Tarik O’Regan THE PURE GOOD OF THEORY (2004) for solo violin and orchestra
Full score
NOVELLO
The Pure Good of Theory For Martyn Brabbins and the BBC Symphony Orchestra The Pure Good of Theory was first performed by The BBC Symphony Orchestra conducted by Martyn Brabbins at Studio 1, BBC Maida Vale, 29 January 2002 Duration:
circa 11 minutes Instrumentation 2 Flutes (2 = Piccolo) 2 Oboes 2 Clarinets (2 = Bass Clarinet) 2 Bassoons 2 Horns 1 Trumpet 1 Trombone Timpani Percussion (2 players) Harp Celeste Strings Notes This composition takes for its title that of the poem of the same name by Wallace Stevens from his 1947 collection Transport to Summer. The time of the composition’s poem, a typically nonsensical work, coincides with the revelations about Nazi mass-extermination and the ensuing judicial process for war-crimes at Nuremberg. Remembering that during this period the word ‘transport’ had acquired some especially terrible resonances and also the fact that the end of the second section contains the words ‘He was a Jew from Europe or might have been’, The Pure Good of Theory becomes an exceptional poem in Wallace’s oeuvre with its references to political machinations.
Tarik O’Regan
Revised Edition (January 2004)
The Pure Good of Theory
I Flute II
I. - All the Preludes to Felicity
Tranquillo (q = 54)
Tarik O’Regan
I Oboe II
I Clarinet in Bb II
I Bassoon II
I Horn in F
II
Trumpet in Bb
Timpani
Trombone
ppp
vibraphone - motor 1/2 speed (bowed with a cello bow) l.v.
I Percussion II
mf
pp l.v. l.v.
Solo Violin
mf
Violin I
mp
div. pp
5
con sord.
Violin II
Viola
Violoncello
div. pp
5
3
3 3
© 2004 Novello & Company Limited
mp
l.v.
nat.
con sord.
pp
con sord.
div.
pp
con sord. div.
pp
(damp)
l.v.
F# G# D#
5
3
mf
senza sord.
senza sord.
senza sord.
molto rubato
mf
bass drum
Tranquillo (q = 54)
(damp)
5
5
(medium mallets)
l.v.
mf
mp
mf
E§ F§ G§ A§ B§ C# D§
con sord.
Contrabass
tam-tam (soft mallet)
Harp
Celesta
senza sord.
senza sord.
7
Fl.
A
Ob.
Cl.
Bsn.
Hn.
Timp.
Tpt.
Tbn.
2
senza misura
Perc.
5
pp
pp
Cel.
5
3
pp
Vla.
Vc.
Cb.
poco a poco cresc.
3
accidentals only apply to immediately following note
sfp
Vln. II
poco a poco cresc.
5
unis. Vln. I
5
5
senza misura
A Solo Vln.
unis.
5
5
pp
poco a poco cresc.
5
Hp.
p
L.P.
3
non vib.
slow and lugubrious (ignore external tempi)
unis.
pp
3
Ob.
Cl.
9
Fl.
Bsn.
Hn.
Tpt.
Tbn.
Timp.
cresc. poco a poco
Perc.
cresc. poco a poco
Hp.
cresc. poco a poco
Cel.
Solo Vln.
Vln. I
3 pizz. sfz p
arco
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Vla.
non vib.
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Cb.
f
mp sfz sffp L.P.
pizz. arco
3
L.P. mp
f
mf
non vib. pp
unis.
non vib. pp
4
Ob.
Cl.
12
Fl.
Bsn.
Hn.
Tpt.
Tbn.
Timp.
cresc. poco a poco Perc.
Hp.
mp
large suspended cymbal (soft mallets)
p
cresc.
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cresc. poco a poco
Cel.
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p
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p
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non vib.
p
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f
ff
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16
Fl.
II. Piccolo
Ob.
Hn. Tpt.
con sord.
mf
Timp. mf Tbn.
molto
mp
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Perc.
Hp.
Cel.
