Augusta Read Thomas
CARILLON SKY for solo violin and chamber ensemble
Full score
from the G. Schirmer Rental Library Date of Printing_________
G. Schirmer, Inc. New York, NY
Augusta Read Thomas
CARILLON SKY for solo violin and chamber ensemble
G. Schirmer, Inc. New York, NY
Instrumentation Flute (doubling Piccolo) Oboe Clarinet in B= Trumpet in C (doubling Piccolo Trumpet in B=) Trombone (optional doubling Alto Trombone) Percussion (2 players) 1. Vibraphone (2 bows needed, motor off), Crotales (2 octaves), 2 Low tom-toms, 2 Finger cymbals suspended from a frame played with triangle beaters, Sizzle cymbal (wire brushes needed) 2. Marimba, Tubular chimes, Glockenspiel, 4 triangles of various pitches, 2 Bongos, Suspended cymbal (bow needed), Chinese cymbal (with a good rattle or splash to its attack), Large tamtam
Harp (harmonics sound one octave higher than written) Piano (lid must be removed) Solo Violin 2 Violins (practice mutes needed) 2 Violoncello (practice mutes needed) (Optional Viola substitute for Violoncello I)
duration ca. 7 minutes Transposed Score Grace notes come before the beat All pizz. are lv. molto sempre All ricochets in the string parts are free - an exact number of iterations is not required There are only 6 dynamics used in this composition (pp, p, mp, mf, f, ff) such that they each have a very distinct meaning. For instance, pp is as quiet as possible. I.e.: There are no ppp or pppp markings. Setup Percussion I
Piano Trumpet
Harp
Percussion II
Trombone
Flute
Oboe Violin
Clarinet Violoncello
Violin
Violoncello Solo Violin Conductor
Program Note The title CARILLON SKY refers to a image that inspired me to compose this music - that of a sky full of very soft tinkling and flickering bells, as well as very clamorous pealing, ringing, resonant bells, through which one floats. As if a Cathedral’s Bell Tower becomes a metaphor for natures ever changing landscape and the violin soloist is a distinctive bird soaring, interacting, circling and swirling in the resonance. The idea was to try to compose a mini violin concert, but one that is in fact a "whole piece" -- all packed into 7 minutes. The solo violin part is marked with this performance indication: “Passionate and rubato; like a jazz improvisation. Accentuate the variety of characters.” Made up of several phrases, some of which end on fermatas, the works characters include: majestic, playful, elegant, resonant, spirited, calmly floating, bold, with repose, resolute and graceful. The form is slightly unusual in that the phrases are of asymmetrical length. As if a “group of improvisers” takes the materials a little further “out” or “back in” (in the jazz sense of those words) with each successive phrase. The piece accumulates - rather than being in one of the standard forms, such as ABA form, or rondo form. The form is the best reaction to the objects calling it into being. While the music was very carefully made, and is highly nuanced, and is a “serious” piece of music, it should sound free, spontaneous, resonant, jazzy, playful and alive.
—Augusta Read Thomas
with admiration and gratitude to Baird Dodge, Oliver Knussen, and the Chicago Symphony
CARILLON SKY (for Solo Violin and Chamber Ensemble) Augusta Read Thomas Passionate and rubato
(2005)
= 80
Like a jazz improvisation. Accentuate the variety of characters. Piccolo (Flute)
Oboe
Clarinet in B
Trumpet in C (Piccolo Tpt.)
Trombone (opt. Alto Tbn.)
1
Percussion
2
Piano
Harp
D CB/E F G A
* 0
Solo Violin majestic
5
3
3
3
3
3
playful and reaching upward
Passionate and rubato
= 80
Like a jazz improvisation. Accentuate the variety of characters. Violin I
Violin II
Violoncello I (optional Viola)
Violoncello II
*Bowings are only suggestions, and can be changed freely by the soloist. Corrected 8/2006
Copyright Š 2006 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.
Property of: G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY
2 Delicate, resonant, fragile, gossamer Like birds in the sky
5
fltg.
