Page 1

PERFORMANCE SCORE (TRANSPOSED)

Ariadne

for soprano saxophone and piano I. Through the Labyrinth with Ariadne’s Thread II. Asleep on the Isle of Naxos

Stuart Beatch Performance Notes (Movement I) Here, the score flows in a non-linear fashion. Begin at rehearsal letter A, and continue until you are directed to rehearsal letter D (page 3). At D, the piano is given a series of chords, each to be repeated the number of times indicated above the chord. Use the sustain pedal, but clear each time the chord changes. The brackets at the end of the system (ignore the ones at the beginning of the system for now) indicate a series of chords that may be repeated ad lib if the soloist has not completed their material. Create a general crescendo so that the dynamic by the end of the section matches the soloist. At D, the soloist is provided a collection of motivic fragments. Starting with the segment at the top left of the page with a pencil, connect the end of the fragment with the beginning of another, and connect the end of that fragment with the beginning of another, and repeat until all fragments have been connected, saving the bottom right fragment for last. (This is to be completed during rehearsals, and not during the performance.) In performance, perform each fragment in the series chosen, leaving a gap of several seconds between each. Select dynamics ad lib. Once the bottom right fragment has been completed as indicated, the soloist will cue the pianist to stop (no matter where they are in the chordal series), and they will proceed together to rehearsal letter B. Once this section is completed, proceed together to rehearsal letter E as indicated. This will be an exact reverse of the section at rehearsal letter D. The pianist will complete the series of chords from right to left, using the brackets printed at the beginning of the system (now ignoring the ones printed at the end of the system) as material to repeat ad lib. Start at the dynamic level of the soloist, and create a general decrescendo throughout. The soloist will complete each fragment in the exact reverse order that they were originally completed (starting from the bottom right and ending at the top left), and each fragment itself should be read right to left. Continue to select dynamics ad lib, but aim to create the feel of a general decrescendo throughout. Once the soloist has completed the top-left fragment, the pianist will stop playing and hold the pedal until the soloist starts at the downbeat of C.


Ariadne

A

  

I. Through the Labyrinth with Ariadne's Thread Slow and mysterious (q = 60)

p

    p    3

 

 



     

5

 

fff

  

          

 

3

Twice as fast (q = 120)

  

  

3

 

    

 

   3

        

3

       

B

       

                           accel.               3                                 

 



3





** Chromatic forearm cluster in the range indicated.

        

5

       fff         5

fff

3

  

 

  



 

 

 



 

ffff

                                             ffff emotionless                  *   **

* Chromatic palm cluster in the range indicated.

3

to rehearsal letter D



3

Stuart Beatch

 

   fff



 



 






2

9

 

                  

    

    

sfffz

    

    

fff

6

               Tempo I (q = 60)

      

19

pppp

 

 

 

    

    

    

    

    

ffff

fff

    

           

                cresc. poco a poco

C

  

sfffz

sfffz sffffz

          fffff          



 



 



   

  

 

p

  

(7")

   (7")

ff

       

 

to rehearsal letter E

       

12

    

               6

  

                                      ppp                                                 


D

3

= 60)

in one breath; repeat and repeat until your breath is depleted

(mf cresc.)

60) 7

I

8

6

IN I 1111111111111M11111 MOM 111•110r0 S' amINI

—I

8

7

5

:112=111111.11TA

—11111111111M1111FIZi ' 0—

1 I,

6

7

6

4

7

0. 1111111:111a0 1.11:1111/21111IPININILIPIsnouiirommr . OWEN, ■ -‘osIWO :11MINIMMINfiltrACCIIMIlloosur017.1111121MInkUP111111 , 0 • —0