Solo Vln.
mp
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Vln. II
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5
I.
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II.
mp
pp
to flute
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pp I.
I.
5
Con Misura (q = 54)
II. Bass Clarinet
con sord. mf con sord. mf
I.
mp
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Con Misura (q = 54)
mp
Cl.
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p
small suspended cymbal (soft mallets)
triangle
l.v. pp
mp
accidentals apply for whole bar
pp
poco rit.
21
Fl.
mp
Ob.
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Tbn.
Timp.
to clarinet
Tpt.
Perc.
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G§ D§ C§ Bb
Cel.
Solo Vln.
Vln. I
3
3
Cl.
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5
Segue
Vln. II
Vla.
Vc.
Cb.
poco rit.
Segue
6
7
II. - Description of a Platonic Person
Andante Tranquillo (q = c. 82)
C
22
Fl.
Ob.
Bsn.
Hn.
mf
Timp. Tbn.
Perc.
Hp.
Solo Vln.
Vln. I
Vln. II
Vla.
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mp
vibraphone
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5
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5
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Andante Tranquillo (q = c. 82)
I.
C
5
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5
mp
mp
l.v.
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Tpt.
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27
Fl.
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3
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all desks
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8
D
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33
Fl.
Ob.
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4
4
p
p
mp
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unis.
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div.
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pp
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9
E
arco
37
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10
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mp
41
Fl.
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11
p
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5
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3
5
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5
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3
mf
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5 Hp.
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5
43
Fl.
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3
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p
12
7
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mp
5
3
mp
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3
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5
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5
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3
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niente
niente
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5
3
3
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p
large suspended cymbal (soft mallets)
ppp
5
p
5
5
5
3
3
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Solo Vln.
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gli ss.
Fl.
13
45
5
5
3
3
5
nat.
nat.
nat.
nat.
nat.
Ob.
Cl.
48
Fl.
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Hn.
Tbn.
Timp.
Tpt.
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p
g li
ss.
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pp
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5
3
5
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pp
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5
3 3
5
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5
3 5
5
3
5
Vla.
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Vln. II
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14
5
Fl.
Ob.
Cl.
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Tbn.
Timp.
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Vln. I
Vln. II
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ss.
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p
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5
3
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5
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5
5
5
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5
3
5
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15
ss.
5
3
p
ppp
3
5
p
5
3
5 5
mp
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51
54
Fl.
Ob.
Cl.
Bsn.
Hn.
Tpt.
Tbn.
Timp.
Perc.
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gli ss.
g
s. lis
5
5
5
3 5
5
5
gli
5
5
ss.
3
5
mf
3
Vla.
5
ss. gli
3
Cb.
Vln. II
Vc.
5
16
5
56
Fl.
Ob.
Hn.
Tbn.
Timp.
ss. gli
Solo Vln.
Vln. I
Vln. II
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Cb.
5
II.
pp
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3
5
5
gl
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5
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3
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3
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5
5
p
5
5
5 5
mf
5
5
ss.
5
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5
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I.
Cl.
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17
H
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5
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5
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5
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3
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58
ppp
3
5
5
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5
5
3
5
3
5
5
3
5
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3
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5
ss.
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5
5
5
5
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mp
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5
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5
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5
5
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s.
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gli s
Fl.
19
61
63
Fl.
Ob.
Bsn.
Hn.
Timp. Tbn.
Perc.
Solo Vln.
Vln. I
5
g
s lis
gl is
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I
5
ppp
3
mp
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.
5
3
5
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5
s.
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5
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5
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20
I
5
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.
3
l.v.
3
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5
3
5
l.v. 3
5
5
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3
3
3
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5
pizz.
5
5
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.
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5
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5
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21
gli s
65
5
5
3
l.v.
3
5
68
Fl.
Ob.
5
Hp.
.
Cel.
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Vln. II
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Cb.
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7
mf
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5
5
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5
5
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5
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I.
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Timp.