Piccolo
Picc. 3
sempre
3 5
Ob.
Cl. in B 3
espr. C Trumpet st. mute (fiber)
fltg.
Tpt. elegant
Tbn.
bowed
Vibraphone (motor off) 1
Ped.
Perc. 4 Triangles
Sus. Cym.
scrape with triangle beater
2 3
sempre
elegant; not harsh
inside piano
gliss. with skin of fingertip gliss. l.v.
elegant and dreamy
Pno. pizz.
3
gliss. freely to top of harp gliss. l.v.
3
3
sempre
Hp.
(All harp harmonics sound one octave higher than written.) very slow trill, dreamy
Solo Vn.
3 5
calm
gradually ebbing away
fade into texture
emerge out of texture
Delicate, resonant, fragile, gossamer Like birds in the sky
ricochet
con sord. Vn. I
ricochet
ricochet con sord. Vn. II sempre
6
Vc. I
Vc. II
Notes to Conductor: (1) Please alert the ensemble that there are only six dynamics – – in this work, such that each dynamic has a precise meaning ( , for instance, should be as quiet as possible). (2) Grace notes come before the beat. (3) Ricochets are free – an exact number of iterations is not required. (4) All pizz. are l.v. molto sempre.
sempre
3 10
fltg. 3
Picc.
5
sempre
Ob.
Cl. in B
3 3
3
sempre
fltg.
3
Tpt. sempre
3
3
3
sempre
3
straight mute Tbn. 3
sempre chant–like, very slight vibrato
Sizzle Cymbal wire brush
2 Finger Cymbals (suspended) triangle beater
1
Perc. 4 Triangles
Sus. Cym. (scrape)
2 Triangles
sporadic, uneven, disjointed tremolo
2 sim.
5
pizz. (inside piano)
Pno.
❉
glis
s.
l.v.
3
G
Hp.
F G A
delicate
(D CB/E F GA )
Solo Vn.
3 3
3
trem. arco d’punta
3
espr.
trem. arco d’punta
battuto
pizz. sul A
Vn. I 3
3
3
ricochet
trill between the three notes Vn. II
trem. arco d’punta
ricochet
3 3
con sord.
pizz.
arco trem. arco battuto d’punta
pizz.
sempre arco ricochet
Vc. I 3
Vc. II
sempre
3
sempre
4 poco rit. 14
fltg.
fltg.
Picc. 3
3
sub.
sub.
5
6
rubato 7
Ob. sub. 5
sporadic, uneven, disjointed trill
Cl. in B 5
sporadic, uneven, disjointed tremolo 3
Tpt. 3
fltg. (optional) Tbn. 3
Crotales rubber mallets
5
Sizzle Cymbal
l.v. molto
wire brush l.v.
1 5
Perc.
Tubular Chime
Chinese Cymbal 2
gliss.
Pno.
Ped.
Ped.
(inside piano) l.v. molto
slowly
dreamy
❉
8va
very slow dream
y gliss.
(D CB/E FG A )
Hp.
it is okay to double back on the gliss.
ord.
sul tasto Solo Vn. espr. fade into the texture
3
emerge out of texture
espr.
poco rit.
arco, sul tasto sul G Vn. I sempre trill between the three notes
trem. punta d’arco
pizz. arco Vn. II
3
5
sempre ricochet
rubato
ricochet
pizz.
sim.
Vc. I 7
3
con sord.
trem. punta d’arco
3 3
Vc. II sempre
5
trem. punta d’arco
5
5 A tempo 18
take Flute
Flute
solo
5
Picc. 5
espr. solo Ob. sub. espr. slow, dreamy trill Cl. in B
via sord.
senza sord.
Tpt. sub.
Tbn.
Crotale – bowed l.v.
Vibraphone mallets
l.v.
1 5
Ped.
Ped.
Perc. Sus. Cym. – bowed
Tub. Chimes
l.v.
2 elegant
Ped.
Ped.
