GARETH OLUBUNMI HUGHES
Student ID Number: 0944776
A Submission for the Award of a PhD Qualification in Music at Cardiff University
Title of Thesis: “A Portfolio of Acoustic/Electroacoustic
Music Compositions & Computer Algorithms that Investigate the Development of Polymodality, Polyharmony, Chromaticism
& Extended Timbre in My Musical Language”
VOLUME #1 (of 2): “Portfolio of Compositions”
August 2015
2
Abstract
The emphasis of this PhD is in the field of original/contemporary musical composition and I
have submitted a portfolio of original compositions (volume 1/2, comprising of music scores of both
acoustic and electroacoustic music compositions [totalling c. 114:30 minutes of music] as well as
written material relating to notation and artistic motivation), along with an academic commentary
(volume 2/2 [totalling c. 19,500 words], which places the original compositional work in the portfolio
in its academic context).
The composition works in first volume are varied and broad ranging in scope. In terms of
pitch organisation, the majority of works adopt some form of modality or polymodality, whilst certain
works also incorporate post-tonal chromaticism and serialism into their syntax. Certain key works
also explore extended timbre and colouration (in particular for bowed strings, voices, flute and
electronics) and adopt the use of timbral modifications, harmonics, microtones, multiphonics,
sprechgesang (i.e. ‘speech-song’), phonetics and the incorporation of electroacoustic sampling, sound
synthesis and processing.
The academic commentary in the second volume sets out several initial theoretical pitch
organisation models (namely relating to modes, polymodes, rows, serial techniques and intervallic
cells), with a particular emphasis placed on the formation of a melodic/harmonic language which is
fundamentally polymodal, polychordal and polyharmonic.
The commentary then takes a closer look at various works within the portfolio which adopt
modal, polymodal and chromatic forms of pitch-organisation (whilst intermittently discussing wider
musical parameters, such as rhythm, counterpoint, timbre, structure etc...). Separate chapters also
discuss a work for flute and electronics and a lengthy work for string quartet (inspired by urban
dystopian film) in greater depth.
The commentary also discusses my style of writing, placing individual works within the
portfolio in their academic context alongside key influences as well as contextualising non-musical
aesthetics and sources of artistic inspiration relating to my work.
3
Contents Pages 6–7 Summary of Works Pages 8–9 Details of Audio & Data CDs Page 11 Page 13 Page 14 Page 15 Page 16 Pages 18–33
Human Visions: “Civilisations” for symphony orchestra Programme Note Instrumentation Table of Percussion Instruments and Beaters Used Percussion Notation Guide Score
Page 35 Page 37 Pages 38–40 Page 41 Page 42 Page 43 Pages 44–49 Pages 50–51 Pages 52–71 Pages 72–99
“Urban Wilderness” for string quartet (in two movements) Programme Note Notation Guide for the Second Movement Violin Natural Harmonics Chart Viola Natural Harmonics Chart Cello Natural Harmonics Chart Glissandi etc... Long Quintuplet Matrix #1: “Apathetic Machines” [Score] #2: “Utopian Mirror” [Score]
Page 101 Page 102 Page 103 Page 104 Page 105 Page 106 Pages 108–29
“Ynys Afallon” (“Isle of Avalon”) recomposed for SSAATTBB choir a cappella Programme Note (English) Programme Note (Welsh) Poem (Welsh) Poem (English Translation) Guidance on the Vocal Parts Score
Page 131 Page 132 Page 133 Pages 134–44 Page 146 Page 147 Pages 148–58
“Ynys Afallon” (“Isle of Avalon”) for SATB singers & pianoforte Programme Note (English) Poem (English Translation) Score (English Translation) Programme Note (Welsh) Poem (Welsh) Score (Welsh)
4
Page 161 Page 162 Page 163 Page 164 Pages 165–9 Pages 170–4 Pages 175–7
Arrangement/Re-composition of “Cwyn y Gwynt” (“The Wind’s Lament”) for flute & harp (in three short movements) Programme Note (English) Programme Note (Welsh) Poem 1. Llwydnos Gwynfannus (Restless Twilight) [Score] 2. Galargan: “Dagrau ddaw...” (Elegy: “Tears come…”) [Score] 3. Breuddwyd (Dream) [Score]
Page 179 Page 180 Page 181 Pages 182–98
“Twilight Impulse” for clarinet, cello & pianoforte Programme Note Dedication Score
Page 201 Page 203 Page 204 Page 205 Pages 206–8 Pages 209–12 Pages 213–5
“Cwyn y Gwynt” (“The Wind’s Lament”) for contralto, vibraphone & cello (in three short movements) Programme Note (English) Programme Note (Welsh) Poem 1. “Gwylltineb” (“Wilderness”, Abstract) [Score] 2. “Galargan” (“Elegy”) [Score] 3. “Breuddwyd” (“Dream”, Abstract) [Score]
Page 217 Page 219 Page 220 Page 221 Pages 222–36 Page 237 Pages 238–51
“Y Gwylanod”&“Iâr fach yr haf” for soprano, flute/piccolo & pianoforte (a collection of two songs) Programme Note (English) Programme Note (Welsh) 1. “Iâr fach yr haf” (“The Butterfly”) [Poem] 1. “Iâr fach yr haf” (“The Butterfly”) [Score] 2. “Y Gwylanod” (“The Seagulls”) [Poem] 2. “Y Gwylanod” (“The Seagulls”) [Score]
Page 253 Page 255 Page 256 Page 257 Page 258 Pages 259–62 Pages 263–89
“Amber on Black” for solo SATB singers Programme Note The International Phonetic Alphabet (2005) [Table] The International Phonetic Alphabet (Pronunciation Guide) Poem Notation Guide Score
Page 291 Page 293 Pages 294–7 Pages 298–300
“Eternal Owl Call” for solo bass flute with live electronic processing Programme Note Score Summary of Electronic Patches
5
Summary of Works Included in the Portfolio
Title of the Piece Duration [mins:secs]
Human Visions: “Civilisations” for symphony orchestra 6:13
“Urban Wilderness” for string quartet: in two movements...
#1: “Apathetic Machines” 14:28
#2: “Utopian Mirror” 21:47
“Ynys Afallon” (“Isle of Avalon”) recomposed for SSAATTBB choir a cappella
7:43*
“Ynys Afallon” (“Isle of Avalon”) for SATB singers & pianoforte 5:31
Arrangement/Re-composition of “Cwyn y Gwynt” (“The Wind’s Lament”) for flute & harp: [Winner of the Composer’s Medal at the 2012 Welsh National Eisteddfod, Vale of Glamorgan]
in three short movements...
1. Llwydnos Gwynfannus (Restless Twilight) 3:33
2. Galargan: “Dagrau ddaw...” (Elegy: “Tears come…”) 5:00
3. Breuddwyd (Dream) 2:15
“Twilight Impulse” for clarinet, cello & pianoforte 6:00
“Cwyn y Gwynt” (“The Wind’s Lament”) for contralto, vibraphone & cello: in three short movements...
1. Gwylltineb (Wilderness) [Abstract] 3:33
2. Galargan (Elegy) 5:00
3. Breuddwyd (Dream) [Abstract] 2:15
6
Title of the Piece (cont.)
Duration [mins:secs] (cont.)
“Y Gwylanod”&“Iâr fach yr haf” for soprano, flute/piccolo & pianoforte: a collection of two songs...
1. “Iâr fach yr haf” (“The Butterfly”) 3:42*
2. “Y Gwylanod” (“The Seagulls”) 3:42*
“Amber on Black” for solo SATB singers 9:48
“Eternal Owl Call” for solo bass flute with live electronic processing [The software interfaces for this piece have been coded using the SuperCollider audio synthesis language]
14:00
TOTAL DURATION OF WORK SUBMITTED: 114:30 * For pieces which have not yet been performed or tried/tested in a real-life context of some description, the approximate duration of the movement is based on the automatic timecode value calculated by the Sibelius music typesetting software package. The portfolio is accompanied by two audio CD recordings of works submitted, along with a third CD containing data files related to the submission. Details of the three CDs are provided overleaf.
7
Details of Audio & Data CDs Audio CD #1
Track # Details of the Audio Recording Duration [mins:secs]
Pages of Score
#1 Human Visions: “Civilisations” for symphony orchestra: Performed by the BBC National Orchestra of Wales (Conductor: Jac van Steen) at the 2012 Welsh Composers’ Showcase, Hoddinott Hall, Cardiff, 1st February 2012
6:13 pp. 18–33
#2 “Urban Wilderness” #1: “Apathetic Machines” for string quartet: Performed by the Carducci Quartet (Violin I: Matthew Denton; Violin II: Michelle Fleming; Viola: Eoin Schmidt-Martin; Cello: Emma Denton) at a postgraduate student workshop at Cardiff University, 17th November 2010
14:29 pp. 52–71
#3 mm. 1–111 of Urban Wilderness #2: “Utopian Mirror” for string quartet: Performed by the Carducci Quartet (as above) at a postgraduate student workshop at Cardiff University, 27th November 2013
9:24 pp. 72–84
#4 mm. 111–230 of Urban Wilderness #2: “Utopian Mirror”: Performed by the Carducci Quartet (as above) at a postgraduate student workshop at Cardiff University, 2nd April 2014
12:23 pp. 84–99
#5 “Ynys Afallon” (“Isle of Avalon”) for SATB singers & pianoforte: Performed by Exaudi (Conductor: James Weeks; Soprano: Juliet Fraser; Alto: Tom Williams; Tenor: Stephen Jeffes; Bass: Jimmy Holliday; Piano: Gareth Olubunmi Hughes) at a postgraduate student workshop at Cardiff University, 14th March 2012
5:31 pp. 134–44
TOTAL DURATION OF CD #1: 48:10
Audio CD #2
Track # Details of the Audio Recording Duration [mins:secs]
Pages of Score
#1 1. Llwydnos Gwynfannus (Restless Twilight) from “Cwyn y Gwynt” (“TheWind’s Lament”) for flute & harp: Performed at the 2013 Contemporary Music Group (CMG) Students’ Showcase at Cardiff University, 30th April 2013 (Flute: Matthew Boswell; Harp: Ruth Martha Holeyman)
3:33 pp. 165–9
#2 2. Galargan: “Dagrau ddaw...” (Elegy: “Tears come…”)from “Cwyn y Gwynt” (“The Wind’s Lament”) for flute & harp: Performed at the ceremony for the Composer’s Medal (“Tlws y Cerddor”) at the 2012 Welsh National Eisteddfod, Vale of Glamorgan, 8th August 2012 (Flute: Fiona Slominska; Harp: Catrin Finch)
5:00 pp. 170–4
8
#3 3. Breuddwyd (Dream) from “Cwyn y Gwynt” (“The Wind’s Lament”) forflute & harp: Performed at a BBC NOW postgraduate student workshop at Cardiff University, 23rd April 2012 (Flute: Eva Stewart; Harp: Valerie Aldrich-Smith)
2:15 pp. 175–7
#4 “Twilight Impulse” for clarinet, cello & pianoforte Performed by Lontano (Conductor: Odaline de la Martinez; Clarinet: Stuart King; Cello: Sophie Harris; Piano: Dominic Saunders) at a postgraduate student workshop at Cardiff University, 17th November 2010
6:00 pp. 182–98
#5 mm. 1–54 of “Amber on Black” for solo SATB singers Performed by Exaudi (Conductor: James Weeks; Soprano: Juliet Fraser; Alto: Tom Williams; Tenor: Alastair Putt; Bass: Jimmy Holliday) at a postgraduate student workshop at Cardiff University, 14th March 2013
3:10 pp. 263–73
#6 “Eternal Owl Call” for solo bass flute with live electronic processing (final electronic backing track) (Live Electronics: Gareth Olubunmi Hughes)
13:02 pp. 294–7
#7 “Eternal Owl Call” for solo bass flute with live electronic processing (incomplete, ‘work in progress’) Performed at the 2014 Rarescale Summer School, Harlaxton Manor, Harlaxton, Lincolnshire, 1st August 2014 (Kingma System Bass Flute: Carla Rees; Live Electronics: Gareth Olubunmi Hughes; Sound Technician: Michael Oliva)
14:03 pp. 294–7
TOTAL DURATION OF CD #2: 48:08
Data CD
Data Item # Details of the Data File File Format
#1 A PDF copy of VOLUME #1 (of 2): “Portfolio of Compositions” Adobe PDF
#2 A PDF copy of VOLUME #2 (of 2): “Academic Commentary” Adobe PDF
#3 A directory containing the SuperCollider class extension library (called ‘Z_Library’) required to run the electronic performance interface to be used with “Eternal Owl Call” for solo bass flute with live electronic processing (in SuperCollider .sc format). There is also a subdirectory inside the directory which contains six audio samples of wildlife/nature in AIFF format which are required to run the SuperCollider interface.
A directory [containing SuperCollider .sc & AIFF files]
#4 An example of a SuperCollider script that can be used for running Eternal Owl Call’s performance interface and GUI.
SuperCollider .scd file
9
10
GARETH OLUBUNMI HUGHES
Human Visions: “Civilisations” for Symphony Orchestra
11
12
Programme Note
Human Visions is an orchestral symphony which I am currently in the process of completing...
“an artistic representation of three progressive stages in the genealogical evolution of
humankind: firstly, primordial humanity through the expression of tribal and barbaric
sonic gestures; secondly, the transition to civilised, empathetic and altruistic humanity
through the construction of a warm, sensitive and atmospheric sound-world; finally,
modern urban and cosmopolitan humanity through the construction of a dense and
complex polyphonic labyrinth”
Civilisations represents the second aspect of this idea. It is a steady, atmospheric movement
marked with the tempo indication “Ambient, Colouristic, Sustained”. It is constructed from
layers of chromatic polychords and a harmonic world which is formed from dense blocks of
sound-mass. In order to add to the sonic sensitivity, the strings and brass employ various muting
techniques in order to allow for the woodwind and resonant percussion sonorities to ring
through.
13
Instrumentation: Piccolo
Flute 1
Flute 2 (doubling with Alto Flute)
Oboe 1
Oboe 2
Cor Anglais
Clarinet in Bb 1
Clarinet in Bb 2
Bass Clarinet in Bb
Bassoon 1
Bassoon 2
Contrabassoon
4 Horns in F (with stopping mutes)
2 Trumpets in C and 1 Trumpet in Bb (with harmon mutes)
2 Tenor Trombones (with harmon mutes)
Bass Trombone (with harmon mute)
Tuba (with straight mute)
Timpani (4 Timps and 1 Piccolo)
3 Percussionists (see overleaf for further information)
Celesta
Harp
Violins I (up to 4 divisi lines + 1 soloist)
Violins II (up to 4 divisi lines)
Violas (up to 4 divisi lines + 1 soloist)
Violoncelli (up to 4 divisi lines + 1 soloist)
Contrabasses (with low C extensions)
* All instruments are written in C on the main score
Duration of Score: c. 6 minutes
14
Gareth Olubunmi Hughes Human Visions: “Civilisations” for Symphony Orchestra Table of Percussion Instruments and Beaters Used: Instrument(s)
Possible Beater(s) Used
5 Almglocken (Low—High)
Drumsticks, Rubber or Yarn Mallets, Wire Brushes
5 Cowbells (Low—High)
Drumsticks, Rubber or Yarn Mallets, Wire Brushes
3 Suspended Cymbals (Low/Mid/High)
Drumsticks, Rubber or Yarn Mallets, Wire Brushes
1 Sizzle Cymbal
Drumsticks, Rubber or Yarn Mallets, Wire Brushes
1 Chinese Cymbal
Drumsticks, Rubber or Yarn Mallets, Wire Brushes
1 Field Drum
Drumsticks, Rubber or Yarn Mallets, Wire Brushes
1 Snare Drum
Drumsticks, Rubber or Yarn Mallets, Wire Brushes
1 Piccolo Snare Drum
Drumsticks, Rubber or Yarn Mallets, Wire Brushes
5 Tom-toms (Low—High)
Drumsticks, Rubber or Yarn Mallets, Wire Brushes
Bass Drum
Heavy Felt Beater, Felt Mallets [for rolls]
2 Tam-tam (Low/High)
Soft Beater, Wire Brushes
3 Gongs (Low/Mid/High)
Soft Beater, Wire Brushes
2 Triangles (Low/High)
Triangle Beater(s)
Bell Tree
Brass Mallets, Triangle Beater(s)
Crotales (15ma)
Brass Mallets, Triangle Beater(s)
Glockenspiel (15ma)
Brass Mallets, Rubber or Plastic Mallets
Tubular Bells
Chimes Hammer, Brass Mallets [hollow, clangourous effect]
Vibraphone
Rubber or Yarn Mallets
Glass Wind Chimes
Hands, Any Beater
Metal Wind Chimes
Hands, Any Beater
Bamboo Wind Chimes
Hands, Any Beater
Mark Tree
Hands, Any Beater
2 Bongos (Low/High)
Hands
2 Congas (Low/High)
Hands
5 Wood Blocks (Low—High)
[Hard] Rubber or Plastic Mallets
5 Temple Blocks (Low—High)
Rubber or Yarn Mallets
Marimba
[Soft] Rubber or Yarn Mallets
Xylophone (8va)
Rubber or Plastic Mallets
15
The choice of beater(s) used will generally be left to the discretion and experience of the respective percussionist. However crossed noteheads will always indicate that wire brushes should be used as shown in the following example:
If crossed noteheads are not present, then wire brushes should not be used. Metallic instruments of definite pitch which do not cover a full chromatic range should be tuned to the following pitches:
Notice that the Almglocken are tuned to exactly the same pitches as the standard open strings on both the violin and viola (please note: Anvils and Hand Bells are not used in the movement which has been submitted). Both the Bell Tree and Mark Tree will consist of approximately 25 bells of indefinite pitch. Any relative pitches are notated within the following range:
Any relative notes, cluster blocks or glissandi will be written within this compass and should be approximated by the respective percussionist(s).
