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Simon Cummings

‘unredeemed’ self-)portrait (in the form of a calf for solo oboe


edeemed’ (in the form of a of calf for solo oboe self-)portrait ‘unredeemed’ self-)portrait (in the form a c ‘unredeemed’ self-)portrait (in the form of a c ‘unredeemed’ self-)portrait (in the form of a lo oboe oooboe oboe

lo oboe oboe lo for solo for solo oboe for solo oboe Opus 13oboe 313 333 13

Opus 13 Opus 1313duration Opus

circa 5 minutes circa 5 minutes duration 5 minutes duration circa duration circa circa 55 minutes minutes duration circa 55 minutes minutes duration duration circa These all be treated as such: embellishments of a single, principal note. Their realisations m ornaments circa 55minutes duration circa minutes duration circa 5must minutes duration embellishmentsofofa asingle, These must all be treated assuch: such:embellishments single,principal principalnote. note.Their Theirrealisations realisationsmay maybebe rnaments These outlined as follows: must all be treated as naments notes embellishments These must all be treated asas such: of aofsingle, principal note.note. TheirTheir realisations may bemay be rnaments performance embellishments These must all be treated such: a single, principal realisations rnaments outlined as follows: embellishments embellishments These These must must all all be be treated treated as as such: such: of of aaof single, single, principal principal note. note. Their Their realisations realisations may may be be rnaments rnamentsoutlined asasfollows: Ornaments must all be treated as such: embellishments a single, principal note. Their realisations outlined follows: embellishments must all as of single, principal note. Their realisations may ornaments embellishments These must allbe be treated assuch: such: ofaaof single, principal note. Their realisations maym ornaments embellishments These must all treated be treated as double such: a single, principal note. Their realisations ornaments outlined asThese follows: mordents mordents turns outlined outlined as as follows: follows: may be outlined as follows: outlined as follows: outlined as follows: outlined as follows: mordents doublemordents mordents turns mordents double turns mordents double mordents= turns = = = turns = = mordents double mordents mordents mordents double double mordents mordents turns turns = = = = = mordents double mordents turns = == = = = = = mordents double mordents turns mordents double turns= = = =mordents = = = = = = == = = = = = = = = == extended turns = == = == = == = == = == = = = extendedturns turns extended extended turns = = = = extended extended turns turns extended turns = = = extended turns = == = = = extended turns extended =turns = = === = = = = = = = = = trills == = == = relishes == = == = trills relishes trills relishes trills relishes = = = trills trills relishes relishes = trills relishes = = trills = == relishes = == trills relishes trills relishes == == are fixed, aspects of their==execution are left to the discretion of the play While figurations = = = == these == = == = = Whilethese thesefigurations figurations arefixed, fixed,aspects aspects oftheir theirexecution execution areleft left tothe thediscretion discretion the player,both both the specific upper/lower auxiliary notes — being either a quarteror semitone above/below the prin While are of are to ofof player, the While these figurations are fixed, aspects of their execution are left to the discretion ofthe the player, both the specific upper/lower auxiliary notes —being being either aquarterquarteror semitone above/below the principal note — as well as whether an ornament begins before or on the beat. Trills, however (& the main portio While While these these figurations figurations are are fixed, fixed, aspects aspects of of their their execution execution are are left left to to the the discretion discretion of of the the player, player, both both the the specific upper/lower auxiliary notes — either a or semitone above/below the principal note — specific upper/lower auxiliary notes —are being either aof quarteror semitone above/below the principal note — While these figurations are fixed, aspects their execution are left to the discretion of the player, While these figurations are fixed, aspects of their execution are left to the discretion of the player While these