8va
8va
ord. (on keyboard)
Pno.
resonant
secco (not muddy)
loco
5
❉
Hp.
resonant
D C B
slow to fast
❉
❉
D C B E F A
rubato 3
Solo Vn. sotto voce
playful
6
sub.
3
ricochet
A tempo via sord.
ord.
senza sord.
Vn. I
pizz.
ricochet
balance with Solo Vn.
arco
Vn. II
ricochet arco
pizz.
Vc. I
ricochet pizz. Vc. II
Note: At start of measure 18, it should sound as if everything grows out of the F natural.
6 22 Fl.
Ob.
Cl. in B
Tpt.
Tbn.
(Vib.) l.v. 1 in background Ped.
Perc.
2
Pno.
â?‰
Hp.
secco
D B E F G A
Solo Vn. 3
3
lyric and espr.
espr.
solo 3
Vn. I 3
espr. pizz. Vn. II
Vc. I
Vc. II
3
3
espr.
7 28
3
Fl. 3
3
Ob.
3
Cl. in B 3
3
Tpt. 3
3
Tbn.
espr.
3
1 secco Perc. (Tub. Ch.)
3
2 secco
secco
3 3
secco
Pno.
3
3
P.D.L.T 3
B E F G
secco
Hp. 3
5
Solo Vn. bold
5
sub. spirited
3
Vn. I
arco 3
Vn. II
arco Vc. I 3
Vc. II 3
8 33
A tempo ( = 80)
rit. freely
Fl.
Ob.
Cl. in B
Tpt.
Tbn.
1
Perc.
2
Pno.
Hp.
3
Solo Vn. 5
3
with repose
rit. freely to practice mute Vn. I
to practice mute Vn. II
to practice mute Vc. I
via sord. Vc. II
3
espr.
A tempo ( = 80)
sempre poetic
5
espr.
9 38
fltg.
fltg.
solo 3
Fl. 3
3
solo
solo Ob.
3
espr.
Cl. in B 3
3
sub. solo
Harmon mute – stem removed
take Harmon mute – stem removed
fltg.
Tpt. poss. fltg. (optional) 3
Tbn.
blend with pizz.
Crotale
bowed
Vibraphone
1
Perc. Ped.
Glockenspiel
2
Pno. secco
3
B
ord.
Hp.
E
D
G
(DCB/E F G A)
espr.
C E F 3
Solo Vn. 3
ricochet
ricochet
con sord. (practice mute)
arco. pont.
pizz.
Vn. I 3 3
arco
con sord. (practice mute) pizz.
pont.
Vn. II
con sord. (practice mute)
via sord.
senza sord.
pont.
Vc. I
con sord. – practice mute
senza sord. Vc. II 3
arco
10 solo
43
fltg.
fltg.
Fl. 3
3
3
sub.
3
sempre solo 3
Ob. 3
emerge out of Solo Violin 6
Cl. in B 3
fltg.
norm. 3
Tpt.
3
5
fltg. (optional) Tbn.
(Vib.) 1 Ped.
Perc. (Glock.) 2
Pno.
❉ rubato
gliss.
ss.
3
Hp.
l.v.
gli
5
(D C B /E FGA)
E
Solo Vn. 7
3
espr.
fade into Oboe
tremolo punta d’arco
sul A pizz.
Vn. I 3
ricochet
tremolo punta d’arco
ord.
sim.
Vn. II
tremolo punta d’arco
solo
ord.
Vc. I
espr. pizz.
arco
ord.
tremolo punta d’arco
Vc. II 5
3
3
pizz.
arco
tremolo punta d’arco
11 47 Fl. 3
3 5
espr.
Ob. poss.
Cl. in B
Tpt. 3
espr.
Tbn.
1
Perc.
2
Pno.
8va
gliss.
Hp.
elegant, dreamy
solo
espr.
Solo Vn. 3
3
sub.
ricochet
3
tremolo punta d’arco
arco ord.
3
solo senza sord.
via sord.
Vn. I 3 3
via sord.
3
Vn. II
trem. punta d’arco
solo
Vc. I espr. ricochet 3
Vc. II 3
via sord.