16
17
Ambient, Colouristic, Sustained (q=c.80 or h=c.40)
Ambient, Colouristic, Sustained (q=c.80 or h=c.40)
Human Visions: “Civilisations”GARETH OLUBUNMI HUGHES
2 3 4 5
A
A
6
Oboe 1
Oboe 2
Cor Anglais
Clarinet in Bb 1
Clarinet in Bb 2
Bass Clarinet in Bb
4 Timpani & 1 Piccolo Timpano (1 Player)
Percussion 1
Percussion 2
Percussion 3
Celesta
Harp
Violin I (1-4)
Violin II (1-4)
Viola (1-4)
Violoncello (1-4)
Contrabass (1-2)
pppp pppp
pppp pppp
pppp pppp
pp
pp
pp
strike in the centre
pp
pp
Sm. Tam-tam
p l.v.
Bass Drum
pp
3 Gongs
pp
l.v. sempre
Chinese Cymbal
pp
3l.v.
Tom-toms
pp
3
3h
Bell Tree,brass mallet
p
3hgliss.
l.v.
Tubular Bells,brass mallets on closed top
pp
11:8 l.v.Triangles
pp
3 l.v.
Crotales
p
11:8l.v.
Triangles
pp
3 l.v.
Tubular Bells,brass mallets on closed top
l.v.
ppp
Rain Sticks
mp
ppp
Mark Tree3h
p
3h
gliss.
l.v.Rain Sticks
ppp
mp ppp
Wind Chimes
glass
bamboometal
p
3 l.v.
p
11:83 3
3 3
E harmonic minor
D#,C§,B§,E§, F#, G§, A§
l.v. sempre
3
p
3
(con sord. sempre) con sord.
unis.
pppp
(con sord. sempre) con sord.
div. (1-2)
ppppsul I
con sord.
div. (3-4)
sul IIIpppp
(con sord. sempre)
(con sord. sempre)
(con sord. sempre)
18
78 9 10 11
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (1-4)
Vln. II (1-4)
pp p
6
pp pp p
6
pp
pp p
6
pp pp p
colour change
n n n6
pp pp
pp
6
pp
pppp
6
pp
flz. - - - - - - - - -
pp
6
p
6
p
6
pp
pp
pedal notes
ppp
pp
pedal notes
ppp
pp
Chinese Cymbal,wire brushes
p
l.v.Cowbells
p
Suspended Cymbals
p
l.v.Cowbells
p
33
5
3
3h
Bell Tree
p
3hgliss.
l.v.
Glockenspiel
pp
l.v. sempre
Crotales
p
11:8 Glockenspiel
pp
Wood Blocks
p
Temple Blocks
p
Marimba
pp mp6
6
11:8 mp
6
6
mp
mp6
6
19
12 1314
15
B
B
16
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
Tbn. (1,2)
B. Tbn.
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (1-4)
Vln. II (1-4)
Va. (1-4)
Vc. (1-4)
pp pp
pp
pp
pp pp pp
pp pp
mp pp pp
mp
pppp
mp pp pp pp
pp pp pp
pp pp
(Insert harmon mutes,stems halfway out)
(Insert harmon mute,stem halfway out)
pedal notes
pp
pedal note
pp
Gong,normal beater
pp
l.v. Sm. Tam-tam
pp
l.v.
Sizzle Cymbal,wire brushes
pp Suspended Cymbals
pp
pppp
(Glockenspiel)
To Vib.,motor on atfast speed
(Marimba)
mp
3h
Mark Tree
p
3h
gliss.
l.v.
Marimba
p
pp
6
p pp
6
6
G major
l.v.D§,C§ p l.v.
div. (1-2)
ppp
div. (3-4)
ppp
ppp
ppp
con sord.unis.
ppp
div. (1-2)
div. (3-4)
ppp
con sord.unis.
ppp
20
1718 19 20
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
Tbn. (1,2)
B. Tbn.
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (1-4)
Vln. II (1-4)
Va. (1-4)
Vc. (1-4)
Cb.
pp poco cresc. mp mp
mp
mp
poco cresc. mp
mp
mp mp
mp
mp
poco cresc.
mp
pp poco cresc.
mp
p mp
mp
mp
mp mp
ppp
poco cresc.p
ppp poco cresc. p
With harmon mutes
ppp
poco cresc.
p
With harmon mute
ppp poco cresc.p
p
(Insert harmon mutes,stems halfway out)
p
(Insert harmon mute,stem halfway out)
Triangles
pl.v.
Snare Drums,wire brushes
piccolosnarefield drum
mp
3 Cowbells
mpmp
5
5
Vibraphone,motor on
pp
poco cresc.
mp
motor off
mp
Bell Tree
l.v.
Triangles
p
l.v.
(Marimba)
pp poco cresc.mp
Wood Blocks
mp
Temple Blocks
mp5 3
mp
poco cresc.
p5
D major
p
7
mp
A major
mp
l.v.
C#
7
G#
pizz.
p
unis. e arcoflautando
pmp p5 5
pizz.
p
pizz.
p
unis. e arcoflautando
pmp3
pizz.
p
pizz.
p
unis. e arcoflautando
p mp
pizz.
p
div. (1-2),pizz.
p
div. (3-4),pizz.
p
con sord.e pizz.
p
21
21 22
(q=q)
(q=q)
2324
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
C. A.
Cl. 1
Bsn. 1
Bsn. 2
Cbsn.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
Tba.
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (1-4)
Vln. II (1-4)
Va. (1-4)
Vc. (1-4)
mp mp
mp mp
mp mp
mp mp
mp mp mp
mp mp mp
mp
mp mp
mp
mp mp mp
mp mp
mp
flz. - - - - - - - - - mp flz. - - - - - - -
6
6
mp
flz. - - - - - - - - -mp flz. - - - - - - - - -
6
6
mp
flz. - - - - - - - - - flz. - - - - - - - - - -
6 6
mp
flz. - - - - - - - - - flz. - - - - - - - - - -
6 6
p
Chinese Cymbal
mp
pp mp
Tom-toms,sticks
mp
Suspended Cymbalsp
l.v.6 6 Chinese Cymbal
(Triangles)
p
Glockenspiel3
l.v. sempre 3
Mark Tree
mf l.v.
Bongos
mf
Congas6 6 6 6
mf 6 6
mp
p mp
p
3 3
6 6
mf
Db,Cb
11:8 7
mp p
div. (1-2),nat.
mp
unis. e pizz.
mp
gliss.
5 6
div. (3-4),nat.
mp
6 6
p mp p
div. (1-2),nat.
mp
unis. e pizz.
mp
gliss.
3 3 6 6
div. (3-4),nat.
mp
6
p
div. (1-2),nat.
mp
unis. e pizz.
mp
gliss.
6
div. (3-4),nat.
mp
6
arco
mp
div. (1-2)flautando
p6
22
25
C
C
26 27
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
Tbn. (1,2)
B. Tbn.
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (1-4)
Vln. II (1-4)
Va. (1-4)
Vc. (1-4)
Cb.
mf
mf
mf
mf pp
pp
pp
mf
mf
mf pp
mf
pp
mf
pp
mf
pp
pp
pp
mp pp
mp
pp
With harmon mutes
pp
With harmon mute
pp
(Suspended Cymbals)
l.v.
Tubular Bells
pp
Marimba
mp
mf
mp
67
7
mf Fb,Gb
A pentatonic
mp
l.v.
Db,Cb,B§,E§, Fb, Gb, A§
LLMOMLLM
mp
flautandoarco
p mp p mp
mp
flautandoarco
p mpp
mp
flautandoarco
p mp p
flautandodiv. (3-4)
p
flautandoarco
p
nat. e pizz.
p
23
2829 30 31
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
Tbn. (1,2)
B. Tbn.
Tba.
Timps.
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (1-4)
Vln. II (1-4)
Va. (1-4)
Vc. (1-4)
Cb.
pp e cresc. mp mp
pp e cresc. mp mp
pp e cresc. mp mp
cresc.mp mf 9:8
cresc. mp mf
3 9:8
cresc. mp
mf
3
pp e cresc. mp mp
pp e cresc. mp mp
cresc. mp
pp mp
pp mp
cresc. mp
cresc.
mp
cresc. mp
cresc.
mp
(Remove harmon mutes)
cresc.
mp (Remove harmon mute)
cresc. mp
(Remove harmon mutes)
cresc.
mp (Remove harmon mute)
p p
normal position
p gliss.
Triangles
pp
l.v.Bell Tree
mp
l.v.
(Tubular Bells)
p
choke
mp
3
(Marimba)
cresc. f
mp
9:8
mf3 9:8
Db Major
mf
l.v.
7 6
Db,C§,Bb,Eb, F§, Gb, Ab
p
3
mp p
nat.
p
div. (1-2)
p
3
5
div. (3-4)
p
mp
p mp p
nat.
p
div. (1-2)
p
3
3
5
div. (3-4)
p
mp p mp
nat.
p p
div.
p
36
p
unis. e nat.div.
p
p
l.v.
24
3233 34 35
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
Tbn. (1,2)
B. Tbn.
Tba.
Timps.
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (1-4)
Vln. II (1-4)
Va. (1-4)
Vc. (1-4)
Cb.
mpmp
6 6
mp mf
6
5 5
mp mp
66
p mp
ppp
p mp
ppp
p mp
ppp
mf
3 flz. - - - - - - - - - -
mp
ppp5
mf p mp
ppp
p mp
ppp
p
p
mp
3
pp
p
pp
p
pedal notespp mp
(Insert harmon mutes,stems halfway out)
6
6
pedal notes
pp mp
(Insert harmon mute,stem halfway out)
5
pedal notes
pp
pp
pedal notes
pppp
ppp
p gliss. gliss.
5
Sm. tam-tam
pp
l.v.Chinese Cymbal
p
l.v.Cowbells
mf
3
(Tubular Bells)
l.v. mp
l.v.
(To Vib. motor on at moderate speed)
Temple Blocks
mp
Wood Blocks
mp
Temple BlocksBongos
mf6 6
5
53
mf
mf
mf
l.v. f
6
l.v.
6
mf
3 3
l.v.
mf
mfl.v. 5
l.v.
p
pizz.
mp 6 6
p
pizz.
mp
6 6
p
p
p
p
div. (1-2)
p
p
div. (3-4)
p
p
div. (1-2)
p
Bartók pizz. mp
3
div. (3-4)
p
Bartók pizz.
mp
3
arco, div.
p
25
36
D
D
37 38
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
Tbn. (1,2)
B. Tbn.
Tba.
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (1-4)
Vln. II (1-4)
Va. (1-4)
Vc. (1-4)
Cb.
p p mf mf5 5
6 6 6 6
p
flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
p mfmf
5 56 6 6 6
p p
mf
flz. - - - - - - - - - - - - - - - - - -
mf3 3 6 6 6 6
p p mf
6
p p
mf
6
p p mf
6
p
flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
p mf
flz. - - - - - - - - - - -
ff
6
p p mf
flz. - - - - - - - - - - - -6
mp
5
mf
flz. - - - - - - - - - - - -
ff
6
mp
5
mf
6
mp
5
mf
6
mp
5
mf
6
mp
5
mf
flz. - - - - - - - - - - - -
6
mp
5
mf
flz. - - - - - - - - - - - -
6
With harmon mutes
mpmf
flz. - - - - - - - - - - - -
6
With harmon mute
mp mf
flz. - - - - - - - - - - - -
6
(Insert harmon mutes,stems halfway out)
With harmon mutes
mf
flz. - - - - - - - - - - - -
6
(Insert harmon mute,stem halfway out)
With harmon mute
mf
flz. - - - - - - - - - - - -
6
p
mf
flz. - - - - - - - - - - - -
6
Cowbells
mf
Almglocken
3
Cowbells3 3 5
Vibraphone,motor on atmoderate speed
mf
ff
6
Congas
mfMarimba
f
66
6
mf
f
fff
6
6 6 f6 6
fff
67 7
mf
arco
sul I
sim.
6 6 6 6 6 6 6 6 6
mf
arco
sul II
sim.6 6 6 6
6 6 6 6 6
pizz.
mpmf
arco
sul II
sim.
6 6 6 6 6
pizz.
mpmf
arco
sul III
sim.
6 6 6 6 6
pizz.
mp
arco,sul pont.
mf
6
pizz.
mp
arco,sul pont.
mf
6
gliss. 5
3
arco,sul pont.
mf 6
gliss. 5
3
arco,sul pont.
mf 6
Bartók pizz.,unis.
mp
gliss. 5
3
normal pizz.,div.
mf
arco, sul pont.
6
26
3940 41 42
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
Tbn. (1,2)
B. Tbn.
Tba.
Timps.
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (1-4)
Vln. II (1-4)
Va. (1-4)
Vc. (1-4)
Cb.
p3
mf
flz. - - - - - - - - - -
mf
flz. - - - - - - - - -
mf
flz. - - - - - - - -3
5
p
3
mf
flz. - - - - - - - - - - 5 flz. - - - - - - - - -
mf
flz. - - - - - - - -3
5 5
p
7
mf
flz. - - - - - - - - - -
mp
66
ff mf
3 5
mf
flz. - - - - - - - -3
5
ff
p mp
6
ff mp
3
mf
mp
6
p
3 5
mf
flz.5
mp
flz. - - - - - - - - - - - - - - - - - - - -6
ff mf
flz. - - - - - - - - - - - - - - - -3 flz. - - - - - - - - -
p
p
6
mp
7
ff mp
3 mp
ff mp
3 3
mp
ff mp
3
mp
ff
mp
flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -3 5
mp
mp
6
ff
mp 3 3
mp mp
6
ff mp
flz. - - - - - - -
3
mf
flz. - - - - - - - - -
33 3
3
3
ff mp
flz. - - - - - - -
3 mf
mp
3 3
ff mp
3
3
mf
mpmp
flz. - - - - - - - - - - - - - - -3 3
ff
mp
3 3
mp mp
flz. - - - - - - - - - - - - - - - - - - - -6
ff
mp
3
p
mp
flz. - - - - - - - - - - - - - - -
mp
3
mp
5
Chinese Cymbal,wire brushes
mp
mf
l.v.
Snare Drums
mf
3
(Vibraphone)
pp
3
mp
double strokes
5
mp
56
fff
(Marimba) p
sfffz
mf
Wood Blocks
mf
Temple Blocks
l.v. (To Xyl.)6 73 3 3
mf
3
3
Ab Major
G§ mf
l.v.
9:8
3
10:8
mp
sul pont. 5
mp
port.5
6
mp
sul pont. 5
mp
5port.
6
mp
sul pont. 5
mp
5port.
mp
sul pont. 5
mpport.
5 6
ff mp
port.
33 5
mpport.5 6
ff
mp
port.
3 3 5
mpport.
5 6
ff
pizz.mp
port.3 arco, sul pont. 5
mpport.5 6
ff
pizz.
mpport.
3arco, sul pont.
3 5
mp
port.5 6
ff
pizz., unis.
mp
port.3 3 5
arco, sul pont. mp
port.
5 6
27
4344 45 46
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
Tbn. (1,2)
B. Tbn.
Tba.
Timps.
