Dedicated to NAT 28 and the Longleash Trio · Dedicated to NAT 28 and the Longleash Trio - - 2017...

Amaranthine Violin, Cello and Piano (optional flute, clarinet, harp and french horn)

Dedicated to NAT 28 and the Longleash Trio

-

-

2017 Duration: 6’

Peter Kramer

1

PROGRAM NOTE Amaranthine was written during the Winter and Spring of 2017. There are two performance versions, one for piano trio premiered by the Longleash trio, and another for piano trio + flute, clarinet, harp and french horn commissioned and premiered by NAT 28. I would like to thank my good friends Jean-Patrick Besingrand and Zoe Sorrell of Nat 28 for commissioning this piece. Amaranth/amaranthine

1. An imaginary, undying flower. 2. Unfading, everlasting: a woman of amaranthine loveliness.

As I row over the plain Of the sea and gaze Into the distance, the waves Merge with the bright sky … As certain as color Passes from the petal, Irrevocable as flesh, The gazing eye falls through the world Haiku - Fujiwara no Tadamichi (Trans. Kenneth Rexroth) Phoenix and the Tortoise (fragment) – Kenneth Rexroth

2

NOTE TO PERFORMERS Pay close attention to the more articulate, accented and dynamic subito moments in the texture, these should stand out. The more gradient and white-noise sounds should act as a second layer of counterpoint to these articulate moments, always blending with the piano resonance. Additionally, be mindful of moments of synchronicity, where one part ends and another begins (marked by vertical lines between parts), and where the sounds discussed above pass among the trio itself. OPTIONAL FLUTE, CLARINET, HARP & FRENCH HORN There are three possible performance versions of this piece, one for piano trio, another for piano trio + flute, clarinet and harp, and a third that incorporates an off-stage french horn (see below). The piano trio should be arranged in the center of the stage, if the flute, clarinet and harp are being used they should be arranged around the piano trio itself, the french horn should be positioned off-stage possibly behind the audience. The flute, clarinet and harp “mime/double” the members of the piano trio (flute doubles violin, clarinet doubles cello, and harp doubles piano), this mime-trio should not play in strict time with the piano trio, rather they should phase in and out of synchronicity sometimes compressing or elongating their musical material. OFF-STAGE FRENCH HORN At mm.61-62 the off-stage french horn should sustain the note B3 or possibly B4 (whichever is most comfortable). Begin at a pp dynamic and crescendo to the loudest possible dynamic, sustain the note for as long as physically possible while maintaining a clear and cutting tone.

3

GENERAL TECHNIQUES Table of Fermati:

=2-5”

=5-8”

=8-13”

Where a mute sign is present (never in the piano) suddenly/abruptly mute the sound of your instrument.

Dynamics in parenthesis denote a sound (i.e. toneless, muted, percussive) which will not sound at the written dynamic, however the intensity of the dynamic within the parenthesis should be executed.

Stable/non-fluctuating dynamics should be sustained without any cresc. or descres.

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Recitivo (freely, not too fast)

en presence d'un revé (continued)

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58 3132 128

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11

{Romance : einfach, semplice e=100

I. Prelude, tenere "to hold" fortune

Prelude (tempo 1) q=50_55 Furioso (tempo 2) a little slower

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(sos.)

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2

{Copyright © 2016

Bookend IBegin by capturing the given notes in the sostenuto pedal (assuming a playing position), these notes should be held into the following page. While holding these notes read sonnet 116 silently to yourself, as a sort of prayer or ritual before moving on to the first movment attacca.

Not Sorrowfor Yingying Su

Peter Kramer (b.1989)

Piano

616&

SONNET 116 - ShakespeareLet me not to the marriage of true mindsAdmit impediments. Love is not loveWhich alters when it alteration finds,Or bends with the remover to remove:O no! It is an ever-fixèd markThat looks on tempests and is never shaken;It is the star to every wandering bark,Whose worth's unknown, although his height be taken.Love's not Time's fool, though rosy lips and cheeksWithin his bending sickle's compass come;Love alters not with his brief hours and weeks,But bears it out even to the edge of doom.If this be error and upon me proved,I never writ, nor no man ever loved.

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4

STRINGS m.s.t. / s.t. / ord. / s.p. / m.s.p. (molto sul tasto / sul tasto / ordinary position / sul pont / molto sul pont) The string players are encouraged to move as close to the fingerboard or bridge as possible, creating an airy sound near the fingerboard and exciting different partials near the bridge. c.l. / c.l.b. (col legno / col legno battuto)

Molto vibrato (m.v.), create a wide and wild vibrato up to a quarter-tone sharp and a quarter-tone flat. Throughout the piece vibrato ad lib. unless the abbreviation (s.v.) senza vibrato is indicated.

