Abrahamsen SCHNEE CANONS 1A AND 1B

270810

EDITION WILHELM HANSEN WH 31173

Hans Abrahamsen

SCHNEE CANONS 1a&1b FOR NINE INSTRUMENTS

Score

I

Commissioned by Westdeutscher Rundfunk for Wittener Tage f端r Neue Kammermusik 2008 with support from Ernst von Siemens Musikstiftung and The Danish Arts Council dedicated to Harry Vogt and ensemble recherche

Hans Abrahamsen SCHNEE TEN CANONS Canons 1a+1b FOR from TEN CANONSNINE FORINSTRUMENTS NINE INSTRUMENTS 2006-08

Duration: 60 min.

Score

II

Instruments (see next page for set-up)

Group 1

Violin Viola Violoncello 1) Piano 1 (Grand Piano, lid open) 2)

Group 2

Percussion (1 player): Paper, Tamtam (medium), 4 Schellen (Sleigh Bells) Piano 2 (Grand Piano, lid open) Flute (db. Piccolo and Alto Flute) Oboe (db. English Horn) Clarinet in B and A (db. Cl. in E and Bass Cl. in B ) The score is written in transposition

1) Vlc.: IV. string (C) is tuned down, scordatura to G:

2)

Percussion:

”Paper” (in Canon 1b, 2b and 3b) “1. Part” and “3. Part”: On Table 1 & 2 the player moves two pieces (one piece for each hand, r.h. on table 1 and l.h. on table 2) of ordinary A3 writing paper about on a surface as smooth as possible, producing a very subtle, but still clearly audible whisper/whisker-like sound.

“2. Part”: On Table 3, which should have a rough surface, the player moves about two pieces (one piece for each hand) of “grease proof paper”, producing a slightly louder and more pronounced paper-sound than in “1. & 3. Part”.

Tables 1 & 2 are both square, with a surface as smooth as possible.

Each with a side-length of appr. 63 cm.

Table 3 is rectangular, with a rough surface Side-length approx. 108 x 72 cm.

“Schellen”: (in Canon 4a, 4b) These are same type as Mozart is using in his German Dance “Die Schlittenfahrt” K. 605, No. 3. They are manufactured by for instance B. Kolberg in Germany.

III

Set up on stage (player sitting down) r.h. guiding Group 1

l.h. guiding Group 2 Table 1

r.h.

Perc.

Table 3

Table 2

l.h.

Pf. 1

Pf. 2 Ob.

Vc. Va.

Cl.

Vn.

Fl.

Group 1

Group 2

Audience

IV

Hans Abrahamsen SCHNEE Ten Canons for Nine Instruments

Canon 1a

(str3/pf1)

p. 1

(tutti)

p. 8

(ww3/pf2)

p. 31

Intermezzo 1

(str3/ww3)

p. 48

Canon 2b

(tutti)

p. 49

(str3/ww3)

p. 92

(pf1/perc/pf2)

p. 98

Intermezzo 2

(str3)

p. 104

Canon 4a (minore)

(tutti)

p. 105

(tutti)

p. 143

(vc/picc/cl)

p. 181

(vl/va/pf1/pf2/picc/cl)

p. 182

(vl/va/pf1/pf2/picc/cl)

p. 187

Ruhig aber beweglich

Canon 1b Fast immer zart und still

Canon 2a Lustig spielend, aber nicht zu lustig, immer ein bisschen melancholisch

Lustig spielend, aber nicht zu lustig, immer ein bisschen melancholisch

Canon 3a Sehr langsam, schleppend und mit Trübsinn (im Tempo des ”Tai Chi”)

Canon 3b Sehr langsam, schleppend und mit Trübsinn (im Tempo des ”Tai Chi”)

(Hommage à WAM) Stürmich, unruhig und nervös

Canon 4b (maggiore) Sehr stürmich, unruhig und nervös

Intermezzo 3

Canon 5a (rectus) Einfach und kindlich

Canon 5b (inversus) Einfach und kindlich

1

Hans Abrahamsen Schnee (2006-08) Canons for nine instruments

Canon 1a (three strings and piano)

(1. Part)

Ruhig aber beweglich (

= 108,

= 36)

8

sim.