.40

I

rft-c.suaroarauscar%1111emurrmarrowrorimm: -' 11111111111Q1011.1wir• CAMIIIIM1■

II

MIN111111111.101111111

SW ENIIIIMIIIIMINVIIIIIIIIIIIIIIIIIIIIIINF7111%

IIIIIMIIIIIIII

k

-1- me faro" 1111:1:7■ 111014I am ••• .:-• 41 '0 '0 "

cresc. poco a poco

0 0

4' 0

—rmommr.1--

" ""11.11171.1 M111:1FAJNIINq / 'I

'I

I

'0

'0 'I

IIIII 0 '0

mom

FISMI1011


II. Asleep on the Isle of Naxos Slow and peaceful (q = 48)

4 &4 w

{

5 4˙

ppp

4 #w 4

˙™

? 4 œj œ œj œj œ œj 5 #œj œ œ œ œ œj 4 œj œ œj œj œ 4œœ œœœ œ 4œœ œ œ œ œ 4œœ œœœ Slow and peaceful (q = 48)

ppp

5 4 ?4 j j j j4 j j4 j j j 4 œœ œœœ œ œœ œ œ œ œ œœ œœœ

5

&

{

œ pp

? #œœj œœ ? j #œ œ

F

& bœ ™

9

{

pp

F

? ##œœ œœ J ?

ppp

j #œ œ

œ œ#œ#œ 3 nœ ™ œ 4

œ œœ

œ 4 œ J 4 p

3 4 j4 j j4 j œ œ bœ œ œ œ #œ œ

9 j œ œ œ œ 8 œj œ œ œ œ

œ œ 9 nbœœ œœ œ œ 8 J J

9 j8 j œ œ bœ œ

œ œ œj œ œ œ

j j œ œœ

j œ œ œ ˙

mp

j3 j j4 j œœ œœ 4 bœ œ œ œ 4 #œœ œœ œœ œ œ

œ œ œ™ J

œ J

j j œ #œœ œœ œ

bœ ˙ b œ œ œ œ œœ

œœ

j j œœ bœ œ œœ

j j j œœœ œ œœœ œ

œ

j j œ bœ œ

j j j œœœ œ

pp

œ

#œ ™

˙

4 4

œ

bœ ™

œbœ œ œ J

œ œœ

˙

œ œ œ œ 4 #œ œ œ œ œ n œ œ œ œ œ œ œ œ œ 4 # œ œ œ œ œ bœ œ œ œ œ J J J J

4 j j j j 4 œ œ œ œ #œ œ œ œ œ bœ œ œ œ œ


œ

œ

? œ œ

œœ #œœœ n ‰ &‰ œ

œœ nœœ œ œ

? j œ

œ œœ

œ œœ

13

&

{

mf

pp

mf

œ œœ

#œ #œ 4 &4

œ

4 &4 Œ

#nœœ # œ ‰ J #œœ

15

{

ppp sub.

7 #œ 8

j œj 7 œœ œœ œœ 8 œ œ

3 4œ

#˙ j œ-

G

3 4Ó

œ œ#œ#œ 5#˙ ‰ 4

Œ

Œ

ppp

mp

? 4 œœ œœ 4œ œ J

œ J #œ œ œ œ œ œœ

œ œœ

œ œœ

œ œœ

5 #œ œ œ 4 J 5 # œœ œœ 4 œ œ J

œ œœ J ?

5 4

œ #œœœ J

4 4 4 4

œ œœ

4 4 4 4

˙ œ #œ -œ œœ

4 4

#œ-

œ

Œ

#œ# œ # œ # œ # œ 4 # œ ≈ 4

4 4

pp

A little faster (q = 56)

4 & 4 Ϫ

œœ ## œœ œ œ

œ-

3 4œ

#œ #œ

œœ ### œœœ #œ J

poco accel.

A little faster (q = 56)

4 &4 œ ‰ Œ

œ

poco accel.

