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CHOU Ode to Eternal Pine for Flute, Clarinet, Violin, Cello, Percussion and Piano

Full Score

EP 68278

ChouWEN-CHUNG Wen-chung CHOU ODE Ode toto ETERNAL EternalPINE Pine for Flute, Clarinet, Violin, Cello, Percussion and Piano

Chou Wen-chung Full Score

ODE to ETERNAL PINE

commissioned by the New York New Music Ensemble Spiralis Music Collection

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

commissioned by the New York New Music Ensemble Spiralis Music Collection

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

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

Performance Notes 1) Metronomic marks and dynamic notations given are for guidance only. The two sections marked Odes are all ad lib as long as the results conform to the demand of the music for a balance between expressivity and serenity in the chong ak tradition. 2) Signs for special glissando, portamento, and vibrato are all adopted to indicate a modified, more exaggerated execution of standard articulation for modern instruments. The intention is not to expect a facsimile copy of the original Korean articulation, which cannot be executed in a natural manner on most modern instruments and cannot easily be made an integral part of musical expression in western practice. 3) Attention should be given to the altered pitches in the many passages of seeming repetition and imitation–often with a slight alteration in pitch, which are neither arbitrary nor misprints. These alterations represent a continuing fluctuation in melodic phrases with each such pitch change part of the modal progression in the overall design, and should be given slight emphasis without interrupting the flow of the music. The altered pitches in these monodic phrases imply a linear harmonic and contrapuntal relationship. Percussion Instruments: For tom-toms, ranging from the lowest (slightly higher than bass drum to be used) to the highest (with sufficient resonance) in reasonably even gradation. The tom-toms should be of solid build with sufficient depth of resonance and heads that produce tone qualities resonably similar to traditional drums with a solid wood frame and skin head. Bass drum is to be laid flat and grouped with tomtoms. It should be as large as possible yet compatible with this arrangement. One extremely high pitched Asian finger bell (cup shaped) suspended close to the top. The ideal bell is around 2 1/2” in diameter with a deep dome, made of bronze or heavy brass. Two domed cymbals, high and low (indicated “h” and “l”); made of solid metal with the diameter of the dome about half the diameter of the cymbal; suspended and played as indicated with a resonant tone on the dome and a good vibratory quality at the edge; preferably of the type known in southern China, Tibet and other Southeast Asian areas. Two crash cymbals, very thin, and suspended, one high and one low (marked “h” and “l”). One deep Tamtam with a diameter of 30” or more; made of heavy metal; preferably of traditional Asian origin. One gong with a diameter of 24” or more with a deep rim and a large dome that has a sustaining carrying power; preferably of Tibetan origin (designed to communicate from mountain top to mountain top). The tone of the dome should be a very low pitch. Location of instruments in the staff notation:

4 Tom–toms Bass Drum

Bell Concerro 2 Crash Cym. 2 Dome Cym. Tamtam Gong

Notes for Performance: Notes for Strings: v

Pronounced vibrato, unmeasured.

v( )

Measured vibrato at very slow speed.

v( )

Measured vibrato at moderately slow speed. Gradual transition from one type of vibrato to another as indicated.

non vibrato

If no sign is given use normal vibrato; at performer’s discretion. Gliss. from one pitch to another throughout note’s duration. Partial gliss. from the initial pitch (portamento). Partial gliss. approaching second pitch (similar to portamento). For a group of grace notes; indicates a gradual accel. from the first to the last or a gradual ritard. from the first to the last grace note.

Notes for Winds: See String notes for vibrato. If no sign is given use normal vibrato; at performer’s discretion. Attack note noticeably higher or lower than the given pitch and then return to pitch. Whether the subtle bending of pitch at attack is raised or lowered is left to the performer, according to phrasing and the smoothness in performance characteristic of the instrument. Raise or lower the pitch slightly at the end of the note value by lipping or rolling.

Notes for Piano: Gliding over the strings (inside piano) either upwards or downwards, as indicated. Use fingers, soft yarn/chord mallet or medium hard rubber mallet as indicated. Gliding over the strings (inside piano) with back of fingernail or shaft of mallet, as indicated. Fast, sharp arpeggio in ascending or descending order. Softly muffle a group of strings with palm, as indicated. I, II, III, IV

Indicates the order of 4 or more string compartments (depending on piano), from highest to lowest.

Indicates a controlled decline of the accumulated sonority between the pedal and the rosette. The actual speed or manner of release, or the use of 1/2 pedal is to be determined by the performer according to the ensemble phrasing at the moment. Notes for Percussion: let vibrate (l.v.) Glide against instrument’s surface from center to edge or from edge to center. center

Mostly applied to the center of the gong; in this case, the top of the dome of an Asian gong with a large dome.

1/3

At one third from either the center or edge of instrument, as indicated. In other words, the most sonorous part of the gong, cymbal or drum.