1)

Violino sul pont., "eisig"

Viola

Group 1

Violoncello

Ruhig aber beweglich (

2) 15

Pianoforte 1

= 108,

3

2) m.g. sempre

= 36)

m.d. sempre

dolciss.

3

15

3

pochiss dim.

sempre

(with resonance)

A 8

4

Vn.

Va. 1) Vc. sul pont., "eisig" 3) 15

3:4 3

4:5

8:5

6:4

A

3

3

Pf. 1 3

15

3

3

3

3

dolciss.

7

Vn.

Va. sim.

Vc. 3:5 3

15

3

Pf. 1 15

3

3

3

pochiss. cresc.

1) Vn, Vc: the harmonic is so high that there comes only air, like an icy whisper, but with a pulsation.

2) Pf.: please observe the 15va (two octaves up) for both hands throughout the movement.

Please observe as well that the division of hands should be strictly adhered to: m.g. lower staff, m.d. upper staff sempre.

3) The irrational values in the square brackets indicate the polyrhythms that are written out below(has to be played precisely).

Copyright Š Edition Wilhelm Hansen, Copenhagen

2

B 1

8

2

10

corta

10a

Vn. corta

sim.

8

(2. volta tacet)

Va. l.v.

l.v. corta

Vc.

B 6:5 15

6:5 3

3

3

3

3

corta

Pf. 1 15

3

3

3

3

3

3

sim. (sempre ped.)

C 12

8

Vn.

Va.

Vc. sim.

C 3

15

Pf. 1

3

3 3

15

3

pochiss dim.

15

8

Vn.

Va.

Vc.

3

15

3

3

3

3

Pf. 1 3

3

3

15

pochiss. cresc.

1

Unruhig und aufgeregt

2

18

8

sim.

lunga

18a

3

(2. Part)

D

Vn. 3

lunga

3

3

sul pont. estr. alla punta (but still just "air") molto arco

8

Va. l.v.

l.v.

lunga

Vc.

D 3

15

3

3

Unruhig und aufgeregt

3

3

lunga

Pf. 1 15

3

3

3

3

3

3

l.v. al niente Pausa silenzio e poi attacca sempre 8

1)

sim.

gliss.

20

Vn. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Va. 3

3

1)

sim.

Vc. 3

3

3

3

3

3

3

3

3

3

3

sul pont. estr. alla punta, (but still just "air") molto arco 3

15

Pf. 1

3

3

3

3

15

23

1

8

Vn. 3

3

3

3

Va. 3

3

Vc. 3

3

3

3

3

sempre

3

3

3

3

3

3

15

3

Pf. 1 3

3 3

3

15

sempre 1) Vn, Vc: gradual transition from "air" (whisper") to pitch (sound).

3

3

3

4

E 2

24a

corta

8

8

3

Vn. corta

sim.

(2. volta tacet)

3

3

3

3

(1.+2. volta:)

Va. 3

corta

Vc. 3

3

3

3

3

3

3

3

3

3

3

sim.

E 3

15

3

3

corta

Pf. 1 15

3

3

3

3

(sempre ped.)

27

8

Vn. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

Va. 3

Vc. 3

3

3

3

15

3

3

Pf. 1 3

15

3

3

1 29

8

Vn. 3

3

3

3

3

3

3

3

Va. 3 3

Vc. 3

3

3

3

3

3

15

Pf. 1 15

3

3

3

3

3

3

3

3

3

2 30a

Wieder ruhig

lunga

8

5

(3. Part)

F

Vn. 3

3

3

sul A (both fingers)

3

sim.

1)

lunga

Va. sul tasto, flaut.

lunga sul A

(

Vc.

) sul D

Wieder ruhig

F 3

15

lunga

Pf. 1 15

3

3

3

3

3

l.v. al niente

dolciss.

Pausa silenzio e poi attacca

sul A (both fingers) loco

G

33

1)

sim.

Vn. sul tasto, flaut.

Va.

Vc.

