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Simon Cummings

Suite Salmigondis for solo B-flat clarinet


to Victoria

Suite Salmigondis Simon Cummings

I. Echo I Tempo a piacere*

    

 



mp

p

(ppp)

*while the tempo may be freely chosen, the same tempo should be used for movements IV, VII & X

II. Barcarolle

  

      

  

molto legato

p

       

  

 

  

pp

                                       ppp

pp

III. Danse du Diable

bell down bell      up  wave bell

bell up

p

mf



mf

mp



bell down     



wave bell

p

mf

wave bell down  bell up bell        3                                p 5:4 mf  f mf mp mp bell up

   bell up



 



 

 

  

       

   

sf

mf

7:4

       wave bell

bell down

p

bell  down wave bell      

mp

p

wave  bell lower bell      sim. (whilst waving)                                   2/              3 ff  f mf bell up

mf poco a poco cresc.

  

bell up

p

wave bell  up bell down bell      

3/ 5 mp

p

© 2012 Simon Cummings


2 IV. Echo II Tempo come sopra

 

  

  

f

       

ritmico giusto; molto marcato

mf

(p)

V. Perpetuum mobile

ff

 

 (pppp)

                             

 

f

5/ 3

ff

ffff ff molto

     g                                   ffff ff 3 5:4

   mp

 f

5:3

   gliss.         f  5:4 2/3 mf mp

 ss.  gli

s lis

.

  

5:4

 up! bell        

4:3   f

ff

4/ 5

4/ 3

 bell down

  3

pp

fffff: distorting wildly

VI. Étude (after Morton Feldman) 



VII. Echo III Tempo come sopra

  

 

 

 

68:64x

f

fff

(ppppp)

(p)

VIII. Chant q = c.20

 

 (no circular breathing!)  pp poco a poco a poco dim. sempre echotone sempre

 (ppp)

 (pppp)

rall.

rit.


3 IX. Polonaise

                

            

mf

                         mp p mf mp                                                             f                   mp  

mf

p

X. Echo IV: ohcE

 



Tempo come sopra

4

/5

mp

(pp)

 

ffff ! poco a poco (a poco a poco a poco a poco) dim. (dim. dim. dim. dim. dim.)

1/ 5

(pppppp)

XI. Requiescat (Hommage à Versace)

Slow (e)               mp



 p

       

 







SILENCE



 mp

5:4

   poco

f

(tronco)                       

poch. più moto

poco

mf

                                                     p cresc.

    

(f)

Tempo I

 

 

mp

   

           pp: echotone sino al fine

     (sung)

ppp

fffsf

3



  

3

  p

 




4 XII. Soliloquy

 

2/ 3



mp

 

  

p

 

 

mp

 

 

 

3

pp



  

  

3



 

 

 

 mp



 



4/ 5

 



3/ 5



2/ 3

 mp dim. sempre

 

(pppp)

to be held as long as possible (without circular breathing), the note released shortly after it becomes difficult to sustain

p 19 February 1998 Cheltenham

Suite Salmigondis (1998)  

This light-hearted suite was composed for the birthday of a close friend. Each of the 12 movements is based on a successive fragment from th...

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