figurations fixed, aspects ofnote their execution are left tomain the discretion of the pla While these figurations are fixed, aspects of their execution are left to the discretion of the player, bot While these figurations are fixed, aspects of their execution are left to the discretion of the player, as well as whether an ornament begins before or on the beat. Trills, however (& the portion of relishes), are always to be executed using an auxiliary that is as close as possible to (above or below) specific specific upper/lower upper/lower auxiliary auxiliary notes notes — — being being either either a a quarterquarteror or semitone semitone above/below above/below the the principal principal note note — — asaswell asaswhether ananornament begins before ororononthe beat. Trills, however (&(&the main portion ofofrelishes), well whether ornament begins before the beat. Trills, however the main portion relishes), specific upper/lower auxiliary notes — being either aaquarterquarteror semitone above/below the princip specific upper/lower auxiliary notes — being either quarterorsemitone semitone above/below the princip specific upper/lower auxiliary notes — being either a quarteror semitone above/below the prin specific upper/lower auxiliary notes — being either a quarteror semitone above/below the principal n both the specific upper/lower auxiliary notes — being either a or above/below are always to be executed using an auxiliary note that is as close as possible to (above or below) the principal note. All ornaments are tobefore benote played asthe as possible. as asalways well well as asto whether whether an an ornament ornament begins before or orthat on on the beat. Trills, Trills, however however (& (& the the main main portion portion of ofprincipal relishes), relishes), are using anbegins auxiliary isquickly close as possible toto (above oror below) the are always tobe beexecuted executed using an auxiliary note that isasbeat. as as possible (above the principal as well as whether an ornament begins before or on the beat. Trills, however (& the main portion of as well asare whether an ornament begins before orclose on the beat. Trills, however (&below) the main portion o as well asornament whether an ornament begins before or on the beat. Trills, however (& the main portio the principal note — as well as whether an ornament begins before or on the beat. However, trills as well as whether an begins before or on the beat. Trills, however (& the main portion of rel note. All ornaments to be played as quickly as possible. are are always always to to be be executed executed using an an auxiliary auxiliary note note that that is is as as close close as as possible possible to to (above (above or or below) below) the the principal principal note. All ornaments are totobeusing played as quickly asaspossible. note. All ornaments are be played as quickly possible. are always be executed using an auxiliary note that isisauxiliary as close as to (above or the are always to be executed using anbe auxiliary note that as close aspossible possible toclose (above orbelow) below) th are tobe be executed using an auxiliary that isas aspossible close as possible toor(above or the below) and the portion ofto relishes are an always to executed using an note that is as as are always to be always executed using auxiliary note that isnote as close to (above below) pr note. note. All Allmain ornaments ornaments are are to to be played played as as quickly quickly as possible. possible. vibrato Three intensities are used: = as gentle, =possible. medium & = wide. However, vibrato is im note. All ornaments are to be played as quickly as note. All ornaments are to be played as quickly as possible. note. All ornaments are to be played as quickly as possible. possible toornaments (above are or below) note. All medium ornaments are to =bewide. played as quickly as possible. note. All are tothe beprincipal as quickly assound possible. vibrato Three Three intensities used: =played gentle, However, vibrato implied throughout; should a= =note vibrato are && isis vibrato Threeintensities intensities areused: used:at no= point =gentle, gentle, =medium medium &static.