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (1-4)
Vln. II (1-4)
Va. (1-4)
Vc. (1-4)
Cb.
mf f ff7 6 5
mf f ff5 7 7
mp
flz.7
mff ff
To Alto Flute9:8
7
mf 3 f ff p5
6
5 5
mp
7
f ff p5
mp
7
mf f ff p
39:8
5
mf
flz. - - - - - - - - - - - - - -
f ff
6 5
f
ff
5
mp
flz. flz.7
mf sfz f sfz
3
mp
7
mfsfz f sfz
3
mp
7
mf sfz f sfz
3
mp mf sfz f sfz
3
mf sfz pp
3
3
mf sfz
pp
3 3
flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
flz. - - - - - - - - - - - - - - - - - - - - - - - -
7
mf sfz pp3
flz. flz.7
mf sfz pp3
flz. flz.7
mf sfz pp
3
flz. flz.7
mf sfz pp
3
mp
7
mf sfz ppp
3
p
7
mf
3
f gliss.
3 3 3
Lg. Tam-tam,normal beater
mp l.v.
Tom-toms
mf
Snare Drums
l.v.
3
Tom-toms
f
Snare DrumsChinese Cymbal
choke6 6 6 6 6
Vibraphone
9:8
Xylophone
mf
14:8 Congas
ff
Mark Tree
mp l.v.
6 6 6
f
mp9:8
ff
7
Gb Major
CbGb mf
f
l.v.
4:3
Db Major
C§ mp
ff
port.
7
mf sfz
nat.
pp
port.
7
mf sfz
nat.
pp
port.7
mf sfz
nat.
pp
7
mf sfz
nat.
pp
port.7
mf sfz
nat.
pp
port.
7
mf sfz
nat.
pp
port.7
mf sfz
nat.
pp
port.
7
mf sfz
nat.
pp
port.
7
mf sfz
nat.
pp
28
4748 49
E
E
50
Picc.
Fl. 1
A. Fl.
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
Tbn. (1,2)
B. Tbn.
Tba.
Timps.
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (1-4)
Vln. II (1-4)
Vla. (solo)
Va. (1-4)
Vc. (1-4)
Cb.
p poco cresc. mf
mp
flz. flz. - - - - - - - -
p9:8
5
Alto Flute,solo
mp espress.
3 3 6
p
p
p
mp 6
flz. flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
p
6
flz. - - - - - - - - - - - - - - - - - - - - - - - - -
p
6
p
flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
p
3
cresc.
3
mf
p e cresc. mf
p e cresc. mf
p e cresc. mf
cresc.
mf p
cresc. mf p
cresc.
mf p
cresc.
mf p
cresc. mf
cresc.
mf
cresc.mp
ppp e cresc.
mp
Crotales,Brass Mallets
p
l.v.
p
3 l.v.3
9:8
Tubular Bells
mp
l.v.
p
Bell Tree, brass mallet
Mark Tree
p l.v.
mf
p
9:8
9:8
LLLOMMLL
CbE§
mf
p
l.v. sempre
7
cresc. mf
cresc. mf
cresc. mf
cresc.
mf Viola solo,senza sord.
mp espress.
6
cresc.
mf p
cresc.
mf p
cresc.
mf
cresc.
double stop
mf cresc. mf
29
5152 53
Picc.
Fl. 1
A. Fl.
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. (1,3)
Hn. (2,4)
Tpt. (1)
Tpt. (2,3)
B. Tbn.
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (solo)
Vln. I (1-4)
Va. (solo)
Va. (1-4)
Vc. (solo)
Vc. (1-4)
Cb.
flz. - - - - - - - - - - -
p double tongue p
35
6
6
flz. - - - - - - - - - - -
p double tonguep
flz. - - - - - - - - - - - -3
5
flz. flz. - - - - - -
6
p
flz. - - - - - - - - - - - -3
9:8 3 5
p p p
36
p p p
6
p p p
3
flz. - - - - - - - - - - - - - - - -
p
3flz. - - - - - - - - - - - - - -
3
p
6
p
pp
6
solo
mp espress.
flz. - - - - - - - - - - - - - - - -6
flz. - - - - - - - - - - - - - - -7
p
5
6
p
3
p
3
p
3
p
pp flz. - - - - - - - - - - -
3
p
p
pflz. - - - - - - - - - - -
3
p espress.
flz. - - - - - - - - - - - - - - - - - - - - - - - -6
1,2p
3
flz. - - - - - - - - - - -
39:8
p
p3
p
6 6
Use Eb attachment
p
3
Suspended Cymbals,wire brushes
l.v.
3
Cowbells SizzleCym.
ChineseCym.
Cowbells
3Alm.
3Snare Drums
3Suspended Cymbals
35
Almglocken
Chinese
Triangles
p
l.v.
Vibraphone (motor on)
mp
Marimba
double strokes
mp
mp 5 mp
3
mp
l.v.
mp 6
p
9:6
6
LLLOMMLM
mp
l.v. sempre
11:8
A§ mp mp
Violin I solo,senza sord.
mp
3
6
p
p
6
mp
39:8
5 6
p p p
p p p
Cello solo,senza sord.
mp espress.
6 7con sord.
5
p p p
p p p
pizz.
p
port.
6 3port.
30
F
F
5455 56
Picc.
Fl. 1
A. Fl.
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
Tbn. (1,2)
B. Tbn.
Tba.
Timps.
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (solo)
Vln. I (1-4)
Va. (solo)
Va. (1-4)
Vc. (1-4)
Cb.
p
flz. - - - - - - - - - - - - - - - - - - - - - - - -5
p
3
7
6
p
3
pp
5
p
3
pp
5
p 5 p
3
7
6
p7
6
p
5double tongue
p
36 6
p
flz. - - - - - - - - - - - -3
pp
p
flz. - - - - - - - - - - - -3
pp
p
flz. - - - - - - - - - - - -3
pp
p
3
ppp
3
pp
p
3
pp
p
flz.5 flz. - - - - - - - - - - - - -
3
double tongue
p
3
p
flz. - - - - - - - - - - - -
3
6
p
flz. - - - - - - - - - - - -3
6
7
flz. - - - - - - - - - - - - - -
p
flz. - - - - - - - - - - - -35
p
3
p
3
p
3
pp
5play on the rim 5
Alm.
Crotales
Cowbells
mp
Tom-toms CowbellsTriangles,brass mallet
p
l.v.double strokes
p
3
10:8
(Vibraphone)
mp p
5double strokes 36
Wind Chimes
mp
5l.v.
Bongos Congas6 6
mp l.v. sempre
5:4h3:2w
6 7
l.v.
mp LLLOMMML
612:8 12:8
G§, Ab
10:8
5
mp
3
7
p
port.5:4h
port.3:2w
port.
p
5:4h
port.port.
3:2wport.
mp6
6 12:8 12:8
p
port.
5:4hport.
3:2wport.
p
5:4h
port. port.3:2w
port.
port.
pp
53
31
5758 59
rit.
rit.
Picc.
Fl. 1
A. Fl.
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
B. Tbn.
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (solo)
Vln. I (1-4)
Vln. II (1-4)
Va. (solo)
Va. (1-4)
Vc. (solo)
Vc. (1-4)
Cb.
pp
3
pp
3
pp
3
pp
pp
3
pp
pp
3
pp
pp
3
pp
3
pp
3
pp
3
pp
3
pp
3
pp
3
pp
p
5
pp
3
pp
p
5
pp
3
pp
pp
3
pp
pp
3
pp
p
5
(Crotales)
p
l.v.Triangles,brass mallet
pp l.v.
Gongs
pp
l.v.
(Vibraphone)
p
l.v.
pp
l.v. sempre3:2w
mp
Marimba
mp mp
3 3:2w
3 3 3
p l.v. sempre
dim.
3:2w
Gb
G§
mp
p 6 12:8 12:8 12:8 3 3
12:8
pp
port.port.
pp
pp
port. port.
pp
pp
port.port.
pp
pp port. port.
pp
p
5
p
6
pp
port. port.
pp
pp
port.port.
pp
senza sord.
p
5 (con sord.)
pp
pp
arco
pp
3
pp
32
6061
Picc.
Fl. 1
A. Fl.
Ob. 1
Ob. 2
C. A.
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Cbsn.
Hn. (1,3)
Hn. (2,4)
Tpt. (1,2)
Tpt. (3)
Perc. 1
Perc. 2
Perc. 3
Cel.
Hp.
Vln. I (solo)
Vln. I (1-4)
Vln. II (1-4)
Va. (solo)
Va. (1-4)
Vc. (1-4)
Cb.
pppp pppp
pppp pppp
pppp pppp
pppp pppp
pppp pppp
pppp pppp
pppp pppp
pppp pppp
pppp pppp
pppp pppp
pppp pppp
pppp pppp
pppp pppp
pppp pppp
pppp pppp
pppp pppp
Crotales
ppl.v.
Triangles
pp
l.v. ppp
Gongsl.v. until soundfades completely
7
depress sustain pedal untilsound fades completely
(Marimba)
pp
Mark Tree
pp
slow gliss.
pppp
l.v. until soundfades completely
7
ppp
depress sustain pedal untilsound fades completely
7
7
Eb Major
C§, D§Eb pp l.v. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
F melodic minor
dim.
gliss.
l.v. until soundfades completely
7 7
E§
sim.
ppp
7
7
ppp
3 7
33
34
GARETH OLUBUNMI HUGHES
“Urban Wilderness” for String Quartet in two movements...
#1: “Apathetic Machines”
#2: “Utopian Mirror”
35
36
Programme Note
Urban Wilderness is part of a cycle of works for string quartet which I am currently in the process
of completing. At present the cycle contains two individual works:
#1: Apathetic Machines
#2: Utopian Mirror
The concept for Urban Wilderness is inspired by Fritz Lang’s hugely influential 1927 cult
science-fiction movie Metropolis; however in a strict sense, Urban Wilderness is not a film score. Instead,
it is part of a cycle of individual works which are inspired, in one way or another, by films/videos which
conceptualise the idea of futuristic urban technological dystopia, in particular Metropolis, Ridley Scott’s
Blade Runner (1982), the Wachowskis’ The Matrix Trilogy (1999–2003) and the music videos for
Kraftwerk’s electronic music album Man Machine (1978).
Apathetic Machines (the first movement of Urban Wilderness) is inspired by the “Shift Change”
scene at the start of Metropolis, where large groups of frown-faced, apathetic and oppressed-looking,
machine-controlled men walk into work in a straight line, wearing identical uniforms and having identical
facial expressions. Apathetic Machines combines several slow, atmospheric and subdued passages
(representing apathy) with several lively, rhythmic and repetitive passages (with the repetition
representing the subconscious, psychotic and trance-like state of the machine controlled humans).
Utopian Mirror is a representation of a utopian ‘virtual reality’ or ‘false reality’ from within the
type of dystopian/futuristic world portrayed in films such as Metropolis and The Matrix. This is a concept
which is very well conveyed in The Matrix, where machine-controlled humans in a distant future world
are unwittingly put into a semi-conscious state by machines and then sent into a software-based virtual
reality, which mimics New York in the year 1999. Due to the harsh reality of the futuristic dystopia in
which the exiled underground human communities live, New York in the year 1999 represents a utopia,
from a comparative perspective. As a consequence of this, some humans who have escaped the false
reality are tempted by the Matrix to re-join it as machine-controlled humans (with added benefits), in
exchange for some kind of betrayal of the human community.
Utopian Mirror explores a variety of unorthodox string quartet sonorities and features an
extensive use of string harmonics. The movement’s middle section (marked “Radiant & Very
Colouristic”) is a climax, which features repeated slides up and down the natural harmonic nodes on each
instrument, which is a symbolic representation of false utopian bliss.
37
NOTATION GUIDE FOR THE SECOND MOVEMENT (i.e. “#2 Utopian Mirror”) Bar Numbers on Split Bars
Where a bar is separated by split barlines (e.g. when irregular time signatures such as 5/2 or 4+5/8 are employed), this should be counted as two separate bars by the performers. Here are two examples from mm. 37–8 and mm. 65–6 respectively:
Vln I, mm. 37–8 (count as two separate bars – the rhythmic grouping employed is also shown above the bar)
Vln I, mm. 65–6 (count as two separate bars) Microtones
Microtonal intervals (i.e. intervals smaller than a semitone) are frequently called for when a corresponding quartertone or microtone relates to the precise node on the string which is stopped in order to produce a harmonic.
Microtonal intervals are also occasionally called for on stopped pitches. The following accidental symbols are employed:
38
Harmonics This movement incorporates an intricate exploration of both natural and artificial harmonics on
bowed stringed instruments. Some of the partials called for in the score are unorthodox, but have been carefully considered and crafted by the composer in order to create specific colouristic effects. As a consequence, it is imperative that musicians performing this movement do not substitute any specific type of harmonic called for in the score with another which might produce roughly the same pitch (e.g. an artificial harmonic should not be substituted with a natural harmonic which is easier to play or vice versa). In addition, the partial called for on any harmonic should be exactly as specified and should not be substituted with another partial which is easier to play (e.g. an artificial harmonic on the 6th partial [sounding two octaves and fifth higher than the fundamental pitch] should not be substituted with a more conventional artificial harmonic on the 4th partial [sounding two octaves higher than the fundamental pitch]).
On harmonics diamond shaped noteheads are used to indicate the node at which the string is stopped in order to produce the harmonic. Resultant pitches are shown in bracketed noteheads (often on a second staff if the pitches are very high) above the tablature in the score. Natural Harmonics
On natural harmonics the following time values are represented when diamond noteheads are used (note that crotchets are filled in order to clearly differentiate between crotchets and minims):
39
The practical range of natural harmonics partials that are called for on each string is different for each instrument. In addition, it is required that further upper-partials be achieved through the use of a glissando across the natural harmonics of a string (i.e. a ‘harmonic arpeggio’, discussed in more detail later on in this notation guide). This is a brief summary of the range of natural harmonic partials called for on each respective instrument:
Instrument Practical range of natural harmonics available
Range available through harmonic arpeggiation
Violin up to 6th partial up to 8th partial
Viola up to 7th partial up to 9th partial
Violoncello up to 8th partial up to 12th partial The following pages provide charts which comprehensively illustrate all of the natural harmonics which are called for on each string of each instrument in this piece (this accurately shows the microtonal area(s) to stop on the string in order to achieve a particular partial and resultant pitch). Artificial Harmonics On artificial harmonics unfilled diamond-shaped noteheads are always used to indicate the node which is stopped. The exact time-value of each note is indicated by the fundamental pitch of each artificial harmonic.
Artificial harmonics are called for up to the 6th partial on all instruments (with the 3rd partial regarded to be lowest practical artificial harmonic on each instrument). Here is an example of how the lowest artificial harmonics for each partial are notated for the violin (with a fundamental pitch of low Ab):
40
NATURAL HARMONICS ABOVE THE VIOLIN G-STRING
Vln
NATURAL HARMONICS ABOVE THE VIOLIN D-STRING
NATURAL HARMONICS ABOVE THE VIOLIN A-STRING
NATURAL HARMONICS ABOVE THE VIOLIN E-STRING
(Practical Natural Harmonics up to the 6 partial) th
1 2 3 4
5
6
(Natural Harmonics Arpeggio/Glissando up to the 8 partial)
8
7 6
5 4
th
3 2 3 4
5
6
7
8
(Practical Natural Harmonics up to the 6 partial)
1 2 3
th
4
5
6
(Natural Harmonics Arpeggio/Glissando up to the 8 partial)
8 7 6 5 4
th
3 2 3 4
5 6
7 8
(Practical Natural Harmonics up to the 6 partial)
1 2 3
th
4
5
6
(Natural Harmonics Arpeggio/Glissando up to the 8 partial)
8 7 6 5 4
th
3 2 3 4
5 6
7 8
(Practical Natural Harmonics up to the 6 partial)
1 2 3
th
4
5
6
(Natural Harmonics Arpeggio/Glissando up to the 8 partial)
8 7 6 5 4
th
3 2 3
4
5 6
7 8
41
NATURAL HARMONICS ABOVE THE VIOLA C-STRING
Vla
NATURAL HARMONICS ABOVE THE VIOLA G-STRING
NATURAL HARMONICS ABOVE THE VIOLA D-STRING
NATURAL HARMONICS ABOVE THE VIOLA A-STRING
(Practical Natural Harmonics up to the 7 partial)
1 2 3 4
th
5
6
7
(Natural Harmonics Arpeggio/Glissando up to the 9 partial)
9 8
7 6
5 4
th
3 2 3 4
5
6
7
8 9
(Practical Natural Harmonics up to the 7 partial)
1 2 3 4
th
5
6
7
(Natural Harmonics Arpeggio/Glissando up to the 9 partial) th
3 4
5 6
7 8 9
9 8
7 6
5 4 3
2
(Practical Natural Harmonics up to the 7 partial)
1 2 3
th
4
5
6
7
(Natural Harmonics Arpeggio/Glissando up to the 9 partial)
9 8 7 6 5 4
th
3 2 3 4
5 6
7 8 9
(Practical Natural Harmonics up to the 7 partial)
1 2 3
th
4
5
6
7
(Natural Harmonics Arpeggio/Glissando up to the 9 partial)
9 8 7 6 5 4
th
3 2 3 4
5 6
7 8 9
42
NATURAL HARMONICS ABOVE THE CELLO C-STRING
Vc.
