CHERYL FRANCES-HOAD
The Dreams That Fly From Me for
Solo String Quartet & String Orchestra (min 5.5.3.3.2)
The Dreams That Fly From Me is a ten minute work for solo string quartet and string orchestra. It is in two movements (one slow, one fast) that are played without a break. I spent ten years at the Yehudi Menuhin School (a specialist music school for string and piano) growing up, so this piece cannot help but be strongly influenced by the music I played in the school orchestra during this time. In particular the work is influenced by Elgar’s Introduction and Allegro , Strauss’s Metamorphosen (for twenty-three solo strings) and Tippett’s Concerto for Double String Orchestra, although the harmonic language of the piece (which is essentially very jazzy) helps to obscure these musical references. In terms of extra musical inspiration, the work was inspired by a poem by Ivan Goll called Bloodhound which includes the lines “Catch the dreams that fly off from me.... And savage the ankles of my fleeting angel” I was inspired by the idea of a “fleeting angel” which, at a time when I had been having difficulties composing seemed very poignant: the angel of the poem seemed to be a poetic representation of my inspiration. The Dreams That Fly From Me was premiered by the Szymanowsky Quartet and the Northern Sinfonia (Bradley Creswick, director) at Hovingham Hall on the 28th July 2013 as part of the 2013 Ryedale Festival. © Copyright Cheryl Frances-Hoad 2013
PERFORMANCE INSTRUCTIONS The divisions in the Orchestral 1st and 2nd Violin part works as follows: 1) When there is only 1 part in the 1st Violins, all players play tutti.
The divisions in the Orchestral Viola part works as follows: 1) When there is only 1 part in the Violas, all players play tutti.
2) When there are 2 parts, divide in the conventional way.
2) When there are 2 parts, divide in the conventional way.
3) When there are 3 parts, the division works as follows:
3) When there are 3 parts, the division works as follows if there are more than 3 players:
Part 1: player 1 Part 2: player 2 Part 3: player 3 Part 1: player 4 Part 2: player 5 etc. (this applies for any number of players) 3) When there are 4 parts, the division works on the same principle: Part 1: player 1 Part 2: player 2 Part 3: player 3 Part 4: player 4 Part 1: player 5 etc.
Part 1: player 1 Part 2: player 2 Part 3: player 3 Part 1: player 4 Part 2: player 5 Part 3: player 6 etc. (this applies for any number of players)
4) When there are 5 parts, the division again works on the same principle: Part 1: player 1 Part 2: player 2 Part 3: player 3 Part 4: player 4 Part 5: player 5 etc.
The divisions in the Orchestral ĘťCello part works as follows: 1) When there is only 1 part in the ĘťCellos, all players play tutti. 2) When there are 2 parts, divide in the conventional way.
So, when parts are divided: Player 1 will always play the 1st part Player 2 will always play the 2nd part (in 2, 3, 4 and 5 part divisi passages) Player 3 will either play the 1st part (in 2 part divisi) or the 3rd part (in 3, 4, and 5 part divisi) Player 4 will either play the 2nd part (in 2 part divisi), the 1st part (in 3 part divisi) or the 4th part (in 4 and 5 part divisi) Player 5 will either play the 1st part (in 2 part and 4 part divisi) the 2nd part (in 3 part divisi) or the 5th part (in 5 part divisi). The only exception to the above is in bars 91 to 100 of Violin 1, where the top stave is a solo (for Player 1) and the middle stave is played by Players 2 and 4, with the lower stave being played by Players 3 and 5). Player numbers are put in brackets at the beginning of staves in 3, 4, and 5 parts to clarify this method of division. These numbers presume that there are 5 players in the section however, so do not account for more players than this (when there are more than five players, each additional player will need to work out which part they play in each number of part divisions).
3) When there are 3 parts, the division works as follows if there are more than 3 players: Part 1: player 1 Part 2: player 2 Part 3: player 3 Part 1: player 4 Part 2: player 5 Part 3: player 6 etc. (this applies for any number of players)
The Dreams That Fly From Me
CHERYL FRANCES-HOAD
Adagio Tenero (q = 69)
3
3
3
3
3
3
mf *
3
3
3
mf *
3
3
Violin 1 (Quartet) mf
*
Violin 2 (Quartet) mf
*
Viola (Quartet)
Violoncello (Quartet)
Violin I
Violin II
Viola
Violoncello
Double Bass
* hairpins with no end dynamic denote poco cresc./dim. A cresc. followed by a dim. with no dynamics denotes a slight swell and return to the original dynamic present before the cresc.