= =wide. wide.However, However,vibrato vibrato isimplied implied throughout; at no point should a note sound static. vibrato vibratothroughout; Three Three intensities intensities are are used: used: = = gentle, gentle, = = medium medium & & = = wide. wide. However, However, vibrato vibrato is is implied implied at no point should a note sound static. throughout; atThree noof point should aused: note sound static. Three intensities vibrato are medium wide. However, vibrato Three intensities are ==gentle, ===medium &&and& ==wide. However, vibrato isisimplie vibrato Three intensities areused: used: gentle, medium wide. However, vibrato impli vibrato intensities used: = gentle, = medium == wide. However, is im vibrato throughout; Three intensities are used: = gentle, = medium & = wide. However, vibrato isvibrato implied throughout; at at no no point point should should aaare note note sound sound static. static. vibrato is implied throughout; at no point should a note sound static. throughout; at no point should a note sound static. throughout; at no point should a note sound static. throughout; at no point should a note sound static. breathing at no = inhale, = exhale: throughout; point should a notewhere soundindicated, static. breaths should be audible & expressive. breathing =inhale, inhale, = =exhale: exhale:where whereindicated, indicated,breaths breathsshould shouldbebeaudible audible&&expressive. expressive. eathing = breathing = inhale, inhale, == exhale: where indicated, breaths should be be audible audible and & expressive. = exhale: where indicated, breaths should expressive breathing breathing == inhale, inhale, == exhale: exhale: where where indicated, indicated, breaths breaths should should be be audible audible && expressive. expressive. b accents breathing ==inhale, ==exhale: where indicated, breaths should be &&expressive. breathing inhale, exhale: where indicated, breaths should beaudible audible expressive. breathing = inhale, = exhale: where indicated, breaths should be audible & expressive. b accents breathing = binhale, exhale:accents where indicated, breaths should be audible & expressive. accents b= weak to= strong accents bb accents accents bb b accents accents accents articulations = flutter-tongue indefinite pitch pitch is merely approximate) = flutter-tongue = indefinite pitch= (indicated pitch (indicated is merely approximate) b accents culations = flutter-tongue = indefinite pitch (indicated pitch is merely approximate) ulations = =indefinite iculations = =flutter-tongue flutter-tongue indefinitepitch pitch(indicated (indicatedpitch pitchis ismerely merelyapproximate) approximate) iculations culations multiphonics == flutter-tongue flutter-tongue == indefinite indefinite pitch pitch (indicated (indicated pitch pitch is issound, merely merely approximate) approximate) To be executed such that two or more notes sound, including the notated Multiphonics are to be executed such that two or more notes including theapproximate) pitch, . articulations = flutter-tongue = indefinite pitch (indicated pitch isismerely articulations = indefinite pitch (indicated pitch merely approximate) articulations = flutter-tongue = flutter-tongue = indefinite pitch (indicated pitch is merely approximate) To be executed such that two or more notes sound, including the notated pitch, tiphonics To be executed such that two or more notes sound, including the notated pitch, phonics executed such that two or more notes including notatedapproximate) pitch, culations To=be ltiphonics flutter-tongue = indefinite pitch sound, (indicated pitchthe is merely To be be executed executed such such that that two two or or more more notes notes sound, sound, including including the the notated notated pitch, pitch, ltiphonics tiphonics To To such that two or notes sound, including the notated pitch, multiphonics Tobe beexecuted executed such that twotwo ormore more notes sound, including thethe notated pitch, multiphonics To be executed such that or more notes sound, including notated pitch, multiphonics “Unredeemed, untamed, the four creatures symbolise deep disorder and destructiveness, it seems that ittwo more bestiary. notes sound, the notated tiphonics Totobe me.executed … Seen insuch this way, is aor demonic … But including it is a truthful mirror ofpitch, human life. … It is the place where the masks are off and true faces are revealed. … it is a hopeless place indeed.” “Unredeemed, untamed, the four creatures and113–4) destructiveness, (Michael symbolise Sadgrove, Adeep Picturedisorder of Faith, pp.