NATURAL HARMONICS ABOVE THE CELLO G-STRING
NATURAL HARMONICS ABOVE THE CELLO D-STRING
NATURAL HARMONICS ABOVE THE CELLO A-STRING
(Practical Natural Harmonics up to the 8 partial)
1 2 3 4
th
5
6
7
8
(Natural Harmonics Arpeggio/Glissando up to the 12 partial)
12 11 10 9 8 7 6 5 4
th
3 2 3 4
5 6
7 8 9
10 11 12
(Practical Natural Harmonics up to the 8 partial)
1 2 3 4
th
5
6
7
8
(Natural Harmonics Arpeggio/Glissando up to the 12 partial) th
3 4
5 6
7 8 9
10 11 12
12 11
10 9 8
7 6
5 4 3
2
(Practical Natural Harmonics up to the 8 partial)
1 2 3 4
th
5
6
7
8
(Natural Harmonics Arpeggio/Glissando up to the 12 partial)
12 11 10 9 8 7
th
3 4
5 6
7 8 9
10 11 12
6
5 4 3 2
(Practical Natural Harmonics up to the 8 partial)
1 2 3 4
th
5
6
7
8
(Natural Harmonics Arpeggio/Glissando up to the 12 partial) th
3 4
5 6
7 8 9
10 11 12
12 11
10
9 8
7 6
5 4 3 2
43
Glissandi
Several different types of glissando effects are employed within this movement. A conventional glissando from one stopped pitch to another is notated as shown in this example from the cello line in mm. 64–72:
Note that the first glissando line is marked with a ‘gliss.’ indication. All proceeding lines should then adopt exactly the same technique unless otherwise indicated. Portamento Portamento (where a slide [or ‘glide’] from one stopped pitch should occur quickly before the start of the next stopped pitch) is also occasionally called for as shown in this example from the viola solo in m. 211
Here the portamento lines are marked with a ‘port.’ indication. Harmonic Arpeggios Glissandi along the natural harmonic nodes of a string (i.e. ‘harmonic arpeggios’) are called for extensively in some sections of this piece. These are equivalent to the technique employed in the Paleozoic variation in George Crumb’s Vox Balaenae. This technique is shown in the score as a slide from one natural harmonic node to another; however, in reality an ascending/descending arpeggio along the natural harmonics of a string will sound (as illustrated in the natural harmonics charts previously shown). Here is an example of the cello employing this technique in mm. 196–8:
44
Note that harmonic arpeggio lines are marked with a ‘harm.’ indication. All proceeding lines should then adopt exactly the same technique unless otherwise indicated. Sliding across the natural harmonic nodes of a string will allow very high and otherwise inaudible partials to sound.1 In the above example, the last pitch of the triplet in m. 198 (i.e. F quarter-sharp) is an upper partial which should be sustained without a further slide, illustrating this principle. In practice, these higher partials can be somewhat unreliable; however, a striking coloristic effect should always be achieved nonetheless. Stems & beams without noteheads on glissandi In order to allow performers to keep track of the exact rhythmic values related to a glissando line it is sometimes necessary to notate stems without noteheads joined to the line, as shown in this example from the first violin line in mm. 198–9:
Due to a lack of notehead, a crotchet stem is the longest time-value that can be notated in such cases therefore multiple consecutive crotchets stems might need to be shown on a long glissando. However, it is possible to show time-values shorter than a crotchet (i.e. quavers, semiquaver etc...) through the addition of beams. Glissandi on Artificial Harmonics Glissandi on artificial harmonics are also called for as shown in this example from the first violin line in mm. 1213–2:
1 “the highest possible natural harmonics on any string instrument can usually be produced only if they are approached through a harmonic arpeggio (i.e. adjacent lower harmonics). The sequential appearance of the nodes of these highest possible harmonics at either end of the string makes it possible for the impetus or inertia of a harmonic arpeggio to coax the string into vibrating in smaller and smaller subdivisions thus ascending the harmonics series”, Gerald Warfield, ‘The Notation of Harmonics for Bowed String Instruments’, Perspectives of New Music, Vol.12, No. 1/2 (1973/4), 338.
45
The first glissando is on an artificial harmonic (with the same interval), the second is descending (with a changing interval) to produce a “seagull effect” – equivalent to the technique employed in the Archeozoic variation in George Crumb’s Vox Balaenae. Double-Stopped Harmonics The final bars of this movement call for two simultaneous harmonics on two adjacent strings in all parts, as shown in this example from the second violin line in mm. 2224–4:
Tremolos & Trills on Harmonics Undulating tremolos across two harmonics (on two adjacent strings) are also called for, as shown in this example from the cello line in m. 214:
Timbral Trills Some timbral trills on harmonics (i.e. a tremolo across two different harmonic nodes which produce roughly the same pitch) are also called for, as shown in this example from the second violin line in m. 213:
46
Three & Four-Note Tremolos Three or four-note fingered tremolos on stopped pitches are frequently called for in all parts. Here is an example of a three-note tremolo from the viola line in mm. 27–8:
The boxed figure at the start of m. 27 shows the exact pitches (in order) and rhythm which should be repeated throughout the tremolo; the time-value above the box indicates the exact rhythmic length of the tremolo; the three horizontal lines to the right of the box give a visual impression of the duration of the tremolo and its ‘approximate’ speed (i.e. 3 lines indicate approximately a 32nd-note [or demisemiquaver] speed, which corresponds to the 32nd-note triplet in the initial box); in addition, slurring is accurately shown. In m. 28 the continued horizontal lines indicate that the exact tremolo pattern previously indicated should continue (unless otherwise stated), with time-values shown above each corresponding block of lines and accurate slurs shown once again. In addition, here is an example of a four-note tremolo from the viola line in mm. 10–11:
On this occasion there are four horizontal lines to the right of the initial box, indicating an ‘approximate’ 64th-note (or hemidemisemiquaver) speed, which corresponds to the 64th-note figure in the initial box. Thus the ‘speed’ of this tremolo should, at least in theory, be marginally quicker than that of the viola tremolo from mm. 27–8 shown in the previous example. Of course in practice common sense should prevail and performers should find a musical way of making these gestures work. This method of notating tremolos with more than two notes differentiates from Luciano Berio’s perhaps more standardised method of notating similar techniques (i.e. showing stemless noteheads in a box and a continuous arrow for the duration of the tremolo). This differentiation is to enable the exact time-value, exact slurring and relative speed of the tremolo to be more accurately shown.
47
Bowing The following shorthand abbreviations are used to indicate different string bowing techniques employed within this movement:
Full Name of Technique Shorthand Description
sul ponticello sul pont. or sp bowed close to the bridge
sul tasto st bowed over the fingerboard
molto sul ponticello msp bowed very close to the bridge (half-bowed on the bridge)
molto sul tasto mst bowed over the fingerboard (very close to where the strings are stopped)
flautando flau. bowed near the fingerboard to obtain a ‘flute-like’ quality
(often interchangeable with sul tasto)
Bow Mutations Mutations from one bowing position to another within a specific timeframe are also called for, as shown in this example from the second violin line in mm. 1784–1792:
In this instance the arrow indicates a mutation from sul ponticello to sul tasto within the timeframe of a minim. Rhythm & Tuplets The quintuplet rhythm is a prominent motivic feature within this movement. A motif based on a quintuplet rhythm is first present in the viola at the start of the movement’s exposition section as shown in the following example from m. 2:
48
Tuplets Showing Ratios Tuplets showing mathematical ratios (e.g. 9:8, 10:8 etc...) are also employed throughout this movement. When the movement first reaches its recapitulation section, the quintuplet motif shown above mutates into a 10:8 tuplet, as shown in the following example from the viola line in m. 170:
The beams on this rhythm are grouped as five sets of two semiquavers – effectively written as double the speed of the quintuplet in m. 2 with twice as many notes). Nested Tuplets Nested tuplets (i.e. a tuplet within a tuplet) are also employed in this section. This first occurs in the second violin line in m. 1833 where a triplet is nested within a 10:8 tuplet as follows:
Long Quintuplet The quintuplet motif from m. 2 later evolves into what might be described as a ‘long quintuplet’ – a set of five equal rhythms in the timeframe of four minims (or a ‘breve’). Overleaf is a matrix which demonstrates this rhythmic idea in 4/2 time; firstly as a one-part rhythmic motif grouped according to a breve, semibreve, minim and crotchet beat respectively; secondly as a two-part rhythmic motif adding an off-beat minim quintuplet with the same set of rhythmic groupings:
49
Long Qunintuplet Matrix
Basic Rhythm on aSingle Breve Beat
Identical Rhythm on Two Semibreve Beats
Identical Rhythm onFour Minim Beats
Identical Rhythm onEight Crotchet Beats
Basic Rhythm on aSingle Breve Beat
Identical Rhythm on Two Semibreve Beats
Identical Rhythm onFour Minim Beats
Identical Rhythm onEight Crotchet Beats
#1: One-part rhythmic motif based on a minim quintuplet
5
5 5
5 5 5
5
5
5 5 5
#2: Two-part rhythmic motif adding an off-beat minim quintuplet
5
5
5
5
5
5
5
5
5
5 5
5
5
5
5
5
5
5
5
5
5
5
50
The one-part long quintuplet idea first occurs in m. 34 (with all four instruments homophonic to one another and playing harmonics) as shown in the following first violin line (resultant pitches shown):
The same line could have been simplified and notated as a ‘long quintuplet’ in the following way:
The two-part rhythmic idea first occurs in m. 35 as shown in the following reduction of both violin lines:
Again, the same lines could have been simplified as follows:
At a first glance it may well appear that the latter method of notating both examples above is the clearest and easiest to follow. However, the reason for grouping these long quintuplets according to the minim beat in each bar (rather than one long breve beat) is to help the performers to keep track of the basic minim pulse in each bar (i.e. if one is trying to count five equal rhythms in the timeframe of four relatively slow minim beats it can be very difficult to actually stay in time!). This method of notating long quintuplets is particularly helpful in bars which superimpose this rhythmic idea with more conventional rhythms (e.g. in mm. 41–45 long quintuplet rhythms are combined with regular quavers and crotchet/minim triplets).
51
Atmospheric, Sustainedq = c.66
Urban Wilderness # 1: “Apathetic Machines”
2 3
Violin I
Violin II
Viola
Violoncello
4 5 67
Vln. I
Vln. II
Vla.
Vc.
89
10
Vln. I
Vln. II
Vla.
Vc.
11 12 13
Vln. I
Vln. II
Vla.
Vc.
molto espress.
pp mf pp
3
3 5
3
pp
pp
pp
pp
Imf
poco rall. - - - - - -
III
port.A Tempo
release theharmonic
5 3
gliss.
gliss.
gliss.
p cresc.
pp cresc.
pp
cresc.
pp cresc.
ff
f
pp
f
pp
f
pp
52
14 (e=e)15
Vln. I
Vln. II
Vla.
Vc.
AIntense, Articulatee = c.144
16 (e=e)17
Vln. I
Vln. II
Vla.
Vc.
(e=e)18
19
Vln. I
Vln. II
Vla.
Vc.
20 21
Vln. I
Vln. II
Vla.
Vc.
p 3 3
p 3 3
mp 3
mp p3
p
mpp
p
(p)
(p)
p
(p) p
(p)
mp
mp
espress.
p
port.
53
22 23
Vln. I
Vln. II
Vla.
Vc.
24 25
Vln. I
Vln. II
Vla.
Vc.
26 27
Vln. I
Vln. II
Vla.
Vc.
28 29
Vln. I
Vln. II
Vla.
Vc.
mp
mp e espress.
p p
p
p p
p
mp
espress.
mp II
gliss.
mp
p
p
espress.
IV
Bartόk pizz.
gliss. pizz.
p
p
54
30 31
Vln. I
Vln. II
Vla.
Vc.
32B
33
Vln. I
Vln. II
Vla.
Vc.
34 35
Vln. I
Vln. II
Vla.
Vc.
36
37
Vln. I
Vln. II
Vla.
Vc.
mp
espress.
espress.
mp p
pizz.
mp
pizz.
p
Bartόk pizz.gliss.
p
Bartόk pizz.
gliss.
arco
p gliss. p
arcogliss.
pizz.
p Bartόk pizz.
gliss.
gliss.p
gliss. arco
espress.arco
mp
3
mp e espress.
mp
mf
espress.
I
mf e espress. III
mp
55
38 39
Vln. I
Vln. II
Vla.
Vc.
40Poco Allargando
41
Vln. I
Vln. II
Vla.
Vc.
Broader, Aggressivee = c.132
42 43
Vln. I
Vln. II
Vla.
Vc.
espress.
mf mp
mp
mp
mf
espress.IV
mp
gliss.sfz
III
mp
gliss. sfz
II I
mp
gliss.
II
f
sfzgliss.
f
sfz gliss.
f
sfz gliss.
f
slide fromopen string
sfzgliss.
56
4445
Vln. I
Vln. II
Vla.
Vc.
46 47 48 49
Vln. I
Vln. II
Vla.
Vc.
50 (e=e)5152 C
Atmospheric, Sustainedq = c.66
53
Vln. I
Vln. II
Vla.
Vc.
54 55
Vln. I
Vln. II
Vla.
Vc.
f
sfz gliss.
sul pont.
ff
f
sfz
gliss.
sul pont.
ff
f sfz
gliss.
sul pont.
ff
f
sfz gliss.
actual pitch
sul pont.
ff
sffz
gliss.
fff
nat.
sfff
sffz
gliss.
fff
nat.
sfff
sffz
gliss.
fff
nat.
sfff
sffz
gliss. fff
nat.
sfff
pizz.
pp
arco
pp
pp
pizz.
pp
arco
pp
pizz.
l.v.
pizz.
pp l.v.
arco
pp
molto espress.arco
pp mf pp3
57
56 57
Vln. I
Vln. II
Vla.
Vc.
De = c.144Intense, Articulate
58 59
Vln. I
Vln. II
Vla.
Vc.
60 61
Vln. I
Vln. II
Vla.
Vc.
62 63 64
Vln. I
Vln. II
Vla.
Vc.
p
p 3 3
mf
mf
p gliss.
Bartόk pizz.
mf
gliss.
p
arco
p mp
mp e espress.sempre
3 3
3 3
gliss.
5 6
gliss.
3 3 3 3 3 3 3 3 3 3
gliss.
3 3 3 3 3 3 3 3 3 3
58
6566
Vln. I
Vln. II
Vla.
Vc.
67 68
Vln. I
Vln. II
Vla.
Vc.
69 (e=e)70
Vln. I
Vln. II
Vla.
Vc.
Sustained(e=e)
71 72
Vln. I
Vln. II
Vla.
Vc.
mp e espress.
I I
I I
pp
3
pp
3 3
pp
p e espress. 3
gliss.
5
p e espress.
gliss.
3 3
5
3 3 3 3
3
cantabile e molto espress. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
pp
ppp III
port.
ppp
ppp
59
E Rhythmic, Articulate (e=e)
73 74
Vln. I
Vln. II
Vla.
Vc.
7576
Vln. I
Vln. II
Vla.
Vc.
77 78
Vln. I
Vln. II
Vla.
Vc.
7980
Vln. I
Vln. II
Vla.
Vc.
pizz.
mf
gliss. gliss.gliss.
mf
pizz. gliss. gliss.gliss.
Bartόk pizz.
mf
gliss.
gliss. gliss. gliss.
Bartόk pizz.
mf
gliss.
gliss. gliss. gliss.
gliss. gliss.
gliss.
mp
arcogliss.
gliss.
gliss. gliss.
mp
arco
gliss. mf
pizz.
mp
arco
gliss.
gliss.
gliss.
gliss.
gliss.
gliss. gliss.
gliss. gliss.
mf
gliss. gliss.gliss.
mf
gliss. gliss.
mf
gliss. gliss. gliss. gliss.
mf
gliss. gliss. gliss.
sul pont.
cresc.
gliss.
nat. sul pont.
gliss.
gliss.
cresc.
gliss.sul pont. gliss.
gliss.
gliss. gliss.
cresc.
gliss.arco, sul pont.
mp
gliss.
gliss. gliss.
gliss.
gliss.
cresc.
mp
arco, sul pont.
gliss.
nat. sul pont.
60
8182
Vln. I
Vln. II
Vla.
Vc.
83
84
Vln. I
Vln. II
Vla.
Vc.
(e=e)8586
Vln. I
Vln. II
Vla.
