistle

WINDS

Fl.

6

key clicks

wind sound through instrument (no tone)

       

     

f

mf

inarticulate, very fast





etc.

[ ppp]

wind sound through 1 only instrument

 

p

pp

5

open



Tpt.

p

Tbn.



pp

4

open p

mf

pp

pp mf

Vn. Solo



BRASS

Hn.

pp

key clicks

wind sound through instrument (no tone)

p mf

 vary and repeat figures randomly, as solo cadenza. Signal cond. before going to H. 

erratic trem. * arco behind bridge E A D G

sim.

 Vn. 





 

inarticulate trem.  sul pont.

Vc.

Vla.   

inarticulate trem.

  

sul pont.

mp



mf

etc.

[ppp ]

inarticulate sul pont. (behind bridge)

trem.

7 inarticulate sul pont. 

3

inarticulate, very fast

 



inarticulate sul pont.



  



as before

 

STRINGS

12

pizz. behind bridge

arco behind bridge



as before



 





 



as before





 *graphics may be followed, but are also merely suggestions of improvosational style.

**cues may be for collective groups or for individuals

ISSUU Version For perusal only

H



AFAP









   3

   

f

  

mp

Pno.

Vn. Solo

       

arco sul pont.

  

 

p



3

 ff







pp



pp



 



pp

Vn. Solo



 

p

 mf

6

 

 

p



 

fff











,

    



pizz. arco

pp

ff

mf

3

pp





    

mp

 

pizz.

1

mp

f

mp



f

arco



p



 







5

pizz.

mp

 

    

pp

mp

 

p











   













*

 

pp



 

13



2



       

 pizz.              Vc.           

nat.





  

3

very resonantly

  

arco sul pont.

 

   

    

    etc.  Vn.       etc.

Vla.       etc.  Vc.  



 

ff

  



pizz.

fff







mp 3



mp

pp

trem. sul pont.





Event 1: On solo or ensemble cue from conductor, slide fingers very gently up and/or down the string (while arco) producing natural harmonics. Conductor indicates tempo and direction of gliss. (up, down or random.)

AFAP



 



f





p





5

,



3

f

Play the material once through as written, then Vn. and Pno. ‘Open Form’ between * – * with events 1 and 2 cued in, until Vn. Solo cue for last system.

All Pno. figures lightly and quickly.





*

Pno.

Vn. Solo





13

14

ISSUU Version For perusal only 

14

J SEQUENCE: Event 1 , Event 2, with touches of 1 as accompaniment pp , then 3, 4 and 5, after strings have arrived at their fermata.

Fl.

Event 1: A single sign for each chord. Expressively, legato, broadly, strongly, warmly, basically quietly.

At least once through, inventing rhythm of chord changes – vary durations and dynamics, with or without stops (silences) between.

  





Cl.

 

  

  Hn. 

Bsn.

con sord. (cup)

Tpt.

Tbn.



 Vn. 

pp



Vla.



 Vc.   

 







 

 









  Fl. 

pp



Cl.

Bsn.





3

   

 pp    3

 

     

3

 



 Hn.



5 5

(cup) Tpt.

      3

pp

 

pp

4

3

   

pp

3



  (cup)

Tbn.

pp

3







































 



















Vla.

Vc.



 

 



 

 

 







 

 



pp

    







3     Vln. 

  

 

 



slowly

 









quickly







pp Vln., Vla., Vc. after first 2 cues from conductor, follow Soloist.

moderately





nat.













pp

 



 













 

sul pont.



Vn. Solo

  pp



 

  con sord. (cup)    













3



pp

 



 



5

 

 



5











pp



3







      ,    pizz.

ISSUU Version For perusal only 

A single sign for each chord. Expressively, legato, broadly, strongly, warmly, basically quietly.

K

 Fl. 

 

 

   Bsn.    Hn.   (cup) Tpt.  

 

Cl.

Tbn.





 

(cup)



15

 



 









 

 





ppp ppp ppp ppp

ppp

ppp

Pno.

Vn. Solo



 pp

 Vn.  Vla.



Vc.



 



  





 











 

Vn. Solo

Vn. Solo









mf



  

mp



ppp



ppp

   

ff

mp







 3

   



       

3

pp

       

 





pp

vibr.

p

  

mp

5

p

3



 

p   quasi



 

3

mp



mf





 

quickly

harm. gliss.

sul E fff





pp

  ,   

 ,

sul A

sul D

ppp





 



p



 

mf



  

,

 

sul G

mp



mp

gliss.

ff







  

c.20"





ff

mp

ppp

  

senza sord.





ff

Pno.

con sord.











mp



 

mp

c.30"

sul pont.

quickly

 



 ,



pp

   

nat.

3



mf

mf

p

mp

pp

21 Nov. 1973 Balt.

ppp

15

ISSUU Version For perusal only

ISSUU Version For perusal only

ISSUU Version For perusal only

ISSUU Version For perusal only

ISSUU Version For perusal only Earle Brown Earle Brown was born in 1926 in Lunenburg, Massachusetts, and in spirit remained a New Englander throughout his life. A major force in contemporary music and a leading composer of the American avantgarde since the 1950s, he was associated with the experimental composers John Cage, Morton Feldman and Christian Wolff, who – together with Brown – came to be known as members of the New York School. Brown died in 2002 at his home in Rye, New York.

Earle Brown wurde 1926 in Lunenburg, Massachusetts, geboren und blieb im Geist ein Leben lang Neuengländer.

Ab den 1950er Jahren war er eine treibende Kraft in der zeitgenössischen Musik und einer der führenden Komponisten der amerikanischen Avantgarde. Enge Verbindung unterhielt er zu den experimentellen Komponisten John Cage, Morton Feldman und Christian Wolff, mit denen gemeinsam er später der sogenannten New York School zugerechnet wurde. Brown starb 2002 in seinem Haus in Rye, New York.

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