“Unredeemed,untamed, untamed,the thefour fourcreatures creaturessymbolise symbolisedeep deepdisorder disorderand anddestructiveness, destructiveness,itit “Unredeemed, “Unredeemed, untamed, the four increatures symbolise deep bestiary. disorder…and destructiveness, it of huma seems to me. … Seen this way, it is a demonic But it is a truthful mirror “Unredeemed, “Unredeemed, untamed, untamed, the the four four creatures creatures symbolise symbolise deep deep disorder disorder and and destructiveness, destructiveness, it it “The calf, cowering, turning away from danger … is my cowardice, my lack of spirit, my tendency to seemstotome. me. …Seen Seenininthis this way,ititisthe isa athe demonic bestiary. Butititisdeep is truthful mirror of human “Unredeemed, untamed, four creatures symbolise disorder and destructiveness, itit “Unredeemed, untamed, the four creatures symbolise deep disorder andof destructiveness, untamed, four creatures symbolise deep disorder and destructiveness, seems …“Unredeemed, way, demonic bestiary. …… But a aatruthful mirror human seems torun me. … Seen in this way, it is a demonic bestiary. … But it is truthful mirror of human life. … It in is this the placeititand where the masks off anditittrue faces revealed. …it is a hopeles away from life’s demands hide, infant-like, inare some imagined safe, dark are place.” seems seems to to me. me. … … Seen Seen in this way, way, is is a a demonic demonic bestiary. bestiary. … … But But is is a a truthful truthful mirror mirror of of human human life.……ItItisis the place where the masks are truefaces faces are ahopeless hopeless to …… Seen in this way, it isisitand asymbolise demonic bestiary. …revealed. But itit is aSadgrove, mirror of “Unredeemed, untamed, the four creatures deep disorder and destructiveness, it huma to me. me. Seen in this way, itoff aand demonic bestiary. … But isit…it aistruthful truthful mirror of human human seems to me. …the Seen in this way, is atrue demonic bestiary. … But ais mirror of life. the place where masks are off are revealed. …it is (Michael Ibid.) life. … It seems isseems the place where the masks are off and true faces are revealed. …it isatruthful a hopeless place indeed.” life. life. ……indeed.” It It is is the the place where where the thewhere masks masksthe are aremasks off off and and true true faces facestrue are are faces revealed. revealed. …it …it is is aa hopeless hopeless place ……place It place are off and revealed. …it isis human aaishopeless life.life. It the place where masks are offoff and… true faces are revealed. …it…it hopeless … isis It the is place where the masks are and true are revealed. a hopeles seems to life. me. Seen in the this way, it is the a demonic bestiary. But it isfaces aare truthful mirror of place placeindeed.” indeed.” (Michael Sadgrove, A Picture of Faith, pp.113–4 place place indeed.” indeed.” (Michael Sadgrove, APicture Picture ofFaith, Faith, pp.113–4) indeed.” place indeed.” place indeed.” (Michael Sadgrove, A of pp.113–4) duration: c. 5 minutes life. … It place is the place where the masks are off and true faces are revealed. …it is a hopeless (Michael Sadgrove, A Picture of Faith, pp.113–4) (Michael (Michael Sadgrove, Sadgrove, AA Picture Picture of of Faith, Faith, pp.113–4) pp.113–4) (Michael Sadgrove, AAPicture of pp.113–4) (Michael Sadgrove, Picture ofFaith, Faith, pp.113–4) (Michael Sadgrove, A Picture of Faith, pp.113– place indeed.” “…the calm, bovine quality of the calf, slightly hysterical, very easily afraid…” “…thecalm, calm, bovinequality quality of thecalf, calf, slightlyhysterical, hysterical,very veryeasily easilyafraid…” afraid…” “…the (Michael Sadgrove, A Picture ofCoventry Faith, pp.113–4) “…the calm,bovine bovine qualityofofthe the calf,slightly slightly hysterical, very easily afraid…” (Graham Sutherland, The Tapestry, p.54 “…the “…the calm, calm, bovine bovine quality quality of of the the calf, calf, slightly slightly hysterical, hysterical, very very easily easily afraid…” afraid…” (Graham Sutherland, The Coventry Tapestry, p.54) “…the calm, bovine quality of the calf, slightly hysterical, very easily afraid…” “…the calm, bovine quality of the calf, slightly hysterical, very easily afraid…” “…the calm, bovine quality of the(Graham calf, slightly hysterical, very easilyTapestry, afraid…” Sutherland, The Coventry (Graham Sutherland, The Coventry Tapestry,p.54) p.54) (Graham (Graham Sutherland, Sutherland, The The Coventry Coventry Tapestry, Tapestry, p.54) p.54) (Graham Sutherland, The Coventry Tapestry, p.54) (Graham Sutherland, TheThe Coventry Tapestry, p.54) (Graham Sutherland, Coventry Tapestry, p.5 “…the calm, “The bovinecalf, quality of the turning calf, slightly very… easily cowering, away hysterical, from danger is myafraid…” cowardice, my lack of spirit, m “Thecalf, calf, cowering,turning turningaway awayfrom fromdanger danger……isismy mycowardice, cowardice,my mylack lackofofspirit, spirit,my my “The “The calf,cowering, cowering, turning away from from life’s danger … is my cowardice, my Coventry lack of spirit, my p.54) tendency to run away demands and hide, infant-like, in some imagined (Graham Sutherland, The Tapestry, “The “The calf, calf, cowering, cowering, turning turning away away from from danger danger … … is is my my cowardice, cowardice, my my lack lack of of spirit, spirit, my my safe, dar tendency to run away from life’s demands and hide, infant-like, in some imagined safe, dark