5
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5
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22
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5 5
5
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3
5 5
5
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5
f
5
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5
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5
5
6
3
5 5
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5
5
6
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9
7
6
molto
7
6
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molto
3
bass drum
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6
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6
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23
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f
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70
7
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72
Fl.
Ob.
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Hn.
Eb Db
Vln. I
Vln. II
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l.v.
tam-tam (medium mallet) f
mp
mp
f f div.
3
mf
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p
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f
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f
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solo cello II.
solo cello III.
mf
pp
mf
mp
5
K
div.
f
f
vibraphone
Cel.
f
Perc.
Solo Vln.
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24
Tbn.
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(damp)
3
mf
mp
25
77
Fl.
Ob.
Cl. Bsn.
Hn. Tpt. Tbn.
Timp.
Hp.
Cel.
Solo Vln.
mp
niente niente
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mp
mf
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5
poco rit.
Vla.
segue
Vln. I
Cb.
5
Vln. II
mp
Perc.
poco rit.
niente niente niente niente
niente niente niente
segue
81
Fl.
Ob.
Cl.
Bsn.
Hn.
L
Sprightly (q = 120)
6
Timp. Perc.
sizzle cymbal (hard sticks)
Cel.
Solo Vln.
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f
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5
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f
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nat.
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f nat.
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TUTTI col legno tratto non div.
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f
f
l.v.
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f
l.v.
sfz
l.v.
p
sfz
mp
I.
5
f
E§ F§ Gb A§ D§ C§ Bb
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sfz
f
Tbn.
Hp.
II. sfz f f I. II. sfz f f 5 5 I. II. sfz f f sfz 6
I.
Tpt.
26
III. - Fire-monsters in the Milky Brain
3
mf
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85
Fl.
Ob.
Cl.
3
f
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27
Timp.
Perc.
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Vln. II
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3
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niente
Fl.
Timp.
Perc.
pp
6
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Tranquillo (q = 54)
gliss.
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M Solo Vln. Vln. I
pp
28
5
Cel.
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I.
Tpt.
Tbn.
Cl.
Hn.
Ob.
Bsn.
M Tranquillo (q = 54) 89
93
Fl.
Ob.
p
A§ C#
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Cel.
Solo Vln.
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Vln. II
3
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Perc.
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Timp.
Tbn.
Tpt.
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3
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29
Bsn.
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Cl.
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niente
99
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Ob.
a2
mf
a2
Cl.
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5
Tbn.
mf
mf
Solo Vln.
f
mf
gliss.
3
mf
niente
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3
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p
l.v.
6
6
6
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mf
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mf
niente
7
mf
p
p
nat.
p
nat.
3
nat.
3
mf
3
mf pizz. l.v.
mf
col legno tratto
nat.
3
col legno tratto 3
col legno tratto
sfz
mf
col legno tratto
3 Vln. I
Cb.
Vc.
Vla.
Vln. II
Cel.
Hp.
Timp. Perc.
5
Hn.
Tpt.
mf
30
102
Fl.
Ob.
Bsn.
Hn.
Timp.
Perc.
sfz
a2
I.
pp
3
3
Vln. II
Vla.
sfz
p
Vc.
Cb.
sfz
f
mf
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p
O
l.v.
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con sord.
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3
nat.
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mp
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pizz.
l.v.
f
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l.v.
5
5
5
pp
Vln. I
3
Hp.
Solo Vln.
5
Cel.
31
O
Tpt.
Tbn.
a2
sfz
Cl.
I.
107
Fl.
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Cl.
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Timp.
Perc.
mp F§ Ab
niente
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mp
col legno tratto
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pp
sfz
col legno tratto
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non vib.
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pp
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mf
col legno tratto
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5
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A§
3
segue
f
5
niente
Cb.
a2
Vc.
f
Vla.
Vln. II
a2
Vln. I
Cel.
Solo Vln.
Hp.
Tpt.
Tbn.
32
f
f
pizz.
f
3
nat.
3
f
nat.
3
col legno tratto
pp nat.
