Hellawell SOUND CARVINGS FROM RANU RARAKU

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HELLAWELL

Sound Carvings from Rano Raraku

for Flute, Piano, Percussion and Double bass

Score

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PIERS HELLAWELL

Sound Carvings from Rano Raraku

for Flute, Piano, Percussion and Double bass

PETERS EDITION LTD

A member of the Edition Peters Group LEIPZIG LONDON NEW YORK

EIGENTUM

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Sound Carvings from Rano Raraku

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Part I

Piers Hellawell

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Part II

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Inside gliss. on strings (as at opening but 'p') p

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Given flute durations are to be treated 'quasi improvisando'.

Pitches for dbass are merely points on a curve; do not linger on these. Alignment with flute is to ensure some coordination, and so is approximate. continuous gliss...

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gliss. gliss. gliss.

Bass to retune IV to low F sharp for next entry ( ) gliss.

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Moderato q= c.100 Moderato q= c.100

p molto legato espress. no vib. - hollow tone non (IV retuned a tone higher, to F sharp) p

m.s. poco marcato sempre p molto legato toward pont. - - -

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sul pont, but bow 'travelling' - molto pont./ meno pont. - for different timbres - - -

from here toward 'ord.' position ord. Tune IV slowly down, as far as possible, while continuing to bow ( ) gl. ( ) then sul pont. - -( ) pz. on string: l.v.

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Do three gliss scales:

Repeat until dbass has done 3 gliss scales

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Melodrammatico, tempo ad lib.

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pizz. arco mf gliss. pizz. (tacet) arco col legno

Pressare (LH only) sul A ( ) pizz. gliss.

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(Xylo)

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(free tempo)

(Xylo)

Pno. p (i= c.60)

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pizz. p cresc.

(free tempo)

String lightly stopped w LH: (i= c.60)

Brush strings downward w metal or rubber implement l.v.

q = 84-90

q = 84-90 139

Begin after one piano scale:

slow gliss. Play three times, then move to rhythm: ( ) mp legato

Repeat (x c.4-5) until Dbass rhythm

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(i= c.60)

Play three times, then

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Repeat (x c.5-6) until Dbass rhythm enters. Finish scale then

Tailpiece ('col legno'):

Knock on dbass body: pizz. ( )

With Glock scale, stop is; pause for one glock. scale then

Pedal down, finishing scale (l.v.), then

Pluck string: i = c.48

Play 8-9 times -

Dbass harmonics, complete scale and l.v.

Repeat till Dbass harmonics then complete scale and l.v.on ped.

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2 Bongos:

Cymbal:

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p Cymbal (Wire Brushes) (Wire Brushes) (Wire Brushes)

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) (quasi cadenza, not exact synch to pno)

[ indicates interjections are separated ad lib.]

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p trem., slow gliss.

gliss.

(continue 'long/short' chords, approx = previous h/q but synchronized loosely w fl/perc rather than within metre)

cresc.

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Cymbal ad lib. (dry):

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Piers Hellawell

Piers Hellawell (b. 1956) has worked with the Schubert Ensemble of London, Hilliard Ensemble, RTÉ Vanbrugh Quartet and BBC Scottish Symphony Orchestra, for whom he wrote Dogs and Wolves (2006), among others worldwide. Works include: Cors de chasse, a concerto commissioned for Håkan Hardenberger (trumpet) and Jonas Bylund (trombone) by the Philharmonia Orchestra; Degrees of Separation, commissioned for the opening of The Sage Gateshead (2004); and Syzygy, premiered in Sweden by Swedish Chamber Orchestra and Stockholm Chamber Brass in 2013. More recent collaborators include Paul Watkins (cello), who premiered atria in 2013, and Fenella Humphreys (violin), for her ‘Bach to the Future’ project. Hellawell is currently Professor of Composition at The Queen’s University of Belfast.

Piers Hellawell (*1956) hat mit vielen internationalen Ensembles zusammengearbeitet, darunter das Schubert Ensemble of London, das Hilliard Ensemble, das RTÉ Vanbrugh Quartet sowie das BBC Scottish Orchestra, für das er Dogs and Wolves (2006) schrieb. Daneben entstanden Cors de chasse – ein Konzert für Håkan Hardenberger (Trompete) und Jonas Bylund (Posaune) im Auftrag des Philharmonia Orchestra –, Degrees of Separation zur Eröffnung des Kulturzentrums The Sage im englischen Gateshead sowie Syzygy, das 2013 in Schweden vom Schwedischen Kammerorchester zusammen mit Stockholm Chamber Brass uraufgeführt wurde. In jüngster Zeit folgten atria (uraufgeführt 2013) für den Cellisten Paul Watkins sowie ein Beitrag zum Projekt „Bach to the Future“ für die Geigerin Fenella Humphreys. Piers Hellawell ist Professor für Komposition an der Queen’s University Belfast.

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