G 3

15

3

3

Pf. 1 3

15

3

3

3

3

pochiss. cresc.

1

36

Vn.

Va.

Vc.

3

15

3

Pf. 1 15

3

pochiss dim.

1) mostly a high "cold" air.

3

3

3

3

3

3

6

H 2 corta

38a

Vn. sul A corta

sim.

Va. sul tasto

corta

(2. volta tacet)

Vc.

H 3

15

corta

Pf. 1 3

3

3

15

3

3

dolciss.

41

Vn.

Va.

Vc.

3

15

3

3

Pf. 1 3

15

3

3

3

3

pochiss. cresc.

I sul A sim.

44

Vn. sul tasto

Va.

Vc.

I 15

Pf. 1

3

dolciss.

15

3

3

pochiss dim.

3

7

1

47

Vn.

Va.

Vc.

3

15

3

Pf. 1 3

15

48a

3

2

lunga

Vn. lunga

Va. lunga

Vc.

15

lunga

Pf. 1 15

3

3

3

3

l.v. al niente non attacca (dur.: 9 min.)

3

3

3

8

Canon 1b (nine instruments) Das selbe Tempo ( = 108, = 36) fast immer sehr zart und stille (1. Part) 1) Violino

1)

Violoncello

"Guiro"

sempre sim.

s.

s.

glis

8

m.d.

m.g.

2)

glis

Group 1

Viola

Pianoforte 1

Ped. sempre

3) Paper

(normal A3 paper)

Percussione l.h. on table 2

sim. very soft accents in the pulse, legato

Das selbe Tempo ( = 108, = 36) fast immer sehr zart und stille (1. Part) 4)

2:5

(Normale) 8

3

3

3

3

3

dolciss.

Pianoforte 2 8

3

Group 2

Ped. sempre

Piccolo

Oboe

Clarinetto in Mi

1) Vn., Va.: change bow for every note. The slurs for phrasing.

2) Pf. 1: "Guiro" glissando with fingernails on the "white keys", without depressing the keys (also on the written notes, which are just starting points for the for the "guiro"), only "clicks" from the nails against the keys.

3) Perc.: see Preface

4) See p. 1

9

4

Vn.

Va.

Vc.

"Guiro" 8

Pf. 1 8

Paper

Perc.

3:4

4:5

6:4

8:5

8

3

3

3

3

3

3

3

3

3

Pf. 2 3

8

3

Picc.

Ob.

Cl. in Mi

3

3

3

10

A

6

Vn.

Va.

Vc.

Normale 8

3

Pf. 1

dolciss.

3

3

3

3

8

3

Paper on table 1 r. h.

sim.

Perc.

A m.d.

1)

s.

ss. gli

"Guiro"

glis

8

sempre sim.

m.g.

Pf. 2

Picc. dolciss., whistle tone

Ob.

Cl. in Mi

dolciss., echo tones

1) Pf. 2: "Guiro" glissando with fingernails on the "white keys", without depressing the keys, only "clicks" from the nails against the keys.

11

1

9

Vn.

Va.

Vc.

1)

3:5

6:5

8

3

3

3

Pf. 1 8

3

3

3

3 3

3

3

3

3

3

3 3

3

Paper

Perc.

"Guiro" 8

Pf. 2 8

Picc.

Ob.

Cl. in Mi

1) see page 1

12

B 2

8

corta II III

10a

(loco)

(only 1. volta)

Vn.

corta III (7th harm.)

(only 1. volta)

1) Va.

1)

corta

Vc.

s.

3

3

Pf. 1

3 8

3 3

3 3

3 3

3

corta

Paper

corta

Perc. sim.

B "Guiro" Normale

8

corta 3

Pf. 2

dolciss.

8

3

corta

Picc. corta

Ob. corta

Cl. in Mi

1) Va., Vc.: change bow for every note. The slurs for phrasing.

gli

glis

"Guiro"

ss.

corta 8

13

C

12

Vn.

Va.

Vc.

"Guiro" N

8

3

Pf. 1

dolciss.

8

3

Paper

Perc.