G

17

#œ # œ

7 8Œ

ppp

f

?4 w 4w w-

{

5

œœ œœ

Ossia:

œ œ œ œœ œœ J œœ œœ J

œœ œœ

#œ J œ œ œ œ œ œœ œœ J

œ œœ J

œœ œœ J

œœ œœ J

œœ œœ

4 4 4 4 4 4


6 19

4 &4

{

‰ œ œJ

4 & 4 #œ ? 4 œœ 4œ J

œ œœ

H

nœ ™ 9 &8

{

œ J

œ œ œœ J

œ œœ J

f

bœ ™ 9 bœ ™ &8 ff

œ œœ

œ œœ J

bœ œ b œ œœ b œ œœ œ nœ 5 bœ œ œ 4œ J

#œ œ œœ œœ J

(ossia simile)

> b œ œ œ b œ œ œ œ b œ œ œ >œ ™ 11 &8

œ œœ

mf

bœ b œ bœ œ b œ b œœ œ œ 11 & 8 bœ bœ œ œ bœ ? 11 bbbœœœ œœœ œœœ 8 J

œœ œ

œœ œ

œœ œ J

> œbœ œ œ œ bœ œ œœ œJ

-œ -œ œ œ -œ œœ

œ nœ J

œ œ œ ˙ œ ˙ œœ œœ œ œ J

-œ œœ

œœ œ J

œœ œœ œœ J

9 8

œœ œœ œœ 11 œ œ œ 8 J œ >œ b >œ 3

œ #œ#œnœnœbœbœ nœ œ 6 bbœœ œ œ nnœœ #œ #œ n œ nœ bœ bœ nœ 4 œœ 6 bœœœ œœœ œœœ œJ 4 J

9 8

11 8

ff

ff

9 8

bœ 11 J 8

b >œ n>œ

>œ œ œ 6 bœ n˙ 4

23

f

bœ bœ

œœ œœ 5 bœœœ œœœ œ œ 4J

œœ œ

-œ œ J -œ œœ J

œ œ œ #œ œ œ J œ

œ œ nœ bœ bœ œ œ b œ œ bœ 5 œ J 4

œœ œ

#-œ -œ -œ J

mp

p

Faster still, becoming anxious (q = 60)

? 9 bbbœœœ œœœ 8 J

{

#œ #œ #œ J œ

Faster still, becoming anxious (q = 60)

21

H

# œ # œ n œ #œ

œœ œ

œœ œ J

3 4 3 4 3 4


7

<n>>œ 3 &4

{

A little slower, grandiose (q = 56)

25

<n>˙ >

fff

b >œœœ œ

œœ œœ

ffff

> ? 3 bbbœœœ 4

I

bœ b >œ

nn>œœœœ nnœ>œœœ

b >œœœ œ

>œ bbœœ bœ œ >

Tempo I (q = 48)

4 #w &4

{

œœœ œ

&

{

&

> bbbœœœœ

˙

I

Tempo I (q = 48)

Ó

?

#w

(ppp decresc.)

? œj œœ

œ œœ

Œ j œ œœ

j œ œ ™™ œœ œœ ™

‰ #œj

œ bbœœ

œœœ b œœ bœ

b˙˙ b˙

œœ œ

ppp

œj œj œ œœ œœ œœ

œj œœ

j œœ # œœ

j œœ œœ

j œœ œœ

œœ œœ

˙ #œj œ ™ œœ œœ ™™ (ossia simile)

j œœ œœ

œœ œœ

Œ

‰ œ

Œ

œ™ œœ ™™

4 4

#œ œ œ œ # œ œ œ ®

pppp

#œj œ œœ œœ Ossia:

4 4

Œ

˙

˙

mf sub.

Œ

pp

poco rit.

nœœ œ

b >˙˙

sfffz bnbbœ>œœœ bbbœœœ b >œ b ˙ ™ > bœ b˙™ >

4 & 4n w w w pp decresc. poco a poco al fine ? 4 œj œ œj œj œ œj 4 œ œ œ œ œ œ œ œ œ œ œ œ

31

4 4

A little slower, grandiose (q = 56)

b >œœ b > bbœœœ œœ b 3 &4 b œ

29

™ >˙

˙ >

poco rit.

#w

œ œ œ#œ # w

pppp

pppp

œj œœ

w w w

Profile for Stuart Beatch

Ariadne, for soprano saxophone and piano  

Two Movements for Saxophone - Duration: 7' [learn more at stuartbeatch.com]

Ariadne, for soprano saxophone and piano  

Two Movements for Saxophone - Duration: 7' [learn more at stuartbeatch.com]