Vc.
f
gliss.gliss.
gliss.gliss.
f
gliss.
f
gliss.
gliss. gliss.
gliss.
f
gliss.
gliss.
gliss. gliss.
gliss.
gliss.
arco
gliss.
gliss.
gliss.gliss.
gliss.
gliss. gliss.
gliss.
gliss.
gliss. gliss. gliss. gliss.
sfffz
nat.e pizz.
pp4:6 5:6
sfffz
nat.e pizz.
pp
4:6 5:6
sfffz
nat.e pizz.
pp
l.v.
4:6 5:6
sfffz
nat.e pizz.pp
l.v.
4:6 5:6
61
87
F Atmospheric, Sustainedq = c.66
88
Vln. I
Vln. II
Vla.
Vc.
89
poco rall.
90 91
A tempo
92
Vln. I
Vln. II
Vla.
Vc.
(e=e)93
Ge = c.144
Intense, Articulate
(e=e)94
Vln. I
Vln. II
Vla.
Vc.
9596
Vln. I
Vln. II
Vla.
Vc.
arcomf
gliss.
arco
mf
gliss.
f
molto espress.arco
3
arco
mf
gliss.
p
pp
II
gliss. III
gliss.
pp3
pp
p
p
p
p
p
p
mp e espress.sempre
mp
62
97 98
Vln. I
Vln. II
Vla.
Vc.
99 100
Vln. I
Vln. II
Vla.
Vc.
101102
Vln. I
Vln. II
Vla.
Vc.
103
104
Vln. I
Vln. II
Vla.
Vc.
5 5
5 5 5 5
5 5 5 5 5
5 5 6 6
flautando cantabile
6 6 6 6 6
6 6 6 6
3 6
6 6 7 7
7 7 7 7
63
105 106
Vln. I
Vln. II
Vla.
Vc.
107
H Intense, Sustained (e=e)
108
Vln. I
Vln. II
Vla.
Vc.
109110
Vln. I
Vln. II
Vla.
Vc.
111 112
Vln. I
Vln. II
Vla.
Vc.
7 7 7
7 7
cantabile
p e poco a poco cresc.
p e poco a poco cresc.
p
nat.
poco a poco cresc.
p e poco a poco cresc.
ff
ff
ff
ff
64
113 114
Vln. I
Vln. II
Vla.
Vc.
115 116 117
Vln. I
Vln. II
Vla.
Vc.
I Atmospheric, Sustainedq = c.66
118 119 120
Vln. I
Vln. II
Vla.
Vc.
121122 123
Vln. I
Vln. II
Vla.
Vc.
pp
gliss.
pp
gliss.
pp
gliss.
p
flautando e molto espress.
3 3
pp
pp
pp
(flautando e molto espress. sempre)
mp
fifth partial - should sound two octaves and a major third above the fundamental
3
3 5 3
gliss.
(poco rall. - - - - - - - - - - -)
gliss.
gliss.
pp
poco rall. - - - - - - - - - - -
mf
port. port.
sixth partial - should sound two octaves and a perfectfifth above the fundamental3
65
124 125126
Vln. I
Vln. II
Vla.
Vc.
127 128 129
Vln. I
Vln. II
Vla.
Vc.
130131 132
Vln. I
Vln. II
Vla.
Vc.
Je = c.144Intense, Articulate
133 (e=e)
134
Vln. I
Vln. II
Vla.
Vc.
(A Tempo)
pp
pp
pp
A Tempo
release theharmonic
p
port.
cresc. f
cresc. f
cresc. f
cresc. ff
pp
pp
pp
flautando espressivo
p 3
5
p
3 5
p
p mp p3 3
mp
p3 3 3 3 3
5
mp
p
3
3 3
66
(e=e)135136
Vln. I
Vln. II
Vla.
Vc.
137138
Vln. I
Vln. II
Vla.
Vc.
139 (e=e)140
Vln. I
Vln. II
Vla.
Vc.
(e=e)141
142
Vln. I
Vln. II
Vla.
Vc.
(p) mp
(p) p
(p) p
(p)
mp
flautando espressivo
3
flautando espressivo
mp
3
p
nat. gliss.
mp
p
gliss.
p
p
gliss.
nat.
p
gliss.
p
67
143144
Vln. I
Vln. II
Vla.
Vc.
145 146
Vln. I
Vln. II
Vla.
Vc.
147 (e=e)148
Vln. I
Vln. II
Vla.
Vc.
149
K150
Vln. I
Vln. II
Vla.
Vc.
mp
flautando espressivo
mp
flautando espressivoI gliss. port.
p
sul pont.
p3
mp
sul pont.
port.
sul pont.
p
mp
flautando espressivo
port.
p
gliss. nat. gliss.
p
gliss.nat. gliss.
p I
gliss.
slide toopen string
sul pont.
p gliss. gliss.
68
151
152
Vln. I
Vln. II
Vla.
Vc.
153 154
Vln. I
Vln. II
Vla.
Vc.
155156
Vln. I
Vln. II
Vla.
Vc.
nat e espress.
mp
mp
nat. e espress.
II
IV
mp
mf
espress.
mf
espress.
mp
mf
espress. (I
mp
)
mp
mp
mf
espress.
mp
69
157 158
Vln. I
Vln. II
Vla.
Vc.
L159
Poco Allargando
160
Vln. I
Vln. II
Vla.
Vc.
Broader, Agressivee = c.132
161 162
Vln. I
Vln. II
Vla.
Vc.
(
)
( )
( )
( )
( )
( )
( )
mp
gliss.
gliss.
mp
gliss.
II port. III
gliss.
(
) ( )
( )
( )
pp
(
)
ff
( )
( )
III
pp
ff
(
I )
( )
pp
( )
(
)
ff
( )
mp ff
f
sfz
gliss.
f
sfz
gliss.
fsfz
gliss.
f
sfz
gliss.
slide to and fromopen string
port.
70
163164
Vln. I
Vln. II
Vla.
Vc.
165 (e=e)166
Vln. I
Vln. II
Vla.
Vc.
(e=e)167168
169
Vln. I
Vln. II
Vla.
Vc.
170 171 172
Vln. I
Vln. II
Vla.
Vc.
f
sul pont. sfzgliss.
nat.
ff
f
sul pont. sfz gliss. nat.
ff
sul pont.
f
sfzgliss. nat.
ff
f
sul pont.sfz
gliss. nat.
ffport.
sffz
fff
gliss.
sffz
gliss.
fff
sffz gliss.
fff
sffz gliss.
fff
pizz.
f
ff fff
fff
arco
3
pizz.
f
ff
fff
arco
fff3 3
pizz.
f
ff
fff
arco
fff3 3
pizz.
f
ff
fff
arco
fff3
gliss. gliss.
sfffz
gliss. gliss.
sfffz
gliss. gliss.
sfffz
gliss. gliss.
sfffz
71
q = c.63Melancholy, Colouristic, Sustained
#2 “Utopian Mirror”
Violin I
Violin II
Viola
Violoncello
(q=q) sempre5
Vln I
Vln II
Vla
Vc.
8
Vln I
Vln II
Vla
Vc.
ppp
ppp
pp
3 3
ppp
5
pp
3 3 pizz.
p
pp
3
pp
3 5
pizz.
p
gliss.port.
gliss.
gliss.
35
33
p
pizz.5
5 5
3 3
p
pizz.5 5 5
arco
ppp
h. h. h h. h3
arco
ppp
72
11
Vln I
Vln II
Vla
Vc.
14
Vln I
Vln II
Vla
Vc.
17
Vln I
Vln II
Vla
Vc.
3
3arco
pp cresc.
5 5 5 5
5
3 3 arco
pp cresc.
5 5 5 5 5
w
3
ppcresc.
5 55
pp
3
cresc.
5
5
sf sf mf sf sf pp5 5 5 5 5 5
sf sf mf sf sf pp
5 5 5
5
5 5
sf sf mf sf sf pp5 5 5 5 5 5
sf sf mf sf sf pp mp
dolciss.
5 5 5 5 5
p
dolciss.3 3 3 3
5
5
p
dolciss. 3 3 3 35
p
dolciss.3 3 3 3 3 3
p
3 3 3 3 3 3
73
20
Vln I
Vln II
Vla
Vc.
24
Vln I
Vln II
Vla
Vc.
28
Vln I
Vln II
Vla
Vc.
ppp
7
ppp
7
ppp pp
3 35
7
pp
3 3
ppp
h.
pp
3
p
pizz.3
p
3 3
ppp
w5 3
IV(Resultant)
III 3
pp
3
p
3 3
arco
mp
II II
mp
II
(Resultant)
h. h
pp
pizz.arco
mp
IV 5
IV 3 3 III 3
IV 3 3III 3
mp
74
32
Vln I
Vln II
Vla
Vc.
[3h+2h]
35
Vln I
Vln II
Vla
Vc.
38
Vln I
Vln II
Vla
Vc.
mf
III 3 II IV
35 III
5IV55
mf
3 3 5( )
5
( )
55
mf
3 3 5 5 III55
3 3 5 5 55
mf
III IV II IV
5 III
5 53
I3 3
III3 35
5 5 5
5 5 3 III33 3
IV3
5
5III
5 5 IV (IV)
port.port.
II
III
port.
III
( )
III II
75
41
Vln I
Vln II
Vla
Vc.
45
Subdued but Fluid & Expressive(q=c.52)
Vln I
Vln II
Vla
Vc.
mp
5 5III
5 II
55
III
555
mp
5 5 III5
IV3
III
p e dolciss.
5
p e dolciss.
3 IV
3 3
3 3
III
3 3 3 3
p e dolciss.
3
II
p e dolciss.
3 3
mp
nat. msp st
3
3
3
3 (sp)
mp
st con sord.
III
3
3
3
3
mp(sp) st
msp
nat.
msp st
IV 3
3
3 3
mp
76
50
Vln I
Vln II
Vla
Vc.
54
Vln I
Vln II
Vla
Vc.
58
Vln I
Vln II
Vla
Vc.
III
sp (sp) st
IV
msp
pp
nat. 5 3 5 3 5 3
IVst sp
con sord. pp
nat.5 3
msp st msp st
st
msp st
con sord.
5 3 5 3
5 3 5 3
II
msp st
I
msp st
pp
nat.
ppp
h
pp
IV
3
5 5 3 5
3
5 3 5 3 5 3
5 3 5 3 5 3
sp
con sord. pp
nat. 5 3
77
61
Vln I
Vln II
Vla
Vc.
64
Vln I
Vln II
Vla
Vc.
67
Vln I
Vln II
Vla
Vc.
70
Vln I
Vln II
Vla
Vc.
IV
3
p
5
5 6
p
5 3 5 6
mp espress. e cantab.
3 35 3 5 5
p
5 3
mp espress. e cantab.
53 35
5 5 55 9:8x 6 8:6x
p
5 6 5
3
4:3
p
5 5
5 5 6
9:8x
8:6x
5 5 55 9:8x 6 8:6x
5 6 5
3
4:3
mp espress. e cantab.
5 3 35
5 5
mp5 8:6x
3 3 5
mp 3 5 3 3 5 3
5 5 5
5 56
8:6x 8:6x
p 5 5 6
8:6x
78
74
Vln I
Vln II
Vla
Vc.
78
Vln I
Vln II
Vla
Vc.
81
Vln I
Vln II
Vla
Vc.
3 3 5 3 3 5
3 5 3 3 5 3
mp
5 3 3 4:3 5 3 3 4:3
5 5
mp6
8:6x 3
3
3 7:6
9:6x
5 6 5 6 5 6 5
3 5 3 3 6 5 6 5:6x
5
3
3
3
5
3
3
3 3 3 5 3 3 3
5 6 56 5 6 5 9:6
6 5 6 5 6 5 6 7:6
9:6
5 6
5 6
5 6
5
3 3 3 5
6 5 6 7:6
79
[2e+2e+3e]84
Vln I
Vln II
Vla
Vc.
Poco Allargando86
Vln I
Vln II
Vla
Vc.
Gentler, with Greater Sensitivityq = c.46
88
Vln I
Vln II
Vla
Vc.
cresc. 6 6 6 6 6 6 9:6
cresc. 6
56 5 6 6
7:6
cresc.
5 6
6
6
6
6
9:6
cresc.
6 5
6 5 6
5
7:6
6 6
6 6 9:6
6 6
7
6 6 6 6 9:6
sff
6 6 7
ff
pp p
I II III III II5 6 5 6
12:8x
ff
pp
6 5 6 5 6 5 6 5
ff pp
5 6 5 6 5 6 5 6
p
6 6 6 6
80
[3q+2q]
90
Vln I
Vln II
Vla
Vc.
93
Vln I
Vln II
Vla
Vc.
95
Vln I
Vln II
Vla
Vc.
I...
12:8x 12:8x 18:12x 12:8x
p
6 5 6 512:8x 12:8x
p
II III IV...6 9:6
6
port.6 6
9:6 6
III
(p)12:8x
12:8x 7
(p)
II12:8x 12:8x 12:8x 12:8x
(p)
55
senza sord. mf, cantab. e dolciss.
II III IV IV III II I I II III IV...
7
senza sord.
5 35
III III
81
98[3h+2h]
Vln I
Vln II
Vla
Vc.
[3h+2h]
100
Vln I
Vln II
Vla
Vc.
7
6 6
I II III IV...
senza sord.
5 5 55
mf, cantab. e dolciss.
IV
5 5 55
senza sord. 6 6 5
mf, cantab. e dolciss.
3
3
3
III3
3 3 3 3 3
III I II
82
102
Vln I
Vln II
Vla
Vc.
105
Vln I
Vln II
Vla
Vc.
(Resultant pitches)
mf, cantab. e dolciss.
II
III
III
IV
5 5 5 5 5
55 5
mp
I
(Resultant) 5 5
II
5 3
5
mp
III IIp e dolciss.
3 3 3 3
p e dolciss.
3 IV III
III
3 3 3 3
IV
p e dolciss.
3
83
109
Radiant & Very Colouristicq = c.50
[2h+3h]
Vln I
Vln II
Vla
Vc.
114
Vln I
Vln II
Vla
Vc.
3 3 nat. msp st msp
Ip e dolciss.
p
3 3 3 3
Harmonic Arpeggio:gliss. across the natural harmonic nodes
p
IV
pp e cresc.
harm.
6 9:6q
III
3 3 3 3 (sp)
II
st msp st
p
3 3 3 3 nat.
I
msp st sp
IV
p
st msp
st sp
II
6 9:6q
6 9:6q
msp st sp
Harmonic Arpeggio:gliss. across the natural harmonic nodes
IV
mp e cresc.
6
harm.
9:6q
IV
Harmonic Arpeggio:gliss. across the natural harmonic nodes
p e cresc.
3
harm. 9:6q 3 9:6q
84
118[2h+3h]
Vln I
Vln II
Vla
Vc.
121
[2h+3h]poco a poco accel.
[2h+3h]
Vln I
Vln II
Vla
Vc.
III
mf e cresc.
Harmonic Arpeggio:gliss. across the natural harmonic nodes
harm.
9:6q (sp)
fmst
msp
mst
6 9:6q
f
(sp)
mst
6
msp
mst
6
6
(sp)
9:6q
f
mst6
msp6
3 (sp)9:6q
mst
f
3
msp3
"Seagull Effect"
II
msp
(sp)
msp
mst
msp
mst
msp
mst
6 sp 9:6q (sp)
mst
6
msp
mst
6
mst
6
sp
9:6q
mst
6
msp6
mst
3
sp
9:6q mst
3
msp
3
85
[2h+3h]
124[2h+3h]
Vln I
Vln II
Vla
Vc.
[2h+3h]
127
q = c.76
[2h+3h]
Vln I
Vln II
Vla
Vc.
msp
mst
sp 9:6q msp
mst
msp
mst
"Seagull Effect"
msp (sp)
6
9:6q (sp)
III
mst
6 msp
mst
6
"Seagull Effect"
mst
sp6
9:6q
mstIII
6
msp6
mst
3
sp (sp)
9:6q mst
3
msp
3
msp
(sp) normal stopped gliss.
on a tremolo
mp
gliss.msp
f
I
mstharm.msp
mst
II
msp (sp)
6
9:6q (f)
(sp)
mst
6 msp
mst
6
mst
sp6
9:6q mst
(f)
II6
msp
6
mst
3
sp (sp)
9:6q mst
(f)
3
msp
3
86
[2h+3h]poco a poco rall.
130[2h+3h]
Vln I
Vln II
Vla
Vc.
[2h+3h]
133[2h+3h]
Vln I
Vln II
Vla
Vc.
msp
mst
sp 9:6q msp
mst msp
mst
msp
mst6 sp 9:6q (sp)
mst
6 msp
mst
6
mst
6 sp (sp) 9:6q mst 6 msp
6
"Seagull Effect"
mst sp3
9:6q
mstIII
3
msp3
msp
mst
sp 9:6q (f)
msp
mst msp
msp (sp)
6 normal stopped gliss.on a tremolo
mp
gliss.9:6q msp
I
f
mst
harm.