C 8

Pf. 2

3

3

3

3

3

3

3

3

3

3

8

Picc.

1)

Ob.

Cl. in Mi

1) Oboe: harmonics on the high F ad lib.

14

15

Vn.

Va.

Vc.

8

3

Pf. 1

3

3

3

3

Paper

Perc.

3

3

3

3

3

3

Pf. 2

Picc.

Ob.

Cl. in Mi

3

3

gli

gliss.

"Guiro"

8

ss.

l. h.

8

3 3

8

3 3

3

15

1

8

2

18

1) lunga II III

18a

(loco)

Vn. lunga III (7th harm.)

Va. lunga

Vc.

lunga 8

3

3

Pf. 1

3 8

3 3

3 3

3 3

3

3 3

3

3 3

3 3

3 3

3

lunga

l.v. al niente

Paper

lunga

Perc.

"Guiro" 8

lunga

Pf. 2 8

lunga

Picc.

lunga

Ob.

lunga

Cl. in Mi

Pausa silenzia e poi attacca 1) The fermata lasts until the sound of the piano has died out competely, then a short ''comma'' (Luftpause) before attacca. Keep the tension.

16

D (2. Part) Etwas unruhig und aufgeregt loco

sim.

19

Vn. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

trem.

Va.

sim.

Vc. 3

3

3

3

s.

is

is

gl

"Guiro"

gl

8

s.

Normale

Pf. 1

3

3

3

3

8

Paper (greaseproof paper) on table 3

Perc. sempre sim.

D (2. Part) Etwas unruhig und aufgeregt 8

Pf. 2

Normale

3

3

3

3

3

3

8

trillo

Picc.

Ob. 3

3

trillo (possibile)

Cl. in Mi

3

17

22

Vn. 3

3

3

3

3

3

3

3

3

3

3

3

Va.

Vc. 3

8

3

Pf. 1

3

3 3

8

3 3

3

3

Paper

Perc.

8

3

3

3

3

3

3

3

3

3

Pf. 2 3

8

3

3

3

3

Picc.

3 3

Ob. 3 3

Cl. in Mi

18

1

8

2

24

corta II III

24a

(loco)

Vn. corta III (7th harm.)

Va.

corta

Vc. 3

3

3

3

3

3

3

3

3

3

corta 8

3

3

Pf. 1

3 8

3 3

3 3

3 3

3

3 3

3

3 3

3 3

3 3

3

corta

Paper

corta

Perc.

8

"Guiro" corta

Pf. 2 8

corta

Picc.

corta

Ob. corta

Cl. in Mi

19

E

loco trem.

8

2)

(only 1. volta)

25

( )

Vn.

sim.

(only 1. volta)

Va. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

sim.

Vc. 3

3

3

3

3

3

3

Normale 8

Pf. 1

3

3

3

3

3

3

8

Paper

Perc.

E s.

s. glis

"Guiro"

glis

8

Normale

3

3

3

3

3

3

Pf. 2 8

1) 2)

trem. (non flz.)

1) 2)

trem. (non flz.)

Picc.

Ob.

Cl. in Mi

1) Picc., Ob.: trem, tonguing as fast as possible and staccatissimo (not fluttertonguing.) Picc. double-tonguing, Oboe double-tonguing if possible, otherwise single-tonguing. Picc. and Ob. have not to be coordinated in speed.

2) Vn., Picc., Ob.: accent with

only on the first note in the trem; the following notes

( )

20

28

Vn.

Va. 3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Vc. 3

3

8

3

Pf. 1

3

3

3

3

8

3

3

3

3 3

3

3 3

3

3

3

Paper

Perc.

8

3

Pf. 2

3

3

3 3

8

3

3

3

(trem.)

(trem.)

Picc.

(trem.)

Ob.

Cl. in Mi

(trem.)

21

1

2 30a lungiss.

30

Vn. lungiss.

Va. 3

3

3

3

3

3

3

3

lungiss.

1)

ss. gli

s.

ss.

gli

glis

"Guiro"

gli

8

ss.

Vc.

lungiss.

Pf. 1 8

8

lungiss.