Unmeasured tremolo, should always be unmeasured and never predictably rhythmic, and should always contain added accented impulses within the given dynamic.

Toneless sounds, noted with square note heads are played on the open strings by muting/resting the left hand on the indicated strings in such a way that when bowed the sound contains next to no pitch resulting in an airy/toneless sound. See the musical example below, when a square note head is found in this position on the stave it indicates for the tailpiece to be bowed, also creating an airy/toneless sound.

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PIANO Pedal Abbreviations: ped. (sustain pedal) sos. (sostenuto pedal) u.c. (una corda pedal) Pedal Markings: 1/2 (denotes a half pedal, when half-pedaling, previous sounds should still be ringing "quasi-echo") full (denotes a full lift of the pedal, all previous sounds should be eliminated)

Percussive pedaling, slam the foot down onto the pedal, creating a loud percussive sound, this should also excite the strings to resonate throughout the piano creating a resonant sonority from the piano itself.

“flutter pedaling” this technique is notated with a trill-like symbol and is performed by rapidly depressing and releasing the sustain pedal with the right foot, creating a percussive noise that excites and elicits the resonant sound of the piano to speak.

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WINDS

Flutter tongue

Ord tone (full pitch) / air tone (mostly air with some pitch)

Molto vibrato (m.v.) create a wide and wild vibrato up to a quarter-tone sharp and a quarter-tone flat.

Air tone sounds are notated with square note heads and should contain no pitch (air tone sounds in the flute will always be accompanied by the “closed embouchure” symbol described below). See the musical example below, when a square note head is accompanied with a wedge symbol above it, finger the notated pitch and inhale (as opposed to exhaling) through the instrument, creating a toneless sound.

Closed embouchure (flute only), this symbol indicates that the embouchure should be entirely covered, the resulting sound should be completely toneless.

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Copyright © 2017

Part I q=50_55

Peter Kramer (2017)

Amaranthine

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{Copyright © 2017

Part I q=50_55

Peter Kramer (2017)

Amaranthine

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&dolciss.

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∑ ∑

Œ ™ ≈ æææOO# OO# OO ≈œ

Œ ™ œœ œ˜ Œ œ# œ# œ œb œ# œb œn ®

Œ ™ Œ œ œœr œ œ œ# ™ œ# œ

œnR œ œb ™ œ œnR œ œb ™ œ œ

œœ ™™œ ™

5

°

¢

{

18

Vln.

Vc.

Pno.

44

44

58

58

316

316

24

24

&"mf_"

s.p.

sub.sfz …

...molto rit...

.>

√ a tempo

pp ùû"mp" …

55

?"mp"

...molto rit...

>ppp

5

√ a tempo

arcos.p. (flau.)

œIII (trill)IV

p

Ÿ~~~~~~~~~~~~~~~~~~#

pp

m.v.¯¯¯¯¯5

&loco

pp sfz

. >5

...molto rit... √ a tempoÿ◊5

&(ped.)

(1/2)ø

slowly up...


sos....off

pp

(hold)

ped.

(p/mf)

"mf"

percussive, a little softer dolciss.

pp

#¯¯¯¯¯¯¯5 5

≈ 66 ™™ œœ Œ Ó 6J ≈ ‰™

Œ æææ6R æææJ ‰™ Ó ‰ Œ œœ## OO## ™™jœ

œbR œ œ œœ ™™ œœœ# œœœ ‰ œ œn ‰™Ó ‰™ œbJ œ œœb ™™ œœœb ‰ Ó œœ ™™jœœ ™™J

6

°

¢

{

21

Vln.

Vc.

Pno.

24

24

38

38

58

58

&ord.

mf_

- s.v.

≈ m.s.p.

fp>

ppmp

IIIIV

>

ord.

sfz

Æ√

3

?m.s.t.

mp

#pp

Öord.

sfz ….> .5

≈ (ord.)

fp

#(III)

>

m.s.p.

mf pp

>gliss.

"mf_"

s.p.

sub.sfz …

√.>

5

&(p/mf)

sfz

ÿ◊ ≈loco

f

>/0

(p/mf)

.> sffz >

(p/mf)

>5ÿ◊ √

5 5

&(1/2)

(ped.)

∑¯¯¯¯ ø

"ff"ø

(full)

.> ø"ff"ø

?