6 msp6
I
msp
mst
sp6
9:6q mst
(f)
6 6
mst sp3
9:6q mst
II
(f)
3
msp
3
87
[2h+3h]q = c.56
136
Vln I
Vln II
Vla
Vc.
140
Vln I
Vln II
Vla
Vc.
nat.w
f
pp
w.
f
w
pp
w.
f
nat.
pp
wf
w.
pp
w
f
w.
mst6
sp 9:6q (sp)6
9:6q
mst
3
sp 9:6q
(sp)
3
9:6q
3
6
(I, sp)
mf e dolciss.
pp
wf
w.
(II, sp)
mf e dolciss.
nat.w
fpp
w.
f pp
3
Imst
3
sp
9:6q nat.w
pp f
88
143
Vln I
Vln II
Vla
Vc.
146
Vln I
Vln II
Vla
Vc.
6
9:6q
9:6q
9:6q
f
(III, sp)
mf e dolciss.
pp
w.
f pp
f
6
(mf e dolciss.)
9:6q
(mf e dolciss.)
9:6q
(mf e dolciss.)
f
(I, sp)3
9:6q
II
mf e dolciss.
89
149
Vln I
Vln II
Vla
Vc.
153
[2h+3h]
Vln I
Vln II
Vla
Vc.
3 3
5 5 5
5
I
3 3 3 3
3
mp
mf
3 3 3 3 3 3
3 3
II mp
III
3 3 3 3
3 3
III mp
IV3 II
5 5 5
5
I I
(mf)
II
5 5
5
II
(mf)
II
mf
III3
3 3
II (II)
mf
90
157
Vln I
Vln II
Vla
Vc.
161
Vln I
Vln II
Vla
Vc.
I
IV III
I
3 3 3 3
poco a poco dim.
II I II
3
poco a poco dim.
I
poco a poco dim.
II
3 3 3 3
poco a poco dim.
91
165
Vln I
Vln II
Vla
Vc.
167
Vln I
Vln II
Vla
Vc.
5 5 5 5 5 5
55
I II I II
5
5 5 5 5 5 5
II
5 5 5
5
I 5 II5 5
5
5
5 5 5
IV 5
5 5
II
3 3
III
pp
II
IV
pp
3III
3
IV
pp
3
3
pp
3
3 III
92
Melancholy, Colouristic, Sustained,Slower and more subdued than the first sectionq = c.50
169
Vln I
Vln II
Vla
Vc.
173
Vln I
Vln II
Vla
Vc.
176
Vln I
Vln II
Vla
Vc.
ppp
sul pont. sempreh
3
sul pont. sempre
ppp
w w3
pp
sul pont.
ppp
w6 10:8 6 3
pp
sul pont. 6 6
w
pp 6
w
pp
6 10:8
w
pp
IVharm. 3
(pp)
IVharm.
35
10:8 6
10:8
10:8 6 10:8
sul tasto
ppp
h.
port.
h. h3
ppp
sul tastoport.
93
178
Vln I
Vln II
Vla
Vc.
Slightly Slowerq = c.42
181
Vln I
Vln II
Vla
Vc.
183
Vln I
Vln II
Vla
Vc.
sul tasto
ppp
h w
6 5
(sp) st
ppp
h h w
6 3 3
h. h w w
h w w
3
pp
nat.3 10:8 10:8
pp
nat. 3 10:8 10:8
pp
nat.6 10:8
nat.
pp
6
cresc. 10:8 sff
sul pont.
sff
10:8
10:8 3 310:8x
cresc.
sff
sul pont.
sff
10:8310:8 10:8 10:8x
cresc. sff
sul pont.
sff
10:8 10:8
3 10:8 10:8x
cresc. sff
sul pont.
sff
10:8
10:8 10:8x 10:8x
94
185
Vln I
Vln II
Vla
Vc.
187
Vln I
Vln II
Vla
Vc.
189
poco rall. A tempoq = c.50
Vln I
Vln II
Vla
Vc.
mf sff sff
10:8pp10:8x3
10:83 3 10:8
mf sff sff
10:8
pp
10:8x10:8 3 3 3 10:8
mf sff sff10:8
pp10:8 3 3
10:8x 310:8
mf
sff sff10:8 ppmp
nat. e dolciss.
310:8 3 10:8x
p
nat. e dolciss. 6
3 10:8
10:8 6
p
nat. e dolciss.310:86 6 6
nat. e dolciss.
p
6 66 6
p
66 6 6 6
dim.
sul pont.
ppp6
6 7
dim.
sulpont.
ppp
w.6 7 7 3
dim.
sulpont.
ppp
h
pp
6 6 7 7 3 6
poco dim. pp
7 (nat.) sul pont.6 7 6
95
192
Vln I
Vln II
Vla
Vc.
195
Vln I
Vln II
Vla
Vc.
198
Vln I
Vln II
Vla
Vc.
q
IV
pp
harm.
10:8 66
pp
6
ppp
sul tastoh.
pp
sul pont.6
(sp) sul tasto
ppp
w10:8
6
(pp)
IV harm.3
6
(pp)
II
harm.
w
pp
sul pont.
(pp)
II3
harm.
3
5
3 3 3 3
96
202
Vln I
Vln II
Vla
Vc.
206
Vln I
Vln II
Vla
Vc.
210
Vln I
Vln II
Vla
Vc.
(pp)
(pp)
3 3
(pp)
3 viola solopizz. 5
3 3 3
(pp)
3
3
arco, sempre flautandoe molto espress.
3 5 6
3 3 3 3
(slower gliss.)
(slower gliss.)
poco cresc.
port
.
mp
port.
10:8 3
10:8x
5
3(slower gliss.)
97
212
Vln I
Vln II
Vla
Vc.
215 Tranquil & Very Colouristic(q=q)
Vln I
Vln II
Vla
Vc.
218
Vln I
Vln II
Vla
Vc.
timbral trills
pp leggiero e dolciss.
ppp
pp
(IV)port.
ppp
w.3
ppp leggiero e dolciss.
III undulating tremolo
IV
timbral trills
ppp leggiero e dolciss.
(II)pp
(IV)
pp
undulatingtremolo
II I
w.
(sp)
pp leggiero e dolciss.
(III)
pp (IV)
(II)
harm.
3
pp
pizz.gliss.
3
98
222
rall.
Vln I
Vln II
Vla
Vc.
226
Vln I
Vln II
Vla
Vc.
II
double-stoppedharmonics
III
pp
III3
pp
III
double-stoppedharmonics
IV IV3
arco (sul pont.)
IV
double-stoppedharmonics III
pp
(pp)
flautando3
IVdouble-stoppedharmonics
IIIIV
pp
III
IIIII ppp
IIIIIII
3
IIIIV IIIppp
IIIIV
3
ppp
3
IIIIV
ppp
IV IIIIV
3
99
100
“Ynys Afallon”
i gôr SSAATTBB digyfeiliant
GEIRIAU: T. GWYNN JONES CYFANSODDWR: GARETH OLUBUNMI HUGHES
101
Programme Note
Poems, novels and plays based on Celtic and Arthurian mythology have fascinated me for
considerable time and much of my recent art music has been based on or inspired by their fables
in one way or another.
Ynys Afallon (Isle of Avalon) is a mixed 8-voice choral work based on a selection from T.
Gwynn Jones’s poem Ymadawiad Arthur (Arthur’s Departure), which won the chair in the 1902
Welsh National Eisteddfod. The poem depicts the death of King Arthur in Welsh mythology –
when Arthur departs to the Isle of Avalon where he dies.
The work is set to three well-known verses from the poem: the first verse is set to a slow,
atmospheric and celestial harmonisation; the second verse is set polyphonically and gradually
builds in intensity; the third verse is set to a broad, powerful and majestic climax and the work
ends with a tranquil recapitulation of material from the first verse before fading away into
nothingness.
102
Nodyn Rhaglen
Mae cerddi, nofelau a dramâu yn seiliedig ar fytholeg Geltaidd ag Arthuraidd wedi hudoli
fi ers cryn amser ac mae llawer o fy ngherddoriaeth gelfydd ddiweddar wedi ei seilio arni neu ei
ysbrydoli ganddi mewn rhyw ffordd neu’r llall.
Mae Ynys Afallon yn waith i gôr cymysg 8 llais yn seiliedig ar ddetholiad o’r gerdd
Ymadawiad Arthur gan T. Gwynn Jones, a enillodd y gadair yn yr Eisteddfod Genedlaethol ym
1902. Mae’r gerdd yn portreadu marwolaeth y Brenin Arthur ym mytholeg Gymraeg – lle mae
Arthur yn ymadael i Ynys Afallon ac yn marw.
Mae’r gwaith wedi ei osod i dri phennill adnabyddus o’r gerdd: mae’r pennill cyntaf wedi
ei osod i gydgordio araf, atmosfferig, nefol; mae’r ail bennill wedi ei osod yn bolyffonig ac yn
adeiladu yn raddol mewn dwyster; mae’r trydydd pennill wedi ei osod i uchafbwynt eang,
pwerus, mawreddog ac mae’r gwaith yn gorffen gydag ailddatganiad heddychlon o ddefnydd y
pennill cyntaf cyn distawi a diflannu.
103
“Ynys Afallon”
i gôr SSAATTBB digyfeiliant
[Detholiad o’r gerdd “Ymadawiad Arthur” a enillodd y gadair yn Eisteddfod 1902] [Mae’r gerdd yn portreadu marwolaeth y Brenin Arthur ym Mytholeg Geltaidd]
Geiriau: T. Gwynn Jones
Cyfansoddwr: Gareth Olubunmi Hughes
“Draw dros y don mae bro dirion nad ery Cwyn yn ei thir, ac yno ni thery Na haint na henaint fyth mo’r rhai hynny A ddêl i’w phur, rydd awel, a phery Pob calon yn hon yn heini a llon, Ynys Afallon ei hun sy felly. “Yn y fro ddedwydd mae hen freuddwydion A fu’n esmwytho ofn oesau meithion; Byw yno byth mae pob hen obeithion, Yno, mae cynnydd uchel amcanion; Ni ddaw fyth i ddeifio hon golli ffydd, Na thro cywilydd, na thorri calon. “Yno, mae tân pob awen a gano, Grym, hyder, awch pob gŵr a ymdrecho; Ynni a ddwg i’r neb fynn ddiwygio, Sylfaen yw byth i’r sawl fynn obeithio; Ni heneiddiwn tra’n noddo—mae gwiw foes Ag anadl einioes y genedl yno!” [“Ynys Afallon ei hun sy felly.”]
104
“Ynys Afallon” (“Isle of Avalon”)
for SSAATTBB choir a cappella
[A translated selection from the poem “Ymadawiad Arthur” (“Arthur’s Departure”) which won the chair in the 1902 Welsh National Eisteddfod] [The poem depicts the death of King Arthur in Celtic Mythology]
Original Welsh-Language Words: T. Gwynn Jones
English-Language Translation: Gareth Olubunmi Hughes Composer: Gareth Olubunmi Hughes
“Over the wave lies a land, gracious, that Laments not in its earth, where no one endures Disease nor old-age, ever whilst present And sweet its pure, free breeze, and Every heart which is here stays healthy and bright, Avalon itself emerges. “In the blessed vale exist ancient dreams That will soothe the fears of endless ages; Kept alive the mythical longings, There, ambitions are magnified; Never damaged, never touched by faithlessness, Nor shamefulness, nor heartlessness. “There, burns fire for poetic spirits, Force, power, passion to those who endeavour; Energy brought to amend inhibitions, Eternal foundations for lasting hopes; Where ageing does not exist—one’s worthy peers And lifelong breath of the nation is here!” [“Avalon itself has faded.”]
105
Cyngor ar y Rhannau Lleisiol Yn ogystal i’r geiriau o’r gerdd, ceir gofyn am y dair llafariad seinegol ganlynol yn y sgôr:
Sillaf Gymraeg
Enghraifft o air Cymraeg yn defnyddio’r
sillaf
Sillaf Saesneg Gyfatebol
Enghraifft o air Saesneg yn defnyddio’r
sillaf
Symbol Seinegol
Rhyngwladol Cyfatebol
â tân ah arm ɑ
î ni ee see i
ŵ gŵr oo too u
Mae geiriau o’r gerdd wedi eu nodiadi yn blaen. Fodd bynnag, mae’r llafariaid seinegol uchod wedi eu nodiadi gyda llythrennau italaidd, fel y dangosir yn y llinell alto ganlynol o m. 21 yn y sgôr:
Guidance on the Vocal Parts In addition to the text from the poem, the following three phonetic vowel sounds are called for in the score:
Welsh-language syllable
Example of Welsh-
language word using this syllable
Equivalent
English-language syllable
Example of English-
language word using this syllable
Equivalent
International Phonetic Symbol
â tân ah arm ɑ
î ni ee see i
ŵ gŵr oo too u
Text from the poem is notated in plain text. However, the above phonetic vowel sounds are notated in italics, as illustrated in the following alto line from m. 21 in the score:
106
107
Slowly, Atmospheric, Celestial
Slowly, Atmospheric, Celestial
e = c.60
e = c.60
“Ynys Afallon”i gôr SSAATTBB digyfeiliant
[Detholiad o’r gerdd “Ymadawiad Arthur” a enillodd y gadair yn Eisteddfod 1902][Mae’r gerdd yn portreadu marwolaeth y Brenin Arthur ym Mytholeg Geltaidd]
Geiriau: T. Gwynn JonesCyfansoddwr: Gareth Olubunmi Hughes
I SOPRANO II
I ALTO II
I TENOR II
I BAS II
LLEIHAD(i ymarfer yn unig)
â
pp
â â
â
pp
â
â
â
p e espress.
î â ŵ â ŵ â î
3 33
pp
TEN.
p
3 3 3
108
4
I S II
I A II
I T II
I B II
7 (q=q.)
(q=q.)
I S II
I A II
I T II
I B II
â î
ŵ
â î
ŵ
â
pp
â
ŵ
3
â ŵ
pp
â
â
3
ŵ
pp
pp
3
3
Draw
p e espress.
dros y don mae bro dir ion- nad er y-
3
Cwyn yn ei thir, ac
p3 3 3 3 3
â
â î
ŵ ac
p3
â
â î
ŵ
ac
p3
ŵ
p
p 3
p
3 3 3 3 3
3
109
< q = q. >(e = c.90)
< q = q. >(e = c.90)
9
I S II
I A II
I T II
I B II
13
I S II
I A II
I T II
I B II
yn o- ni ther y- Na haint na hen aint- fyth mo'r rhai hyn ny-
yn o- ni ther y
- Na haint na hen aint- fyth hyn ny-
yn
o
- ni ther
y- Na
haint na hen aint- fyth hyn ny-
ther y- haint na hen aint- fyth hyn ny-
mp e dolciss.
A ddêl i'w phur, rydd
aw el
- a phe ry- Pob cal on- yn
mp e dolciss.
A ddêl i'w phur, rydd aw el- a phe ry- Pob cal on- yn
A ddêl
mp e dolciss.
phur, rydd aw el- a phe ry- Pob cal on- yn
A ddêl
mp e dolciss.
phur, rydd aw el- a phe ry- Pob cal on- yn
mp e dolciss.
110
17 (q.=q)
(q.=q)
I S II
I A II
I T II
I B II
< q. = q >(e = c.60)
< q. = q >(e = c.60)
20
I A II
I T II
I B II
hon yn hei ni- a llon,
hon
yn hei ni- a llon,
hon yn hei ni- a llon,
hon yn hei ni- a llon,
â
p e poco a poco cresc.
î â ŵ â ŵ â
3 3
â
pp e poco a poco cresc.
â
â
â
pp e poco a poco cresc.
â
â
pp e poco a poco cresc.