Notes on the Music Ode to Eternal Pine is based on material from Eternal Pine, commissioned in 2008 by the Contemporary Music Ensemble of Korea (CMEK), for an ensemble of traditional Korean instruments. It is composed in the spirit and style of the traditional Korean chong ak music, chamber music of ancient heritage. While modern instrumental techniques are employed, as well as a more chromatic expansion of the original modal concept, the music retains the tempo, meter, and modal characteristics of chong ak. The emphasis is on the fluidity of the concurrent flow of instrumental voices, characteristic of chong ak, rather than exploitation of novel instrumental colors. Chong ak is dedicated to the expression of human emotion inspired and symbolized by natural phenomena but projected with serenity and dignity. It evokes imageries that have inspired East Asian minds for centuries. This character of chong ak is the reason why the three movements, following the initial Prelude, bear the titles: Meditating on Eternity, Lofty Peaks and Profound Gorges. The thematic material and their development in each of these movements, all original, not based on any existing East Asian sources, are continual transformations of a nuclear idea introduced after the brief Prelude. It is structured according to my variable mode principle, which enables the music not only to transform itself but also to adapt itself from one tonal format to another, such as pentatonic or chromatic. The pine, particularly the common and gnarled type often seen on mountain peaks, is a symbol of longevity and eternity of nature in East Asian cultures. Meditating on Eternity is a reflection on the fundamental esthetic priciple of East Asia, as expressed in the Chinese terms tian di ren, heaven, earth and humanity. It suggests human emotion within the timelessness of the universe and the physical constraints on earth, the two axes symbolized by the subsequent movements, Lofty Peaks and Profound Gorges. Ode to Eternal Pine was commissioned by the New York New Music Ensemble, and is dedicated to Elliott Carter. —Chou Wen-chung

to Elliott Carter

ODE TO ETERNAL PINE Grave = ca. 48, lunga Flute (Piccolo) (Alto Flute in G)

Prelude – Exploring the Modes

= ca.72

poco

Alto Flute

cresc.

Bass Clarinet

Chou Wen-chung

Clarinet in B (Clarinet in E ) (Bass Clarinet)

cresc. con sord. Violin

con sord. Violoncello

Treble Clef: fingernails or shaft of mt. Bass Clef: fingers or soft yarn/cord mt.

poch.

8va

poco più

Piano

cresc.

sempre heavy B.D. mt. at 1/3 lunga poco

Percussion

heavy gong mt.

med. sft. yarn

brass mt.

soft mt.

assai

to Flute

sotto voce

poco

poco sul tasto

sotto voce

via sord.

sul tasto

8va

poco

8ba

(una corda)

una corda

(loco)

very soft yarn mt.

poch.

Edition Peters 68278

2 9

to B Clarinet

senza sord.

(con sord.)

via sord.

poco

III

tre corde

(sft. yarn.), sempre l.v.

senza sord.

nr. center

poch.

nr. edge (l.v.)

3 poco

8va

cresc.

8ba

brass mt.

center

Meditating on Eternity 15

Adagio meditatorio = ca. 66, = ca. 96

più lento, senza misura

’

Flute

B Clarinet

declamatario e sonoro

8ba

cresc. poco a poco

hrd. rubber mt. scrape surface

4 alla misura, a tempo

accel.

molto rit.

’ ’

sul tasto

più

cresc.

a tempo

meno

pizz. v

poco

una corda 3

poco

center, sempre l.v.

at 1/3

soft yarn, near edge

brass mt.

heavy gong mt., center

5 rall. v( ) v( )

poco

v( )

poco

v( )

poco

v( )

poco

v( )

arco

poco

tre corde

(l.v.)

Molto lento e largemente = ca. 56,

8va

= ca. 84

fltg.

poco

’ molto

molto

v( )

molto molto

tasto

pont.

molto

tasto

pont.

tasto

molto

pont.

tasto

molto

poco

8ba

u.c.

l.v.

molto

l.v.

molto

t.c.

u.c.

t.c.

poco

v( )

poco

meno

6 39

’

poco poco

cresc.

heavy gong mt.

very soft felt, center

poco

Largemente assai

molto rall.

sim.

sim. poch.

una corda

poch.

edge

Ode to Eternal Pine Sereno e molto espressivo* 43

= ca. 66,

= ca. 96 ma senza misura*

sotto voce

con sord. v

al sord.

sotto voce al sord.

very soft timp. mt.

legato, senza accento

rall. poco a poco 49

v ( ) ( )

( )

’ nv

via sord.

con sord. v

via sord.

* All dynamics and dynamic alterations are assumed to be within a range of serene expressivity. Bar lines are for coordination only, each phrase within a bar or over a bar line should be completely free with respect to its note values and total duration.

poch.