Œœ

≈ Oœ OObb

fiœn œO

æææOOn# OOb ‰ œœnn

œœ œBb ‰ 66 66 ≈ æææœJæææœj œ œµœj ≈ 66 ™™ œœ

œ œœ œœ ™™ œ

œœ#J Œ œœbbr

‰ œnœnr œœ#

œœœœœ#j Œ ‰ Œ

7

°

¢

{

24 °¢™™

°¢™™

°

¢

™™™™

Vln.

Vc.

Pno.

58

58

24

24

516

516

24

24

&m.s.p.

fp> mf

IIIIV

III

>

IIIIV

pp (freely)

c.l.ord.

p. . .

ppp

1. tutti2. vln+vc. play as written

3 5

?m.s.p.

p

#ùû

(III)

f

>ppp

gliss.

(m.s.p.)

pp

III

mp

IIIII>

fp

(III)

sub. …

c.l.ord.

>sfz

(full bow)

(II)

ppp

(III)

1. tutti2. vln+vc. play as written>

≥

(pitched)

arco

"f"

>

5

&loco

p (p/mf)

/0.

ÿ◊?

loco

sffz (p/mf)

&' . >5

(p/mf) pp (pp)

>.

ÿ◊. . . . .

5 5 5

?

NOTE TO PIANO: play mm.26-35 as written during the 1st repeat, during the 2nd repeat play only m.26 as written, mm.27-33 perform only the percussive pedaling, do not touch the keyboard!

(ped.)(full)

.

ø ‘“ '"mf"

"f"

∑¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ 1. tutti

2. vln+vc. play as written (pno. see note below!)

∑percussive!

5

≈œOb Oœb

fiœn œ œ œO

æææOOn# ™™ OOb O OO## OOn ≈ œ# œb œn œ# œ œb œ# œ# œn œn œ# œn œb ® Œ ≈

œJœj

æææœ œBb ≈ æææOn ™ OO#Æœn œ œnOO# OO## Ob ® œ# œ# œ œ œ# œb œ Œ 6R

œnœœœœ## j Œœœnr

œ# r œ œœ ™ œ# œœ œb ™ œn œ œ œ œ œœœ## J Œ œœ

r Œ

8

°

¢

{

27

Vln.

Vc.

Pno.

24

24

34

34

18

18

&

arcom.s.p.

pp

IIIIV

mf

IVIIIII

p

IIIIV

>

c.l.ord.

pppp

. . . ."mf"

arcom.s.t.

…

5

pp ùû5

?pp

m.s.p.

fp

IIIIIIII

>mp

,

ppp

c.l.ord.> (II). . . . .

arco

p_ …

5

5

&(p/mf) sfz (p/mf)

.>>

ÿ◊loco

p

>

calm

5 5 5

?ped.

∑ ∑¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

"mf"

∑ &

≈ OO# ™™ OOb

fiœn œO

æææOO## OO ‰ œ# œb œn œ#Œ 66 ≈ Œ Œ 6

≈fiœ œ œ

O ™ OO# OO# æææOO## ™™ œ# œ œ œ# œb ≈ ™ Œ æææ6R æææ æææ Œ

œ œ# œ# r œœ œ# ™ œœ œb ™ œ Œ œ œ œ

9

°

¢

{

30

Vln.

Vc.

Pno.

18

18

44

44

34

34

&"mp" ppp

5"mf"

m.s.t.

>pp

5

p_ …

m.s.p.

IIIII

fp pp

IIIII5

?"fp"

ord.>5

pp

m.s.p.

sfz …

.>5 pp ùû

(pitched)

"mf" pp

m.s.p. IIIII

p

>

fp

II

sub.

>5

&pp

p sfz

. >

5 p p dolce

(poco)>

&dolciss.

(ped.)(1/2)

.

.

ø"ff"

"f"

>

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯"mf"

∑5 5

J R Œ Œ Œ æææ66r æææ ≈ Ó 6 ≈

fi

œn œæææOO# OO#

‰ ≈ 66 ™ œœ ≈ Œ 6R

fi

œ œ‰™ OO

Æœn œOO## æææ

OO## On

‰œ#R

œ# œ œŒ œ œn œœ œœ

œœRœœr ≈ Œ œb œR œ œ ™ œ# Œ

10

°

¢

{

33

1.

1.

ü†™™

ü†™™

ü

†

™™™™

Vln.

Vc.

Pno.

34

34

14

14

34

34

&

pizz.ord.

mf

.>

p

arcom.s.p.