ALTO
3 3
111
23
I S II
I A II
I T II
I B II
Warm, Expressive q = c.60
Warm, Expressive q = c.60
26
I S II
I A II
I T II
I B II
Draw
mf e poco cresc.
dros y don mae bro Yn
f
ys- A fa- llon- ei hun sy fe lly.-
3 3
â
Yn
f
ys- A fa- llon- ei hun sy fe lly.-
â
Yn
f
ys- A fa- llon- ei hun sy fe lly.-
â Yn
f
ys- A fa- llon- ei hun sy fe lly.-
f
3 3
pppp
I
Yn
mf in the foreground - - - - - - - - - - - - - - - - - - - - - - - - - - - -
y fro dded wydd- mae hen freudd wyd- ion-
3 3
II
Yn
mf in theforeground
y
pppp
pppp
â
p pppp
â
p
SOP. I
mf SOP. II
3 3
pppp
p
112
28
I
S
II
I
A
II
I
T
II
I
B
II
- - - -
dded
p
wydd- mae hen freudd wyd- ion- dded wydd- mae hen
3 3 3
fro
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
dded wydd- mae hen freudd wyd- ion- dded
p
wydd- mae hen
3 3 3
Yn
mf in the foreground - - - - - - - - - - - - - - - - - - - - - - - - - - -
y fro dded wydd- mae hen freudd wyd- ion-
3 3
Yn
mf in theforeground
y
â â
â â
â â
â â
ALTO I ALTO II
3 3 3
3
113
30
I
S
II
I
A
II
I
T
II
I
B
II
freudd wyd- - - -
fro dded wydd- mae hen freudd wyd-
3 3
pp
pp
fro
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
dded wydd- mae hen freudd wyd- ion-
pp
3 3
ŵ A
mf in the foreground
fu'n es -
ŵ A
mf in the foreground - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
fu'n es - mwy tho- ofn oes au- mei thion;-
3
fro hen freudd wyd- ion- - -
3
â â
p
3 3
TEN. II
TEN. I
3
3
114
32
I
S
II
I
A
II
I
T
II
I
B
II
A
mf in the foreground - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
fu'n es - mwy tho- ofn oes au- mei thion;- es
3
-
A
mf in the foreground
fu'n es -
oes au- - - mei thion;-
p
mei thion;- -
3
mei thion;- - - - -
p
mei thion;- -
mwy
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
tho- ofn oes au- mei thion;- oes
p
au- mei thion;-
3 3
- - - - - - - - - - - - - -
mei
p
thion;- - mei thion;- -
â
p
mei - - - - - -
â
p
mei - - - - - -
3
3
3
3
115
34
I
S
II
I
A
II
I
T
II
I
B
II
mwy
p
tho- ofn oes au- mei thion;-
3
mwy
- - - - - - - - - - - - - - - - - - - - - - - -
tho- ofn oes au- mei thion;
p
-
3
pp
Byw
mf in the foreground - - - - - - - - - - - - - - - - - - - - -
yn o- byth mae pob hen ob eith- ion,-
3 3
pp
mwyth o- ofn mei thion;- -
mei thion;- -
thion;- mei thion;- -
thion;- mei thion- -
3
3 3
116
36
I
S
II
I
A
II
I
T
II
I
B
II
- - -
Byw
p
yn o- byth mae pob hen Byw yn o- byth mae pob hen ob eith- ion,-
3 3 3 3
Byw
mf in the foreground - - - - - - - - - - - - - - - - - - - - - - - - -
yn o- byth mae pob hen ob eith- ion,- Byw
p
yn o- byth mae pob hen ob
3 3 3 3
-
â
p
â
â
p
Byw
mf in the foreground - - - - - - - - - - - - - - - - - - - - -
yn o- byth mae pob hen ob eith- ion,-
3 3
â
p
â
â
p
â
3
3
3
3 3
3
3
3
3 3
117
38
I
S
II
I
A
II
I
T
II
I
B
II
â
p
Byw
p
Byw
mf
yn o- byth mae pob hen ob eith- ion,-
3 3
Byw yn o- byth mae pob hen Byw
mf
yn o- byth mae pob hen ob eith- ion,-
3 3 3 3
eith ion- Byw yn o- byth mae pob hen Byw
mf
yn o- byth mae pob hen ob
3 3 3 3
-
Byw
mf in the foreground - - - - - - - - - - - - - - - - - - - - - - - - - -
yn o- byth mae pob hen ob eith- ion,- Byw
mp
yn o- byth mae pob hen ob
3 3 3 3
-
Byw
mp
yn o- byth mae pob hen ob eith- ion,- Byw yn o- byth mae pob hen ob
3 3 3 3
-
Hen o beith- - - ion,- hen ob -
Hen o beith- - - ion,- hen ob-
mf
3 3 3 3
3 3 3 3
118
40
I
S
II
I
A
II
I
T
II
I
B
II
mf
yn o- byth mae pob hen ob eith- ion,-
p3 3
Byw yn o- byth mae pob hen ob eith- ion,-
p33
Byw yn o- byth mae pob hen ob eith- ion,-
p3 3
eith- ion,- Byw yn o- pob hen ob eith- ion,-
p33
eith ion,- Byw
mf
yn o- byth mae pob hen ob eith- ion,-
pp3 3
eith ion,- Byw
mf
yn o- byth mae pob hen ob eith- ion,-
pp
Yn
mf
o,- mae
33
3
eith ion,- Byw
mf
yn o- byth mae pob hen ob eith- ion,-
pp
Yn
mf
o,- mae cyn nydd-
3 3 3
eith ion,- Byw
mf
yn o- byth mae pob hen Yn
mf
o,- mae cyn nydd- uch el- am
3 3 33
-
p3 3
mf mf
3 33
33
3
119
42
I
S
II
I
A
II
I
T
II
I
B
II
ŵ am
mf
can- ion;-
3
ŵ uch
mf
el- am can- ion;-
3
ŵ cyn
mp
nydd- uch el- am can- ion;-
3
ŵ Yn
mp
o,- mae cyn nydd- uch el- am can- ion;-
3 3
Yn
mf
o,- mae cyn nydd- uch el- am can- ion;- Yn
mp
o,- mae cyn nydd- uch el- am can- ion;-
3 3 3 3
cyn nydd- uch el- am can- ion;- Yn
mp
o,- mae cyn nydd- uch el- am can- ion;-
3 3 3
uch el- am can- ion;- Yn
mp
o,- mae cyn nydd- uch el- am can- ion;-
33 3
can ion;- Yn
mp
o,- mae cyn nydd- uch el- am can- ion;-
3 3
mp
3 3
3
33
3 3
120
44
poco a poco allargando
poco a poco allargando
I
S
II
I
A
II
I
T
II
I
B
II
Yn
f
o,- mae cyn nydd- uch el- am can- ion;-
p3
3
Yn
f
o,- mae cyn nydd- uch el- am can- ion;-
p3 3
Yn
f
o,- mae cyn nydd- uch el- am can- ion;-
p3 3
Yn
f
o,- mae cyn nydd- uch el- am can- ion;-
mp
â
p3 3
Yn
f
o,- mae cyn nydd- uch el- am can- ion;-
mp
â
p3 3
Yn
f
o,- mae cyn nydd- uch el- am can- ion;-
mp
â
p3 3
Yn
f
o,- mae cyn nydd- uch el- am can- ion;-
mp
â
p3 3
Yn
f
o,- mae cyn nydd- uch el- am can- ion-
p
3 3
f
3 3
p 3 3
121
47
I
S
II
I
A
II
I
T
II
I
B
II
Ni
mp
ddaw fyth i ddei fio- hon goll i- ffydd,
Ni
mp
ddaw fyth i ddei fio- hon goll i- ffydd,
Ni
mp
ddaw fyth i ddei fio- hon goll i- ffydd,
Ni ddaw fyth i ddei fio- hon goll i- ffydd,
Ni ddaw fyth i ddei fio- hon goll i- ffydd,
Ni ddaw fyth i ddei fio- hon goll i- ffydd,
Ni ddaw fyth i ddei fio- hon goll i- ffydd,
Ni
p
ddaw fyth i ddei fio- hon goll i- ffydd,
mp
122
49
I S II
I A II
I T II
I B II
51
I S II
I A II
I T II
I B II
â Na
mf
thro cyw il- ydd,-
â
mp
Na
mf
thro cyw il- ydd,-
â
mp
Na
mf
thro cyw il- ydd,-
â
mp
Na
mf
thro cyw il- ydd,-
mp
mf
â na thor ri- ca lon.- -
5 56
â na thor ri- ca lon.- -
5 5 6
â na thor ri- ca lon.- -
â na thor ri- ca lon.- -
5 5
6
123
53
Broad, Powerful, Majestic e = c.84
Broad, Powerful, Majestic e = c.84
I S II
I A II
I T II
I B II
55
I S II
I A II
I T II
I B II
ff
Yn
f
o- mae tân pob a wen- a gan o,-
333 3
ff
Yn
f
o- mae tân pob a wen- a gan o,-
33 3 3
ff
Yn
f
o- mae tân pob a wen- a gan o,-
33 3 3
ff
Yn
f
o- mae tân pob a wen- a gan o,-
33
3 3
33 3 3
ff f
333 3
Grym, hy der,- awch pob gŵr a ym drech- o;-
Grym, hy der,- awch pob gŵr a ym drech
- o;
-
Grym, hy der,- awch pob gŵr a ym drech- o;-
Grym, hy der,- awch pob gŵr a ym drech- o;-
124
56
I S II
I A II
I T II
I B II
57
I S II
I A II
I T II
I B II
Yn ni- a ddwg
mf
i'r neb fynn ddi wy
- gio,
-
3 3
5
Yn ni- a ddwg
mf
i'r neb fynn ddi wy- gio,-
3 3 5
Yn ni- a ddwg
mf
i'r neb fynn ddi wy- gio,-
3 3 5
Yn ni- a ddwg
mf
i'r neb fynn ddi wy
-
gio,
-
3
35
3 3
5
mf
33
5
Syl
ff
faen- yw byth i'r
sawl fynn o beith- io;
fff
-
Syl
ff
faen- yw byth i'r sawl fynn o beith- io;
fff
-
Syl
ff
faen- yw byth i'r sawl fynn o beith- io;
fff
-
Syl
ff
faen- yw byth i'r sawl fynn o beith- io;
fff
-
fff
ff
125
e = c.72
e = c.72
58< q = q. > (e = c.108)
< q = q. > (e = c.108)
I
S
II
I A II
I T II
I B II
61
I S II
I A II
I T II
I B II
â
mp e cresc.
î â ŵ â ŵ
3
Ni hen eidd- iwn- tra'n
3 3
â
mp e cresc.
î â ŵ â ŵ Ni hen eidd- iwn- tra'n
3 3
â
p e cresc.
â
Ni hen eidd- iwn- tra'n
p e cresc.
â
â
Ni hen eidd- iwn- tra'n
â
p e cresc.
â
Ni hen eidd- iwn- tra'n
33 3
p e cresc.
no ddo- mae
f
gwiw foes Ag an a- dl- ein ioes- y
ff
no ddo- mae
f
gwiw foes
Ag
an a- dl- ein ioes- y
ff
no ddo- mae
f
gwiw foes Ag an a- dl- ein ioes- y
ff3
no ddo- mae
f
gwiw foes
Ag an a- dl- ein ioes- y
ff
ff
f
3
126
65
I S II
I A II
I T II
I B II
Steady, Atmospheric, Tranquil
Steady, Atmospheric, Tranquil
e = c.72
e = c.72
69
I S II
I A II
I T II
gen e- dl- yn
fff
o!-
pppp
gen
e
- dl
- yn
fff
o!-
pppp
gen
e
-
dl
- yn
fff
o!-
pppp
gen
e
-
dl- yn
fff
o!-
pppp
3
fff
pppp
3
â
pp e espress.
î â ŵ â ŵ â
ppp
3 3
â
ppp
â
â
ppp
â â
ppSOP.
ppp
3 3
ppp
ALTO
TEN.
127
72
I S II
I A II
I T II
75
I S II
I A II
I T II
I B II
â
â
pp
â
â
pp e espress.
î â ŵ â ŵ â
â
3 3
â
â
p e espress.
î â ŵ â ŵ
3 3
pp
ppe espress.
p
3 3
3 3
â
â
â
pp
î ŵ
5
â â
â
pp
î
ŵ
5
â
pp
ââ
pp
î ŵ
5
â
p e espress.
î â ŵ â ŵ â
pp
î ŵ
53 3
pp
5
pp p
5
3 3
128
78
I S II
I A II
I T II
I B II
81
I S II
I A II
I T II
I B II
Yn ys- A fa- llon- ei hun sy
Yn ys- A fa- llon- ei hun sy
Yn ys- A fa- llon- ei hun sy
Yn ys- A fa- llon- ei hun sy
fe lly.- ŵ
pp pppp
fe lly.- ŵ
pp pppp
fe lly.- ŵ
pp pppp
fe lly.- ŵ
pp pppp
pp pppp
129
130
GARETH OLUBUNMI HUGHES & T. GWYNN JONES
“Ynys Afallon” (“Isle of Avalon”)
for SATB singers & pianoforte
131
Programme Note
Poems, novels and plays based on Celtic and Arthurian mythology have fascinated me for
considerable time and much of my recent art music has been based on or inspired by their fables
in one way or another.
Ynys Afallon (Isle of Avalon) is a work for mixed 4-voice choir with pianoforte
accompaniment and is based on a selection from T. Gwynn Jones’s poem Ymadawiad Arthur
(Arthur’s Departure), which won the chair in the 1902 Welsh National Eisteddfod. The poem
depicts the death of King Arthur in Welsh mythology – when Arthur departs to the Isle of
Avalon where he dies.
The work is set to four well-known verses from the poem: the first verse is set to a slow,
atmospheric and celestial harmonisation; the second verse starts polyphonically and gradually
builds in intensity; the third verse is set to a broad, powerful and majestic climax; the fourth
verse is set to a mysterious, dreamlike ambience and the work ends with a tranquil recapitulation
of material from the first verse before fading away into nothingness.
132
“Ynys Afallon” (“Isle of Avalon”)
[A translated selection from the poem “Ymadawiad Arthur” (“Arthur’s Departure”) which won the chair in the 1902 Welsh National Eisteddfod] [The poem depicts the death of King Arthur in Celtic Mythology]
Original Welsh-Language Words: T. Gwynn Jones
English-Language Translation: Gareth Olubunmi Hughes Composer: Gareth Olubunmi Hughes
“Over the wave lies a land, gracious, that Laments not in its earth, where no one endures Disease nor old-age, ever whilst present And sweet its pure, free breeze, and Every heart which is here stays healthy and bright, Avalon itself emerges. “In the blessed vale exist ancient dreams That will soothe the fears of endless ages; Kept alive the mythical longings, There, ambitions are magnified; Never damaged, never touched by faithlessness, Nor shamefulness, nor heartlessness. “There, burns fire for poetic spirits, Force, power, passion to those who endeavour; Energy brought to amend inhibitions, Eternal foundations for lasting hopes; Where ageing does not exist—one’s worthy peers And lifelong breath of the nation is here!” In the distance, a mirage Inhalation, whispered somewhat, Scattered voice; from the winding lake Desert, spread a grey-white fog; Slowly withdrawing, And there the ship melts underneath, Withheld; like an image, In the fog it disappears. [“Avalon itself has faded.”]
133
Atmospheric, Celestial
Atmospheric, Celestial
e = c.100
e = c.100
Original Welsh-Language Words: T. Gwynn JonesEnglish-Language Translation: Gareth Olubunmi Hughes
Composer: Gareth Olubunmi Hughes
“Ynys Afallon” (“Isle of Avalon”)[A translated selection from the poem “Ymadawiad Arthur” (“Arthur’s Departure”) which won the chair in the 1902 Welsh National Eisteddfod]
[The poem depicts the death of King Arthur in Celtic Mythology]
Soprano
Alto
Tenor
Bas
Pianoforte
3
S.
A.
T.
B.
Pfte.
p
O
p
ver- the wave lies a land, grac ious,- that La ments- not in its earth, where
mp
O
p
ver- the wave lies a land,grac ious,- that La ments- not in its earth, where
mp
O
p
ver- the wave lies a land, grac ious,- that La ments- not in its earth, where
mp
O
p
ver- the wave lies a land, grac ious,- that La ments- not in its earth,
mp
where
134
5
S.
A.
T.
B.
Pfte.
7
S.
A.
T.
B.
Pfte.
no one en dures- Dis ease- nor old age, e ver- whilst pre sent-
no one en dures- Dis ease- nor old age, e ver- whilst pre sent-
no one en dures- Dis ease- nor old age, e ver- whilst pre sent-
no one en dures- Dis ease- nor old age, e ver- whilst pre sent-
mp
dolciss.
LH
And
dolciss.
sweet its pure, free breeze, and
And
dolciss.
sweet its pure, free breeze, and
And
dolciss.
sweet its pure, free breeze, and
And
dolciss.
sweet its pure, free breeze, and
135
9 e = c.120
e = c.120
S.
A.
T.
B.
Pfte.
12
S.
A.
T.
B.
Pfte.
Ev e- ry- heart which is here stays heal thy- and bright,
Ev e- ry- heart which is here stays heal thy- and bright,
Ev e- ry- heart which is here stays heal thy- and bright,
Ev e- ry- heart which is here stays heal thy- and bright,
f
A
f
va- - - lon- it self- e mer- ges.-
A
f
va- - - lon- it self- e mer- ges.-
A
f
va- - - lon- it self- e mer- ges.-3
A
f
va- - - lon- it self- e mer- ges.-
136
16 Bright
Bright
S.