8 (rall.)

più mosso e accel. poco a poco

( )

poch.

poco più

delicatamente

8ba

una corda

brass

soft yarn center back edge

wool gong mt. at 1/3

Largemente non troppo ( = ca. 56, = ca. 84)

center

molto rall.

lunga

senza sord.

rubber

yarn

(rubber)

felt

tre corde

sempre l.v. soft felt felt at 1/3 at edge

poch.

sim.

più

center

poco

brass

edge

Lofty Peaks Andante con moto 63

( = ca. 72,

= ca. 144)

to Piccolo

Piccolo

to Clarinet in E

cresc. rubber

yarn

hard rubber

Lo stesso tempo, ma liberamente

molto accel. e rit.

accel.

to Flute v

poco

meno

Clarinet in E v *

mallet shaft or fingernails

una corda

* relaxed grace notes before the beat

10 75

(accel.)

a tempo

molto rall.

poco

Flute

poco

più

poco

sul D

più

fingers

poco

(una corda)

tre corde

una corda

soft rubber

brushed, wire brush*

tempo giusto

Più mosso ( = ca. 84,

= ca. 126)

poco

soft rubber

hard rubber

on edge

* if appropriate, replace cymbal with mounted thin crash cymbal

11 85

cresc.

very soft gong mt., center to edge

cresc. poco a poco motissimo

quasi cadenza, ad libitum

accel.

rall.

poco ’

dim.

cresc. cresc.

con

dim.

12 Andante con moto 91 (

= ca. 72,

= ca. 144)

’

accel. poco a poco

8ba

soft felt timp. mts.

poco

poco 6

v v

poco

13 98

A tempo, ma più mosso

dim. poco a poco

cresc. poco a poco

dim. poco a poco

cresc. poco a poco

heavy gong mt., center

’

106

wood shaft, edge

brass

center

Andante accel. poco a poco

(dim.)

poco

più

poco

più

8va

poco

più

8ba

wire, edge

(wire)

felt, center B.D. mt., center

14 poco

a tempo

molto rall.

to Piccolo

114

lunga

to Bs. Cl.

molto

più

più 8va

8va

più

at 1/3

center poco

molto

Profound Gorges 121

Largo, ma con moto ( = ca. 66)

molto

15 nv

128

Piccolo

poco

v 3

Bass Clarinet

v 3

v v

al sord.

3 3

poco

molto espressivo e delicato accel. 132 poco rall.

Larghetto espressivo ( = ca. 60)

6 3

3 3

each note

16 accel. poco a poco

138

al sord.

con sord.

cresc. poco a poco

una corda

soft felt

Con agitato ( = ca. 92)

143

cresc. poco a poco con sord.

via sord.

dim.

cresc. v

via sord.

poco

tre corde

cresc.

felt mts.

poch.

17 148

senza sord., sul pont.

wire brush or light felt

poco

150

’ to Flute

al sord.

poco

’

18 153

senza misura quasi cadenza, ad libitum

lunga

to Clarinet in B

molto

med. soft felt

lunga

’

più

’

più

’

meno

’

poco

meno

molto

Subito tranquillo (alla misura) ( = ca. 58) 155

poco

soft rubber

rall. molto poco

poco

meno

(bounce)

poco

meno

19 Allegretto grazioso, ad libitum ( = ca. 72) 160

(like a mountain stream meandering down the rocks)

rall.

Flute

accel poco a poco

poco

sotto voce

con sord.

poco

poco più

una corda

rall.

167

Clarinet sub tones

to Bass Clarinet

poco

via sord.

poco

via sord.

(una corda)

20 largement

174

accel. molto

’

to Piccolo

a tempo

poco

molto

senza sord.

poco

(una corda)

molto

½ poco a poco tre corde

heavy gong mt.

poco

Declamatorio e sonoro 180 (

Prestissimo

= ca. 66) senza misura

lunga

Piccolo

molto

Bass Clarinet

molto

senza sord. sul D

’ v

molto

sul C

molto 8va

poco

soft felt, gradually from center to edge

cresc. poco a poco molto

poco

lunga

Edition Peters For more than 200 years, Edition Peters has been synonymous with excellence in classical music publishing. Established in 1800 with the keyboard works of J. S. Bach, by 1802 the company had acquired Beethoven’s First Symphony. In the years following, an active publishing policy enabled the company to expand its catalogue with new works by composers such as Brahms, Grieg and Liszt, followed in the 20th century by Richard Strauss, Arnold Schoenberg and John Cage. Today, with its offices in Leipzig, London and New York publishing the work of living composers from around the world, Edition Peters maintains its role as a champion of new music. At the same time, the company’s historic and educational catalogues continue to be developed with award-winning critical and pedagogical editions. Seit über 200 Jahren steht die Edition Peters für höchste Qualität im Bereich klassischer Notenausgaben. Gegründet im Jahr 1800, begann der Verlag seine Tätigkeit mit der Herausgabe von Bachs Musik für Tasteninstrumente. Schon 1802 kamen die Rechte an Beethovens erster Sinfonie hinzu. In der Folgezeit wuchs der Katalog um neue Werke von Komponisten wie Brahms, Grieg und Liszt sowie – im 20. Jahrhundert – Richard Strauss, Arnold Schönberg und John Cage. Als Verleger zahlreicher zeitgenössischer Komponisten aus aller Welt ist die Edition Peters mit ihren Standorten Leipzig, London und New York auch weiterhin Anwalt neuer Musik. Zugleich wird das Verlagsprogramm im klassischen wie im pädagogischen Bereich kontinuierlich durch vielfach preisgekrönte Ausgaben erweitert.

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