IIIIV IV

sub.fp

IIIII

pp>

5 U

(from vc. sound)

s.p.

pp ûù sfz ….>

55

?III

pp5

,

mf

pizz.ord.

b>

p"mp_"

arcom.s.p U

(quivering/rustling) sfz ….>

5 5

&: ;

.pp

U.

dolce

5

&(p)

(ped.)"ff"ø> ?

dolciss..&

p ppp

¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯5 5

5 5

œ Œ

fiœ œ œ OObb

rOn æææOOn# OO#n ≈ Œ 66 œœ

‰™ Œ

OO#ROOb

Æœ œn œœ œµ ‰ æææ66n ™™

j æææ æææ œœr Œ Œ

œ# œ œn œR œœr ‰™ œ œ

Œ

≈fiœ œ œ œœ ™ œb œ œ œb ™ œœœnnR ‰™ œb œb ™ œ œ ™ œ#

Œ

11

°

¢

{

2.

2.

36

Vln.

Vc.

Pno.

44

44

34

34

&"mp" pp

5

pp

IIIII

m.s.p.

IIIII

p

ord.

pp

IIo l.r.

ùû ff

poco rit.m.s.p.IIIIV

p

III

>

IIIIV

pp

55

?pp

5

m.s.p.

IIIII

p

>

sub.mp

III

III>

5

poco rit.

mf

s.t.

>pp

Ÿ~~~~~~~~~~~~~~~~~~ m.s.p.

p

>5

&p dolce mf

poco rit.

>”“

pp5 5

&"mf"

∑

"ff"ø

sub. > .5

6 J ‰™ Œ ≈

fi

œ œ œ

æææOOb OO# œn Œ OObbr

On æææOOn# OO# ≈

æææ ≈ Œ ‰™ fiœ œ œ

OORÆœn œOO## OO## O OO#R æææOOb œœnn OB ‰ 66n ™™J

œ œ œ Œ ≈ œ# ™ œb œ œœ ™

œ œ# œn œ œR

12

°

¢

{

°¢™™

°¢™™

°

¢

™™™™

ü†™™

ü†™™

ü

†

™™™™

38

Vln.

Vc.

Pno.

34

34

14

14

38

38

316

316

58

58

&1. tutti2. cello alone3. tutti

...molto rit... 6m.s.t.

p

5

œ

ppp

a tempo

,m.s.p.s.v.

fp

.> pp mp

¯¯¯¯¯¯>

3

?(m.s.p.)

...molto rit...

p_

a tempo6m.s.t.

p5

ppp

œ ,

mf

ord.s.v.

b> m.s.p.

pp …

&

...molto rit...

p

>

pppp

a tempo

dolciss.

,

f sffz

#.> >ÿ◊

pp.

&

1. tutti2. cello alone3. tutti

5

? &

"ff"ø

(full)

.> ø?

dolciss.

&.

Œ Œ ≈ æææ66 œœŒ ≈

Oœ# OOb OOnb OOb OO## OO ™™j

R æææ66 œœ

æææœJœBbæææœj ≈ æææ

OObb OO# ‰™

˙ ™œœ

œœJœœœ œœ œœ

Œ Œ ≈ œ œœœœ œœœœœbbj Œ œœœœ#n œœœn

13

°

¢

{

42

Part II (much slower, very free)

Vln.

Vc.

Pno.

58

58

14

14

316

316

24

24

18

18

34

34

&fp

IIIIV

>"mf_"

ord.5

…

≈

TACET

√∑

U

?IIIIV

fp pp

IIIII

>… "mp"

≈

TACET

√∑

U

5

&mf-f sfz

. >5

sffz

ÿ◊ ≈

p

Æ

(pizz.)

√

(normal)

p

∑pp

U

&"mf"

sub.percussive!

"ff" (sos.)

? ....off

(+una corda)

tenderly

fiœ œnOO<#><#>

æææOOn OObb ≈ 66n ‰ Œ ‰™ ‰

fi

œn œOOb OO# OO# OO ‰™ æææ6 æææJ Œ ‰™ ‰

œ œR œ œœJ Œ ‰™ ‰

Ó ‰ œ ‰™ œ œœœ ‰

14

°

¢

{

47

Vln.

Vc.

Pno.

34

34

18

18

516

516

54

54

18

18

& ∑ ∑

≈

? ∑ ∑≈

&pp

∑f

.>

sffz

#>

ÿ◊

"f" , pp

∑...very slow...

≈

?

(+una corda)

tenderly

# &

(senza una corda)

.>(strike lowest strings with fist/palm)

(full)ø

? åå‘“(+una corda)

b.>

‰ Œ ≈

‰ Œ ≈

œœ#J œœ ≈

œœœ œœœ œœœœœœœœbb J Œ

œr œœœ œœ

œœœœ

œœœ

œnœœ

15

°

¢

{

51

Vln.