3
f
segue
l.v.
nat.
111
Fl. Ob.
Cl.
Bsn.
P
Tbn.
Perc.
Timp.
mf
mf
Cel.
Solo Vln.
Vln. I
P
5
mp
(con sord.)
div. pp
Vln. II
Vla.
Vc.
div. pp
(con sord.)
5 5
(con sord.)
3 3
(arco) con sord.
pp
div. pp
Cb.
div. pp
a2
mf
mf
Large Suspended Cymbal (very soft mallets)
pp
Suspended Cymbal (small)
(snare sticks)
5
p
Eb (F§) Gb Ab Db C§ Bb
mf
Q
mf
mf
mf
(damp)
5
3
(q = 54)
l.v.
mf
pp
E§ F§ G§ A§ D§ C# B§
Smoothly Flowing (q = 108)
ppp
vibraphone - motor 1/2 speed (bowed with a cello bow) l.v.
pp l.v. l.v.
Q
tam-tam (soft mallet)
Hp.
(q = 54)
Hn.
Tpt.
33
IV. - Dry Birds Are Fluttering in Blue Leaves
Smoothly Flowing (q = 108)
mf
mf
mf
non div.
mf
mf
34
Ob.
Cl.
117
Fl.
Bsn. Hn.
Tpt.
Timp. Tbn.
Perc.
l.v.
3
Cel.
Solo Vln.
Vln. I
mf
p
mf
mf
p
f
l.v.
5
p
Cb
pp
p
mf
f
p
p
mf
C§
3
mf
Vc.
Vla.
Vln. II
Cb.
Hp.
mp
mf
mf
mf
mf
mf
5 sfp 3 sfp 3
122
Fl.
Ob.
Cl.
Bsn.
pp
Hn. pp
pp
Tpt.
Tbn.
pp
pp
mf
l.v.
mp
mp
Vln. I
pp
Vln. II
Vla.
pp
pp
pp
pp
mp
sfp
sfp sfp
sfp
sfp
niente
niente
ss.
6
gl i
niente niente
Cb.
Vc.
Perc.
Solo Vln.
niente
Metal Wind Chimes l.v.
Cel.
Timp.
Hp.
niente niente
35
R
l.v.
gliss.
mf
p
R
Ob.
Cl.
127
36
S
Fl.
Bsn.
Hn.
Tpt.
Tbn.
Timp.
pp
Hp.
Cel.
Solo Vln.
Vln. I
Vc.
Cb.
Vla.
pp
Cb
mp
S
p
niente
niente
niente niente
niente
C§
Vln. II
3
Suspended Cymbal (very soft mallets) (large)
Perc.
37
Ob.
Cl.
133
Fl.
Bsn.
Hn.
Tpt.
Tbn.
Timp.
mf
Perc.
Hp.
Cel.
Solo Vln.
7
l.v.
mf
f
3
5
Vln. II
Vla.
Cb.
Vc.
5
Vln. I
pp
Ob.
Cl.
138
Fl.
Bsn.
Hn.
Tbn.
Timp.
Tpt.
Perc.
Cel.
Solo Vln.
7
Cb
Hp.
38
T
l.v.
p
ppp
C§
T
7 3
3
3
3
3
niente
Vln. II
Vla.
Vln. I
Vc.
Cb.
l.v.
39
Ob.
Cl.
Timp.
144
Fl.
Bsn.
Hn.
Tpt.
Tbn.
Perc.
Hp.
Cel.
Solo Vln.
Vln. I
U
p
Cb
gliss.
U
pp
mp
Vln. II
Vla.
Vc.
Cb.
40
Ob.
Cl.
149
Fl.
Bsn.
Hn.
Tpt.
Tbn.
Timp.
Perc.
mf
l.v.
p
Triangle
Hp.
l.v.
l.v.
pp
3
p
Cel.
Solo Vln.
niente
niente
niente
Vln. II
Vla.
Vln. I
Vc.
Cb.
pp
Cambridge, March 2000 Oxford, January 2004