© 2018 Cadenza Music Limited
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f
(mf) 3
Vc. (Qt) f
mf
affettuoso
(mf)
3
f
3
3
3
mf 3
3
3
3
3
3
Vln. I mf
mf
mf
3
Vln. II
3
arco
pizz.
3
p
Vla.
mf 3
mf 3
p
mf
3
3
Vc. mf
III IV
p
mf
3
mf
Db.
3
p
mf
(normale)
3
29 176
Vln. 1 (Qt) 3
poco a poco più agitato
mf 3
3
Vln. 2 (Qt) mf poco a poco più agitato Vla. (Qt) mf
poco a poco più agitato
Vc. (Qt) mf
poco a poco più agitato
3
poco a poco più agitato
poco a poco più agitato fp
mf
Vln. I poco fp a poco più agitato
poco a poco più agitato fp
fp
Vln. II
poco a poco più agitato
mf
mf
mf
poco a poco più agitato
p
fp
poco a poco più agitato
p
fp
arco
Vla.
poco a poco più agitato
poco a poco più agitato
poco a poco più agitato fp
p
fp
p
fp
mf
Vc. poco a poco più agitato fp poco a poco più agitato
mf
fp
mf
poco a poco più agitato fp
mf
Db. fp
30 3
181
M
Vln. 1 (Qt) sfz 3
Vln. 2 (Qt) sfz
Vla. (Qt) 3
sfz
Vc. (Qt) 3
sfz 3
sfz
pesante
sfz
pesante f
f
3
3
Vln. I sfz
sfz
pesante f
3
pesante f 3
sfz
Vln. II
mf
sfz
mf
sfz
pesante f
3
pesante f
3
pesante f 3
mf
sfz
pesante
Vla.
f 3
mf
sfz
p
Vc.
p
f molto ritmico e energico
molto ritmico e energico f
Db. mf
molto ritmico e energico f
pesante
f
I
I pizz. arco
31 189
Vln. 1 (Qt)
Vln. 2 (Qt)
Vla. (Qt)
Vc. (Qt)
pizz.
arco
pizz.
f
Vln. I pizz.
arco
arco
f pizz.
arco
3
pizz.
arco
3
pizz.
arco
pizz.
arco
Vln. II
Vla.
3
Vc.
3
pizz. Db.
arco
N
32 197
Allegro Molto (q. =102, q = 153)
Vln. 1 (Qt)
Vln. 2 (Qt)
Vla. (Qt)
Vc. (Qt)
Vln. I
pizz. Vln. II 3
ff
più f
3
Vla. 3
ff
più f
3
3
ff
Vc.
ff pesante
3
3
ff
ff pesante
3
ff
ff pesante
Db. 3
Bartok ff pesante (sempre Bartok pizz. until bar 206) ff pizz.
33 204
Vln. 1 (Qt)
Vln. 2 (Qt)
Vla. (Qt)
Vc. (Qt)
Bartok pizz.
pizz.
Vln. I f
ff
Bartok pizz.
arco
Vln. II f minacciando, ma sonore
scherzando f Vla.
f scherzando
f Vc.
f
pizz.
f Db. pizz.
f
O
34 211
Vln. 1 (Qt) f agitato
Vln. 2 (Qt) f agitato
Vla. (Qt) f agitato
Vc. (Qt) f agitato
arco
f Vln. I
ff
f
Vln. II
ff
f pizz.
Vla. pizz.
ff
f
ff
f
Vc.
Db. ff
f
35 218
Vln. 1 (Qt) ff
mf
Vln. 2 (Qt) ff
mf
Vla. (Qt) ff
mf
ff
mf
pizz.
arco
Vc. (Qt)
pizz.
mf Vln. I arco
pizz.
mf pizz.
arco
sfz pizz.
mf arco
sfz pizz.
mf arco
Vln. II sfz pizz.
mf arco
sfz III IV
pizz.
mf arco
sfz III IV
mf arco
mf Vla. arco
mf pizz.
arco
mf
sfz
Vc. pizz.
pizz.
arco
pizz.
mf
sfz
Db. mf
36
P
224
Vln. 1 (Qt) f
ff
f
ff
f
ff
f
ff
sub. p cresc.
Vln. 2 (Qt) sub. p cresc.
Vla. (Qt) sub. p cresc.