Paper

Perc.

lungiss 8

3

3

3

3

3

3

3

3

Pf. 2 8

3

3

3

3

3

3

lungiss 3

3

l.v. al niente

lungiss.

Picc.

lungiss.

Ob.

lungiss.

Cl. in Mi

1) As before, let the piano die out completely, after which the cello note is sustained until complete calm (Ruhe) is present.

22

(3. Part) 31

F Ruhig, wieder sehr zart und stille

Vn.

Va. only 1. volta (tacet 2. volta)

Vc.

Normale 8

3

Pf. 1

3

3

3

3

dolciss.

8

3

Paper (normal A3 paper) on table 1

Perc. very soft accents in the pulse, legato

(3. Part)

is

is s.

gl

"Guiro"

gl

8

s.

F Ruhig, wieder sehr zart und stille

Pf. 2

only 2. volta (tacet 1. volta) 7th harm. on G (Vc.)

11th harm. (sim.)

only 1. volta (tacet 2. volta) 7th harm. on G (Vc.)

11th harm. (sim.)

Picc.

Ob.

Cl. in Mi

23

G

only 2. volta (tacet 1. volta)

34

(7th harm.)

Vn. only 1. volta (tacet 2. volta) 1) IV (both fingers)

Va.

Vc.

8

3

3

3 3

8

3

3

3

Pf. 1

3

3 3

3

3 3

3

3

3

Paper

Perc. on table 2

G

Normale

8

3

Pf. 2

3

dolciss.

8

3

3

only 1. volta (tacet 2. volta)

Picc. pochiss.

Ob. only 2. volta (tacet 1. volta)

Cl. in Mi

pochiss.

1) Vla.: double stop harmonics both fingers harmonic stop on the same string

24

36

only 1. volta (tacet 2. volta)

Vn.

only 2. volta (tacet 1. volta) IV

III

Va.

ss.

gli

"Guiro"

gli

8

ss.

Vc.

Pf. 1

Paper

Perc.

8

3

Pf. 2

3

8

3

Picc.

Ob.

Cl. in Mi

3

3

3

3

3

25

1

2 medium

38

38a

Vn. medium

Va. medium

Vc.

"Guiro" 8

medium

Pf. 1 8

medium Paper

Perc.

medium 8

3

3

3

3

3

3

3

3

Pf. 2 8

3

3

3

3

3

3

medium 3

3

medium

Picc. medium

Ob. medium

Cl. in Mi

26

39

H

Vn.

Va.

only 1. volta (tacet 2. volta)

Vc. almost niente sempre Normale 8

3

Pf. 1

dolciss.

3

3

3

3

8

3

Paper

Perc.

s.

Pf. 2

Picc.

Ob.

Cl. in Mi

glis

"Guiro"

glis

8

s.

H

27

42

Vn.

Va.

Vc.

8

3

3

3 3

8

3

3

3

3

Pf. 1

3

3 3

3

3 3

3

3

Paper

Perc.

"Guiro" 8

Pf. 2 8

Picc.

Ob.

Cl. in Mi

28

I 44

Vn.

Va.

ss.

Pf. 1

iss gl

"Guiro"

gli

8

.

Vc.

dolciss.

Paper

Perc.

I Normale 8

3

Pf. 2

3

dolciss.

8

3

Picc.

Ob.

Cl. in Mi

3

29

46

Vn.

Va.

Vc.

"Guiro" 8

Pf. 1

Paper

Perc.

8

3

Pf. 2

3

Picc.

Ob.

Cl. in Mi

3

3

3 3

8

3

3

30

1

2 lungissimo

48

48a

Vn.

Va.

Vc.

"Guiro"

lungissimo

8

Pf. 1 8

l.v. al niente lungissimo Paper

Perc.

lungissimo 8

3

3

3

3

3

3

3

3

Pf. 2 8

3

3

3

3

3

3

3

3

l.v. al niente

muta in Fl. contr.

lungissimo

Picc. muta in Cor. ing.

Ob. muta in Cl. in La Cl. in Mi

(dur.: 9 min.)

WH 31173 ISBN 978-87-598-2067-4