for Christopher Redgate

‘unredeemed’ self-)portrait (in the form of a calf Simon Cummings e=120 barely-controlled:

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 62

  

           fearful, with a growing sense of dread

˜ 

Á 

sempre pp

 65

  

3:2e 3:2e

Á ˜ Á   

 

5:4e 3:2e

   p



 

 

      © 2012 Simon Cummings

7:5e

 3:2e         3:2e

pp

 

 


20:15e

5:3e trembling (rapid tonguing)     Á ˜ Á   5:3e                                               pp

  

7:9e

71

mp

pp

pp

psf (random sforzandi)

mp

 6:4e 13:9e  9:5e  4:3e Á ˜ Á ˜ Á ˜ Á ˜                     Á ˜ Á ˜ Á         

75

    

psf (sim.)

p

p

pp

     

79

12:16e

p

mp

(pp)

 p

mp

11:10e

      

  

9:6e                    pp mf mp mf p mf

(tonguing as fast as possible)

 

mpsf (random sforzandi)

23:13e

frantic           ˜ Á ˜ Á ˜ Á ˜  Á                                hyperventilating pp pp

13:9e

13:7e

82

pp

 85        ffff

f

p

7:4e 4:3e

 flinching; wincing                mp  pp fff ff

mf

29:18e

                mp p pp p pp p gibbering, stammering

molto (mf)

molto

5:3e 7:4e

pp

mp

p

9:6e

howling with misery

3:2e 3:2e

         

   

93

f

ff

 

 

 

mf (pp)

p

mf

brutish

f

fff

 

fff (pp)

5:6e

   

  ff

(p)

mf

fff

 

 

mp

f

(fff)

mf

fff

f

5:3e 4:3e

 ˜ Á˜Á                 panting mf

pp

mf

pp

p

pp

6:5e 4:3e

mp

 aghast      

  staccatissimo                        timorous, shrinking

89

pp

  

  

 

sobbing

pp

4:3e 4:3e

3:2e 3:2e

fff

pp



  



  

ff

f

pp

 15:8e                   p f p

98

hysterical, terrified

mf

f

               pp mf pp mf mf

         

100

mf

f

3:4e 3:2e

11:6e 5:4e

(pp)

mp

  107                         

111

pp





pp

6:5e

mf

(pp)

6:4e 6:4e

ff



mf



mp

p

ff mp

fff

3:2e 3:2e

  

 ff

    mf

(pp)

4:3e

f

        f

mp p

p

pp

5:3e

5:4e         ˜ Á ˜ Á    5:3e                              wheezing pp pp ff mp f

f

(fff)

f

poco

p

 

mp

ff

pp

pp

f

f

(pp)

 

          f  fff pp ff 3:2e

 



  

7:5e

 

p (pp) (mf)

           

mf

 mf

pp

ff

p ff pp

7:6e  7:4e              pp f

(pp)

fff

mf

p

mf

  mp

   

31:25e

   f

mf

raving, delirious

(mp)

7:4e 7:5e

spasmodic, unhinged

9:5e 5:8e

9:6e 9:8e

pp (mf)



Á ˜ Á                              gasping f

pp

17:21e       

(ff)

p

3:2e 3:2e

             keening

(mp)

mf mp (fff)

f

10 September 2007, Tewkesbury


'unredeemed' self-)portrait (in the form of a calf (2007)