Vc.

Pno.

18

18

104

104

34

34

& ∑

? ∑

&p.

mp

(freely, swiftly)

pp mf

.>ÿ◊

9

?

(ped.)

(+una corda)

.

(senza una corda)

(full)

bbø‘“

slowly up... ...off

‰

‰

œœœœœ##j ® œ œb œn œb œ

œn œ# œ# œ Úœœnb j

œœœŒ Ú

16

°

¢

{

Part III (tempo 1)

53

Vln.

Vc.

Pno.

34

34

516

516

24

24

34

34

&p_

m.s.p.

mf

IIIIV

>sub.

fpmp

(IV)

…>

m.s.p.

pp

IIIIV

mf

II

>

?s.t.

p>

m.s.p.

sub.fp

IIIIV

>mf

pp

m.s.t.IV (trill)III

p pp

Ÿ~~~~~~~~~~~~ Öord.

sfz …

.>m.s.p.

fp

IIIII

> pp

5

&sfz

>

(mf-f)

. #p (mf-f)

.

percussive!

##

ÿ◊

.>

5

?ped.

∑¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯

∑sfz

(full)ø

6J ‰ ≈ æææOO OObb

fiœn œ œOOn# OObb On Œ ≈ ≈ OO OObb

fi

œ œœn

OOn#æææOObb On

Œ 66r

fiœ œ‰™ OO#

fiœ# œb œ œb œn

OOæææOO## ≈ œœb O# ≈ 66R ‰ OO#

rOO OO## ™™

œ œR œ œœ Œ œR œ œœœR ‰™Œ ≈

17

°

¢

{

56

Vln.

Vc.

Pno.

34

34

18

18

34

34

24

24

&IIIII

sub.fp

#"mp"

>

(bridge)6ord.

pp ùû ff …

m.s.p.

fp

IVIII

IIIIV

>

....

pp mp

IIIIIII

>f

IIIII

>pp

U3

?ord.

p

b gliss.

(very airy)m.s.t.

ppp

m.s.p.

pp

IIIIV

mf

ord.IV (trill)III

p

> ûù mp …

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ U3

&(mf-f)

sfzÿ◊

pp

>

dolciss. (mf-f)

#sub.

: ;

(mf-f)

ÿ◊ U5

?(ped.)

"mf"

?

(1/2)ø

∑¯¯¯¯¯¯¯¯¯¯¯¯

"ff"

OOn OOn# OO# 66æææOO ™™j ≈

œ≈ œO OObb OOn# OObb On

fi

œ œOOnæææOOn# OO# OO OO## ≈

fiœ œ œn

˙ ™˙ ™ œB ‰ OO#r

fi

œ œœnOO

æææOO## ™™ œœb Ob Œ

Œ œ œœ ™ œœœj œœ fiœ œ œ œ Œ œ

Ó Œ œœœœJ

18

°

¢

{

59

Vln.

Vc.

Pno.

24

24

34

34

14

14

&IV (sempre)

ord.

pp freely, expressive, vib. ad lib.

poco rit.

>

IVIIIo

œIV

ûù

#

(poco)…

5 55 5

?c.l.(ord.)

p

æææ

pp

(unmeasured tremolo)

>

poco rit.

∑

&sfz

>

(mf-f): ;

poco rit.

>

>

ÿ◊.

5 5

5 5 5

?(ped.)

∑

(1/2)ø

∑fpp

Œ Œ œ# rfiœ œ œœ œ ™ œ œ œr œœ œ ™ O

® œb œn œ œb œ# œ œn œ# œ# œ œb ‰

œœ œr fiœ œ œ œœ œ# ™ œ œ œ#R œb œœ ™™ œœ œ# r

19

°

¢

{

Coda (tempo 1)

61

Vln.

Vc.

Pno.

14

14

104

104

&

a tempo

∑TACET

√

?

(bow the body of the instrument, very slowly and deliberately)

a tempo

p

≤ (full bow!) /w w+ + h 0

pppp

√…

&

a tempo

pp dolciss.

. ∑TACET

√

?

(no pedal!)

. ∑final draft 02/24/17score 03/17/17New York, NY

Œ

6 Œ

œœnr ‰™

œœœœ#r ‰™

20

Date post:	18-Apr-2018
Category:	Documents
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Dedicated to NAT 28 and the Longleash Trio · Dedicated to NAT 28 and the Longleash Trio - - 2017...

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