3
12 Punchy and resonant = 132–144
ritard freely 52
3
solo fltg.
fltg.
norm.
*
Fl.
Ob.
solo 5
Cl. in B
fltg.
*
via sord.
Tpt.
via sord. Tbn. 3
(Vib.) 7
*
1 secco sempre
Ped.
Ped. Perc.
Marimba
Tub. Chimes 3
2 3
Ped.
Ped.
ossia rest, if no G chime is available
sempre
*
Pno.
secco
secco
secco
❉
❉
*
Hp.
secco
D B E G A
(DC B/E FG A )
sempre secco
5
sul tasto
*
secco
secco
fast, intense tremolo ord.
Solo Vn. calmly floating
sempre
ritard freely *
sul tasto Vn. I
Vn. II
solo
rubato
Vc. I 5
espr. Vc. II
*Conductor: Allow time for Percussion 2 to move to Marimba during this fermata.
Punchy and resonant = 132–144
C
13 57
fltg.
fltg.
Fl.
Ob.
Cl. in B
senza sord.
solo
Tpt. 3
senza sord. Tbn. 3
3
1 Ped.
Ped.
Perc.
secco
Ped.
secco Ped.
2 3 8va
3
Pno.
secco
loco
secco
3
❉
❉
❉
l.v.
l.v.
3
G
Hp.
C
C B G
secco
secco
3
Solo Vn. 3
ord. solo Vn. I
3
3
senza sord.
Vn. II 3
Vc. I 3
senza sord. Vc. II 3
C A
14 62
Lyric and improvisatory
= 80–88 solo
Fl. 5
Ob.
Cl. in B
Tpt.
st. mute Tbn. blend with pizz.
Crotales 1
Perc. (Mar.)
3
2
solo
Pno.
❉
C G A
Hp.
rubato
rubato 5
5
5
3
Solo Vn. 3
7
sempre vivid
Lyric and improvisatory
sub.
= 80–88
pizz.
0
0
arco
pizz.
0
0
arco
Vn. I
Vn. II
pizz. Vc. I
solo pizz. Vc. II sempre
3
15 66
norm.
fltg.
Fl. echo
Ob. 5
Cl. in B blend with Harp echo
Tpt.
Tbn. 3
1
Perc. Glockenspiel
l.v. molto
2 7
8va
l.v. molto
Pno.
loco
â?‰ 8va
(DC B /E FG A )
Hp.
l.v.
.
iss
gl
C A
B G A
6
Solo Vn. 6
3
3
3
6
sub. ricochet pizz.
0 0
pizz.
0 0
Vn. I
ricochet
Vn. II
arco, punta d’arco
pizz.
sul A
Vc. I
sul D (pizz.) Vc. II
16 71
take Piccolo
Fl.
Ob.
solo Cl. in B
st. mute
via sord.
Tpt.
via sord.
Tbn.
2 Low Tom-toms 1
Perc.
very quick gliss. across entire Glock.
l.v. molto (let fade – do not dampen)
2
dramatic and startling rip
secco
Pno.
play the D if you can reach it
.
quick rip
Hp.
gliss
G
gliss
.
(DC B/E FGA )
even speed trills (ossia: play only the top trill if desired) rubato
7
Solo Vn. 5
sub.
arco Vn. I
arco Vn. II
arco Vc. I
arco Vc. II
3
sempre
sub., but keep the sound intense and moving forward
5
17 Vivid
= 132–144
Piccolo
77
take Flute
Picc.
Ob.
Cl. in B
solo senza sord.
(solo)
Tpt. 3
3
3
3
sempre senza sord. Tbn.
(2 Low Tom-toms) 1
Perc. 6
2 Bongos 2 5
3
3
8va
Pno.
secco
❉
Hp.
secco
secco
gli
ss.
❉
C
Solo Vn.
Vivid
= 132–144 0
Vn. I
Vn. II
Vc. I
Vc. II
18 Lyric and improvisatory
80
= 80–88
Flute
Fl.
Ob.
Cl. in B echo
Tpt.
3
3
5
3
sub.