Vc. (Qt) f
sub. p cresc.
arco
gliss.
p cresc. f
Vln. I arco
gliss.
p cresc.
f
arco f
ff
Vln. II arco
f
ff
arco Vla.
gliss. ff
f
arco
gliss.
f
ff
Vc. arco gliss. f
arco
pizz.
gliss.
mp
ff
arco
Db. f
ff
p
cresc.
cresc.
37 230
Vln. 1 (Qt) ff
Vln. 2 (Qt) ff
Vla. (Qt) ff
Vc. (Qt) ff
ff Vln. I
ff
mf cresc.
ff
Vln. II
ff
mp cresc.
ff
Vla.
mp cresc.
mp
cresc.
ff
ff
Vc.
ff
ff Db.
ff
38 237
Q
3
Vln. 1 (Qt) f molto cantabile e lusingando Vln. 2 (Qt) mf
mf con energico
Vla. (Qt) 3
mf
mf con energico
Vc. (Qt) f molto cantabile e lusingando
pizz.
mf scherzando
Vln. I pizz.
mf scherzando
mf scherzando arco
pizz.
pizz.
mf
p
ff
mf
p
p
ff
mf
p
p
ff
mf
p
p
ff
mf
p
p
ff
mf
p
arco mf
pizz.
arco
Vln. II pizz.
mf arco mf
pizz.
arco
mf (arco)
pizz.
mf scherzando
Vla. pizz.
mf scherzando
mf scherzando
Vc.
Db.
p
ff
p
ff
f
mf
f
mf
39 243
Vln. 1 (Qt) cresc. Vln. 2 (Qt) f Vla. (Qt) f Vc. (Qt)
f Vln. I f
f
f
f Vln. II f
f
f
f Vla. f
f
Vc.
Db.
p
f
p suoni reali I
f
p
f
p
f
R
40 249
Vln. 1 (Qt) ff molto ritmico e con bravura
Vln. 2 (Qt) ff molto ritmico e con bravura
Vla. (Qt) I
ff molto ritmico e con bravura Vc. (Qt) ff molto ritmico e con bravura
ff
Vln. I ff
ff
Vln. II
sub. mf
sub. mf
ff
Vla. ff
ff
ff
Vc. ff
ff sempre Bartok pizz. until bar 259
ff molto ritmico e con bravura Db.
sempre Bartok pizz. until bar 259
ff molto ritmico e con bravura
41 254
Vln. 1 (Qt)
Vln. 2 (Qt)
Vla. (Qt)
Vc. (Qt)
pizz.
arco
Vln. I f
Vln. II
pizz.
arco
Vla. sfz pizz. Vc. sfz
Db.
f
42
S
260
Vln. 1 (Qt)
Vln. 2 (Qt)
I
Vla. (Qt)
Vc. (Qt)
pizz.
arco
Vln. I ff mf
ff
mf
ff
mf
ff
Vln. II
pizz.
arco
Vla. ff
f
arco Vc.
Db.
arco
f
43 266
Vln. 1 (Qt)
Vln. 2 (Qt)
Vla. (Qt) I
Vc. (Qt)
pizz. Vln. I
Vln. II ff pizz. Vla. ff pizz.
arco
Vc.
arco
Db. pizz. ff
ff
44
T
270
Vln. 1 (Qt) f
Vln. 2 (Qt) f
Vla. (Qt) f
Vc. (Qt) f
pizz.
arco Vln. I f pizz.
pizz.
arco
Vln. II f arco Vla. f pizz. Vc. ff pizz.
arco
f
Db. (pizz.) Bartok pizz.
arco
f
45 gliss.
276
gliss.
Vln. 1 (Qt)
lusingando
gliss.
Vln. 2 (Qt)
lusingando
Vla. (Qt) lusingando
Vc. (Qt) lusingando
arco
Vln. I arco
arco
pizz.
gliss. mf
f
arco
arco
L.H.
pizz.
arco
pizz.
arco
gliss.
Vln. II mf
f
arco
gliss. mf
f
L.H.
Vla.
arco
f
gliss. mf
arco
f
II
I
f
II
I
f
II
I
III
gliss.
Vc. f
mf
arco
f
Db.
III
gliss. mf
III
U
46 282
Vln. 1 (Qt) più f poco a poco più agitato e cresc.
Vln. 2 (Qt) più f poco a poco più agitato e cresc.
Vla. (Qt) più f poco a poco più agitato e cresc.
Vc. (Qt) più f
poco a poco più agitato e cresc.