Tbn.
solo 1
Perc.
Suspended Cymbal mallet 2
3
secco
Pno.
3
❉
Hp.
G
secco
C
secco
C B G A
3
D 3
trill between three notes 3
Solo Vn. 3 5
Lyric and improvisatory con sord. Vn. I 3
Vn. II 3
Vc. I
Vc. II
= 80–88
19 85 Fl. sempre
echo solo Ob. echo
sempre
Cl. in B
take B Piccolo Trumpet Tpt. 3
espr.
Tbn.
Vibraphone 1
Ped.
Perc.
Large Tamtam
l.v. molto
2 in background
Inside piano
Pno.
pizz.
pizz.
â?‰
D B E F G
Hp.
rubato
7
7
6
Solo Vn.
fearless
briefly becoming distant
pizz.
sub.
via sord.
Vn. I
con sord.
via sord.
Vn. II echo pizz. Vc. I
pizz. Vc. II
3
20 91
3
Fl. 3
3
Ob. 3
3
3
Cl. in B 3 3
Picc. Tpt. in B
Tbn.
1
Perc. 3
Marimba 2
3
3
pizz. (inside piano)
ord.
3
3
Pno.
secco
sim.
3
3 3
Hp.
secco
B
rubato
3
5
6
Solo Vn. 3
mellifluous mysterious
senza sord.
3
(pizz.)
Vn. I 3
3
senza sord.
3
pizz.
Vn. II 3
(pizz.) Vc. I
(pizz.) Vc. II
3
21 96 Fl. 3
Ob. 3
Cl. in B echo
solo
B Piccolo Trumpet Picc. Tpt. in B
sempre
Tbn.
1
Perc.
2 3
Pno.
3
Hp.
D C
D G A
secco
rubato
3 6
5
Solo Vn. 3
sul D
arco
Vn. I 3
sul D Vn. II
Vc. I
arco Vc. II
22 Spirited
= 88 tremolo and fluttertongue
fltg.
100 Fl.
bell up solo Ob. 3
Cl. in B
persistent fanfare, in foreground until measure 112 Picc. Tpt. in B 3
3
Tbn.
(Vibraphone) 1 secco
3
lyric
3
Perc.
2
Pno.
C
Hp.
Solo Vn.
Spirited
= 88
Vn. I 3
3
3
3
3
3
3
3
arco Vn. II 3
3
3
3
3
3
arco Vc. I 5
5
5
5
5
Vc. II 3
3
23 102 Fl. sub
Ob.
Cl. in B sub
Picc. Tpt. in B 3
optional: use alto trombone from here to the end Tbn.
1
Perc.
2
Pno.
E
Hp.
Solo Vn.
Vn. I 3
3
3
3
3
3
3
Vn. II 3
3
3
3
3
Vc. I 5
Vc. II 3
5
5
24 fltg.
104 Fl.
bell ord. Ob.
Cl. in B
Picc. Tpt. in B 3
3
5
sub.
Tbn.
(Vibraphone) 1
Ped. secco; new pedal with each new pitch
Perc.
2
Pno.
D B F G
Hp.
Solo Vn.
Vn. I
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Vn. II 3
3
3
3
3
3
3
Vc. I 5
Vc. II 5
5
5
5
5
25 106 Fl.
3
Ob. 3
Cl. in B
Picc. Tpt. in B 3
Tbn.
1
Perc.
2
Pno.
B E
Hp.
Solo Vn.
Vn. I
3
3
3
3
3
3
Vn. II 3
Vc. I
Vc. II
3
3
3
5
5
26 108 Fl. 5
Ob. 5
Cl. in B
5
sub.
Picc. Tpt. in B 3
3
sempre
3
3
solo Tbn.
(Vib.) 1 (Ped.) Perc.
2
5
Pno.
5
Hp.
Solo Vn.
ord. trem.
Vn. I
3
3
3
3
3
3
3
Vn. II 3
Vc. I
Vc. II
3
5
3
5
3
5
3
3
3
27 rit.