Vln. I cantabile
più f
Vln. II
più f con energico Vla.
più f con energico
Vc.
Db. più f
Allegro (Tempo 1) (q = 126)
V
glis
s.
288
Vln. 1 (Qt)
ffp
cresc.
minacciando
ff
pesante
3
3
gliss
.
Vln. 2 (Qt) minacciando cresc. ffp
pesante
ff
Vla. (Qt) ffp cresc.
minacciando
pesante
cresc.
minacciando
pesante
ff
3
Vc. (Qt)
ffp 3
ff sonore
Vln. I
3
ff sonore
fff
fff
3
ff sonore
Vln. II
3
ff sonore
ff sonore
Vla.
fff
fff
fff
ff sonore
fff
ff sonore
fff
ff sonore
fff
3
Vc.
3
3
Db. ff sonore
fff
ff
3
47
48 294
gliss.
3
3
gliss.
Vln. 1 (Qt)
arco
pizz.
gliss.
Vln. 2 (Qt)
3
gliss. gliss.
sfz
feroce
arco
pizz.
gliss.
3
3
3
3
3
Vla. (Qt) feroce
sfz
minacciando
pizz.
3
Vc. (Qt) sfz 3
minacciando
3
300
Vln. 1 (Qt) sfz f molto cantabile e lusingando
ff
3
f
3
Vln. 2 (Qt) sfz
ff scherzando
f
3
Vla. (Qt) sfz
f
f
3
Vc. (Qt) f scherzando
sfz
f
ff
3
3
molto cantabile e lusingando
W 307
Vln. 1 (Qt) 3
ff
animato Vln. 2 (Qt) f
sub. mp
Vla. (Qt) animato sub. mp
f
Vc. (Qt) sub. mp animato
f
I
49
Allegro Moderato 313
animato
(q = 84) (q = triplet q)
3
Vln. 1 (Qt) più f
fp
3
animato
3
fp
f
f
(f)
5
appassionato
mf
3
Vln. 2 (Qt) più f
5 f appassionato
3
3
mf
3
Vla. (Qt) 3
5
3
più f animato
fp
f
fp animato
f
3
mf
f appassionato
Vc. (Qt) 5
3
f appassionato
f
Vln. I
Vln. II
Vla.
Vc.
Db. 3
con bravura f
ff
3
3
mf
50
X 319
Vln. 1 (Qt) 3
3
3
sempre f
3
3
Vln. 2 (Qt) 3
sempre f
3
3
3
3 3
3
3
3
3
3
3
3
3
3
3
Vla. (Qt) 3
con energico sempre f Vc. (Qt) 3
3
sempre f
3
con energico
3
3
3
3
3
3
3
3
3
Vln. I 3
3
3
3
sonore sempre f
3
Vln. II sonore sempre f Vla. mf sonore
3
3
sempre f
3
(non div.)
Vc. mf sempre f
sonore 3
Db. sempre f
3
51
Y 324
3
Vln. 1 (Qt) 3
3
più f
3
3
3
Vln. 2 (Qt) 3
3
3
3
3
più f 3
3
3
3
3
3
Vla. (Qt) 3
più f 3
Vc. (Qt) 3
3
3
3
più f
Vln. I 3
più f
Vln. II 3
3
3
più f
3
3
3
Vla. più f
Vc. più f
Db. più f
52
Allegro (Tempo 1) 330
(q. = 84, q = 126) (q = q.)
3
Vln. 1 (Qt) ff
3
Vln. 2 (Qt) ff
3
3
3
3
3
Vla. (Qt) 3
3
3
ff I
Vc. (Qt) 3
3
3
3
3
3
3
3
3
ff
Vln. I 3
ff
3
Vln. II
ff 3
3
Vla. 3
3
3
ff
3
Vc. 3
ff
Db. 3
ff
53
Z
335
3
Vln. 1 (Qt) sfz
ff
sfz sfz fff
3
Vln. 2 (Qt) sfz
ff
sfz sfz fff
3
Vla. (Qt) sfz
ff
sfz
sfz
fff Vc. (Qt) sfz
ff
3
sfz sfz fff 3
Vln. I sfz
ff
f
sfz
sfz
sfz sfz fff
3
Vln. II sfz
f
ff
sfz
sfz
sfz sfz fff
3
Vla. sfz
sfz 3
sfz
sfz
sfz fff
3
Vc. sfz
ff
sfz
sfz
sfz fff
Db. sfz
ff
3
sfz
3
fff
sfz sfz