111
3
Fl.
solo, bell up 3
Ob. brassy and dramatic solo, bell up Cl. in B brassy and dramatic
3
take C Trumpet Picc. Tpt. in B
Tbn.
3
(Vib.)
(only the A is l.v.) 3
1 secco
Ped.
Perc.
Ped.
2
Pno.
Hp.
C
G
0
Solo Vn. dramatic
rit. Vn. I
sporadic, uneven, frenetic tremolo
Vn. II
sporadic, uneven, frenetic tremolo
Vc. I
ord. tremolo Vc. II
3
3
28 116
= 80
Fl. 3
bell ord. Ob. 3
bell ord. Cl. in B
3
3
C Trumpet Tpt. 3
Tbn.
(Vibraphone)
Crotales
l.v. molto
Glock.
l.v. molto
1
Perc.
Ped. (Marimba) 2
resonant
Pno.
❉
❉
.
gliss
l.v. molto
Hp.
B E A
C B F A
(DC B/E FGA)
5
Solo Vn. 5
3
6
passionate
= 80 Vn. I 5
Vn. II 3
3
Vc. I
pizz. Vc. II
arco
29 120
solo
Fl. 3
sub.
5
Ob. 6
3
solo Cl. in B 3
Tpt.
Tbn.
1
Perc. Marimba 2
ord.
secco Pno.
Inside piano
r.h.
pizz.
❉
(Ped.)
❉ Ped.
3
Hp.
3
B F A
secco
Solo Vn. 5
sub. resolute
pizz. Vn. I 3
3
3
3
pizz. Vn. II
pizz. Vc. I
pizz. Vc. II
6
30 A tempo 125
*
(optional: take Piccolo)
Fl. 7
* Ob. 7
* Cl. in B 7
7
3
sub. solo
*
Tpt. 7
7
poss.
* Tbn. 7
*
Crotales
l.v. molto
1 Perc.
*
4 Triangles
2
8va
* 7 7
secco
Pno.
loco 7
solo
* secco
Hp.
D E G
(D CB/EF G A)
*
8va
Solo Vn. 5
sub. assertive
3
7
sub.
7
A tempo arco
*
Vn. I 7
arco
*
Vn. II 7
arco
.
gliss
*
Vc. I
* Vc. II
* Note: It is an option for the soloist to compose and play a short cadenza (approx. 30 seconds long) at the end of measure 125 and before measure 126. The cadenza should be in the style and aesthetic of this composition. The final two beats of measure 125 can be shortened or omitted by the soloist if they elect to play a cadenza.
D B F G
31 ossia: Play these two measures on Piccolo, sounding at these written pitches.
128 Fl.
Ob.
Cl. in B
Tpt.
Tbn.
Vibraphone
2 Finger Cymbals with Triangle beater l.v. molto *
Low Tom-tom
*
1 secco
as resonant as possible Ped.
Perc. 2 Triangles l.v. molto *
Chinese Cymbal
Tubular Chimes
*
2 as resonant as possible Ped.
secco
*
as resonant as possible
secco
Pno.
*
secco
Hp.
D C
as resonant as possible
D G
secco
**
rubato
Solo Vn. 7
sempre
dramatic
intrepid ord. pont. Vn. I
ord. pont. Vn. II
ord. pont. Vc. I
arco, pont.
ord.
Vc. II
*In final measure, wait until all ringing has naturally faded to silence. Do not lift pedals or stop any resonance. **Violin soloist should start the final measure when the Percussion/Piano/Harp resonance has dwindled about halfway toward silence. Depending on the resonance of the concert hall, measures 132 and 133 may need to be omitted.
32 133
lunga
Fl.
lunga Ob.
lunga Cl. in B
lunga Tpt.
lunga Tbn.
lunga 1
Perc. lunga 2
lunga
Pno.
lunga
lunga
Hp.
lunga
sul E
sul A
* Solo Vn. poetic
3
sub. bell-like
espr.
lunga Vn. I
lunga Vn. II
lunga Vc. I
lunga Vc. II
* See note ** on previous page.