A.
T.
B.
Pfte.
19
S.
A.
T.
B.
Pfte.
mf
In the blessed vale ex ist- an cient- dreams
3 3
That
mf
will
mp
mp
3 3
33 3 3 3 3 3
soothe
p
the fears of end less- a ges;-p
a live- the myth i- cal- long ings,-
3
3 3
Kept
mf
a live- the myth i- cal- long ings,-
3 3
soothe the fears of end less- a ges;-
p
a live- the myth i- cal- long ings,-
3 33
5
55
5
55
137
21
S.
A.
T.
B.
Pfte.
23
S.
A.
T.
B.
Pfte.
25
S.
A.
T.
B.
Pfte.
There,
p
am bi- tions- are mag ni- fied;-
3
3
There,
p
am bi- tions- are mag ni- fied;-
3 3
There,
p
am bi- tions- are mag ni- fied;-
3
3
There,
mf
am bi- tions- are mag ni- fied;-
33
mp6 6 6 6 6 6
7 7 7
Ne
mp
ver- da maged,- ne ver- touched by faith less- ness,-
Ne
mp
ver- da maged,- ne ver- touched by faith less- ness,-
Ne
mp
ver- da maged,- ne ver- touched by faith less- ness,-
Ne
mp
ver- da maged,- ne ver- touched by faith less- ness,-
7 7 7 7 7 7 7
Nor shame ful- - ness,- -
Nor shame ful- - ness,- -
Nor shame ful- - ness,- -
Nor shame ful- - ness,- -
7 7 7
3
7 7 7 7
138
27
S.
A.
T.
B.
Pfte.
Broad, Majestic
Broad, Majestic
e = c.100
e = c.100
30
S.
A.
T.
B.
Pfte.
nor heart less- ness.-
(short piano cadenza)
nor heart less- ness.-
(short piano cadenza)
nor heart less- ness.-
(short piano cadenza)
nor heart less- ness.-
(short piano cadenza)
cresc.
poco accel. - - - - - - - - - - - - - - - - - - - - - - - -
sffz
sffz
7 7 7 7
There,
ff
burns fire for po et- ic- spi rits,-Force, pow er, pas sion- to those who en dea- vour;-
ff
There, burns fire for po et- ic- spi rits,- Force, pow er, pas sion- to those who en dea- vour;-
ff
There, burns fire for po et- ic- spi rits,- Force, pow er, pas sion- to those who en dea- vour;-
There,
ff
burns fire for po et- ic- spi rits,- Force, pow er, pas sion- to those who en dea- vour;-
ff
139
32
S.
A.
T.
B.
Pfte.
33
S.
A.
T.
B.
Pfte.
e = c.120
e = c.120
34
S.
A.
T.
B.
Pfte.
E ner- gy- brought to a mend- in hib- bi- tions,- E -
E ner- gy- brought to a mend- in hib- bi- tions,- E -
E ner- gy- brought to a mend- in hib- bi- tions,- E -
E ner- gy- brought to a mend- in hib- bi- tions,- E -
fff
ter
fff
nal- foun da- tions- for last ing- hopes;
ter
fff
nal- foun da- tions- for last ing- hopes;
ter
fff
nal- foun da- tions- for last ing- hopes;
ter
fff
nal- foun da- tions- for last ing- hopes;
ff
3
Where
mf
age ing- does not ex ist- one's
mf
Where age ing- does not ex ist- one's
Where
mf
age ing- does not ex ist- one's
Where
mf
age ing- does not ex ist- one's
mf
mf
140
36
S.
A.
T.
B.
Pfte.
38 q = c.80
q = c.80
Mysterious, Dreamlike
Mysterious, Dreamlike
S.
A.
T.
B.
Pfte.
wor
ff
thy- peers And life long- breath of the
wor
ff
thy- peers And life long- breath of the
wor
ff
thy- peers And life long- breath of the
wor
ff
thy- peers And life long- breath of the
ff
L.H
R.H
ff
na
fff
tion- is here!
na
fff
tion- is here!
na
fff
tion- is here!
na
fff
tion- is here!
fff
fff
p
141
41
S.
A.
T.
B.
Pfte.
44
S.
A.
T.
B.
Pfte.
47
S.
A.
T.
B.
Pfte.
p
a
sprechgesang
mir
age- whis
pered
-
some
what,-
p
a
sprechgesang
mir
age- whis
pered
-
some
what,-
In
psprechgesang
the
dis
tance,- In
ha
-
la
-
tion,-
3
5
p
tion,
join withthumb
9:8
Scat
nat.mf
tered- voice; voice;
mp5
mp
De
sert,
- spread
3
mp
De
sert,
- spread
3
from
mf
the wind ing
3
- lake
mp
mf
9:8
fog
sprechg.
a
grey
fog;
p
with
3
- -
white
fog;
p
with
3
- -
white
fog;
fog
sprechgesang
a
grey
Slow
p
ly-
10:8
p
7
142
50
S.
A.
T.
B.
Pfte.
54
S.
A.
T.
B.
Pfte.
draw
- ing,
- ship
nat.p
melts
mp
With
sprechg.
held;
-
draw
- ing,
- ship
pnat.
melts
mp
With
sprechg.
held;
-
mf
And
nat.
there the
3
ship
sprechg.
mp like
an
3
mf
melts
nat.
un der
3
- neath,-
sprechg.
mplike
an
3
mf
R.H.
L.H.mp
6
an
im
age,
- In
the
3
fog
it
perdendo
3
dis
ap
3
- - pears.-
an
im
age,
- In
the
3
fog
it
perdendo
3
dis
ap
3
- - pears.-
im
age,
- an
im
age,
- In
the
3
fog
perdendo
im
age,
- an
im
age,
- In
the
3
fog
perdendo
6
perdendo
6 6
6
6
6
143
57Atmospheric, Tranquil
Atmospheric, Tranquil
e = c.120
e = c.120
S.
A.
T.
B.
Pfte.
59
S.
A.
T.
B.
Pfte.
61rall.
rall.
S.
A.
T.
B.
Pfte.
pp
pp
pp
pp
3
ppp
pp
7 73
7
A
ppnat.
va- - - - - - lon- - it - -
A
nat.pp
va- - - - - - lon- - it - -
A
nat.pp
va- - - - - - lon- - it - -
A
ppnat.
va- - - - - - lon- - it - -
7:4 7:4
9:8
9:8
self has fa ded.- - -
self has fa ded.- - -
self has fa3
ded.- - -
self has fa ded.- - -
ppp
9:8
9:8
144
145
Nodyn Rhaglen
Mae cerddi, nofelau a dramâu yn seiliedig ar fytholeg Geltaidd ag Arthuraidd wedi fy
hudoli ers cryn amser ac mae llawer o fy ngherddoriaeth gelfydd ddiweddar wedi ei seilio arni
neu ei ysbrydoli ganddi mewn rhyw ffordd neu’r llall.
Mae Ynys Afallon yn waith i gôr cymysg 4 llais gyda chyfeiliant piano yn seiliedig ar
ddetholiad o’r gerdd Ymadawiad Arthur gan T. Gwynn Jones, a enillodd y gadair yn yr
Eisteddfod Genedlaethol ym 1902. Mae’r gerdd yn portreadu marwolaeth y Brenin Arthur ym
mytholeg Gymraeg – lle mae Arthur yn ymadael i Ynys Afallon ac yn marw.
Mae’r gwaith wedi ei osod i dri phennill adnabyddus o’r gerdd: mae’r pennill cyntaf wedi
ei osod i gydgordio araf, atmosfferig, nefol; mae’r ail bennill yn dechrau yn bolyffonig ac yn
adeiladu yn raddol mewn dwyster; mae’r trydydd pennill wedi ei osod i uchafbwynt eang,
pwerus, mawreddog; mae’r pedwerydd pennill wedi ei osod i awyrgylch dirgel breuddwydiol ac
mae’r gwaith yn gorffen gydag ailddatganiad heddychlon o ddefnydd y pennill cyntaf cyn
distawi a diflannu.
146
“Ynys Afallon”
[Detholiad o’r gerdd “Ymadawiad Arthur” a enillodd y gadair yn Eisteddfod 1902] [Mae’r gerdd yn portreadu marwolaeth y Brenin Arthur ym Mytholeg Geltaidd]
Geiriau: T. Gwynn Jones
Cyfansoddwr: Gareth Olubunmi Hughes
“Draw dros y don mae bro dirion nad ery Cwyn yn ei thir, ac yno ni thery Na haint na henaint fyth mo’r rhai hynny A ddêl i’w phur, rydd awel, a phery Pob calon yn hon yn heini a llon, Ynys Afallon ei hun sy felly. “Yn y fro ddedwydd mae hen freuddwydion A fu’n esmwytho ofn oesau meithion; Byw yno byth mae pob hen obeithion, Yno, mae cynnydd uchel amcanion; Ni ddaw fyth i ddeifio hon golli ffydd, Na thro cywilydd, na thorri calon. “Yno, mae tân pob awen a gano, Grym, hyder, awch pob gŵr a ymdrecho; Ynni a ddwg i’r neb fynn ddiwygio, Sylfaen yw byth i’r sawl fynn obeithio; Ni heneiddiwn tra’n noddo—mae gwiw foes Ag anadl einioes y genedl yno!” Yn y pellter, fel peraidd Anadliad, sibrydiad braidd, Darfu’r llais; o drofâu’r llyn Anial, lledodd niwl llwydwyn; Yn araf cyniweiriodd, Ac yno’r llong dano a dodd, A’i chelu; fel drychiolaeth, Yn y niwl diflannu a wnaeth. [“Ynys Afallon ei hun sy felly.”]
147
Atmospheric, Celestial
Atmospheric, Celestial
e = c.100
e = c.100
Geiriau: T. Gwynn JonesCyfansoddwr: Gareth Olubunmi Hughes
[Detholiad o’r gerdd “Ymadawiad Arthur” a enillodd y gadair yn Eisteddfod 1902][Mae’r gerdd yn portreadu marwolaeth y Brenin Arthur ym Mytholeg Geltaidd]
“Ynys Afallon”
Soprano
Alto
Tenor
Bas
Pianoforte
3
S.
A.
T.
B.
Pfte.
p
Draw
p
dros y don mae bro dir ion- nad er y- Cwyn yn ei thir, ac
mp
Draw
p
dros y don mae brodir ion- nad er y- Cwyn yn ei thir, ac
mp
Draw
p
dros y don mae bro dir ion- nad er y- Cwyn yn ei thir, ac
mp
Draw
p
dros y don mae bro dir ion- nad er y- Cwyn yn ei thir, ac
mp
148
5
S.
A.
T.
B.
Pfte.
7
S.
A.
T.
B.
Pfte.
yn o- ni ther y- Na haint na hen aint- fyth mo'r rhai hyn ny-
yn o- ni ther y- Na haint na hen aint- fyth mo'r rhai hyn ny-
yn o- ni ther y- Na haint na hen aint- fyth mo'r rhai hyn ny-
yn o- ni ther y- Na haint na hen aint- fyth mo'r rhai hyn ny-
mp
dolciss.
LH
A
dolciss.
ddêl i'w phur, rydd aw el,- a
A
dolciss.
ddêl i'w phur, rydd aw el,- a
A
dolciss.
ddêl i'w phur, rydd aw el,- a
A
dolciss.
ddêl i'w phur, rydd aw el,- a
149
9 e = c.120
e = c.120
S.
A.
T.
B.
Pfte.
12
S.
A.
T.
B.
Pfte.
phe ry- Pob cal on- yn hon yn hei ni- a llon,
phe ry- Pob cal on- yn hon yn hei ni- a llon,
phe ry- Pob cal on- yn hon yn hei ni- a llon,
phe ry- Pob cal on- yn hon yn hei ni- a llon,
f
Yn
f
ys- A fa- llon- ei hun sy fe lly.-
Yn
f
ys- A fa- llon- ei hun sy fe lly.-
Yn
f
ys- A fa- llon- ei hun sy fe lly.-3
Yn
f
ys- A fa- llon- ei hun sy fe lly.-
150
16 Bright
Bright
S.
A.
T.
B.
Pfte.
19
S.
A.
T.
B.
Pfte.
Yn
mf
y fro dded wydd- mae hen freudd wyd- ion-
es
p3 3
-
A
mf
fu'n es -
mp
mp
3 3
33 3 3 3 3 3
mwy tho- ofn oes au- mei thion;- byth
p
mae pob hen ob eith- ion,-3 3
Byw
mf
yn o- byth mae pob hen ob eith- ion,-
3 3
mwy tho- ofn oes au- mei thion;-
byth
p
mae pob hen ob eith- ion,-
3 3
5
55
5
55
151
21
S.
A.
T.
B.
Pfte.
23
S.
A.
T.
B.
Pfte.
25
S.
A.
T.
B.
Pfte.
Yn
p
o,- mae cyn nydd- uch el- am can- ion;-
3 3
Yn
p
o,- mae cyn nydd- uch el- am can- ion;-
3 3
Yn
p
o,- mae cyn nydd- uch el- am can- ion;-
3 3
Yn
mf
o,- mae cyn nydd- uch el- am can- ion;-
33
mp6 6 6 6 6 6
7 7 7
Ni
mp
ddaw fyth i ddei fio- hon goll i- ffydd,
Ni
mp
ddaw fyth i ddei fio- hon goll i- ffydd,
Ni
mp
ddaw fyth i ddei fio- hon goll i- ffydd,
Ni
mp
ddaw fyth i ddei fio- hon goll i- ffydd,
7 7 7 7 7 7 7
Na thro cyw il- ydd,-
Na thro cyw il- ydd,-
Na thro cyw il- ydd,-
Na thro cyw il- ydd,-
7 7 7
3
7 7 7 7
152
27
S.
A.
T.
B.
Pfte.
Broad, Majestic
Broad, Majestic
e = c.100
e = c.100
30
S.
A.
T.
B.
Pfte.
na thor ri- ca lon.- -
(short piano cadenza)
na thor ri- ca lon.- -
(short piano cadenza)
na thor ri- ca lon.- -
(short piano cadenza)
na thor ri- ca lon.- -
(short piano cadenza)
cresc.
poco accel. - - - - - - - - - - - - - - - - - - - - - - - -
sffz
sffz
7 7 7 7
Yn
ff
o,- mae tân pob a wen- a gan o,-Grym, hy der,- awch pob gŵr a ym drech- o;-
Yn
ff
o,- mae tân pob a wen- a gan o,- Grym, hy der,- awch pob gŵr a ym drech- o;-
ff
Yn o,- mae tân pob a wen- a gan o,- Grym, hy der,- awch pob gŵr a ym drech- o;-
Yn
ff
o,- mae tân pob a wen- a gan o,- Grym, hy der,- awch pob gŵr a ym drech- o;-
ff
153
32
S.
A.
T.
B.
Pfte.
33
S.
A.
T.
B.
Pfte.
e = c.120
e = c.120
34
S.
A.
T.
B.
Pfte.
Yn ni- a ddwg i'r neb fynn ddi wy- gio,-
Yn ni- a ddwg i'r neb fynn ddi wy- gio,-
Yn ni- a ddwg i'r neb fynn ddi wy- gio,-
Yn ni- a ddwg i'r neb fynn ddi wy- gio,-
fff
Syl
fff
faen- yw byth i'r sawl fynn ob eith- io;-
Syl
fff
faen- yw byth i'r sawl fynn ob eith- io;-
Syl
fff
faen- yw byth i'r sawl fynn ob eith- io;-
Syl
fff
faen- yw byth i'r sawl fynn ob eith- io;-
ff
3
Ni
mf
hen eidd- iwn- tra'n no ddo- mae
Ni
mf
hen eidd- iwn- tra'n no ddo- mae
Ni
mf
hen eidd- iwn- tra'n no ddo- mae
Ni
mf
hen eidd- iwn- tra'n no ddo- mae
mf
mf
154
36
S.
A.
T.
B.
Pfte.
38Mysterious, Dreamlike
Mysterious, Dreamlike
q = c.80
q = c.80
S.
A.
T.
B.
Pfte.
gwiw
ff
foes Ag an a- dl- ein ioes- y
gwiw
ff
foes Ag an a- dl- ein ioes- y
gwiw
ff
foes Ag an a- dl- ein ioes- y
gwiw
ff
foes Ag an a- dl- ein ioes- y
ff
L.H
R.H
ff
gen
fff
e- dl- yn o!-
gen
fff
e- dl- yn o!-
gen
fff
e- dl- yn o!-
gen
fff
e- dl- yn o!-
fff
fff
p
155
41
S.
A.
T.
B.
Pfte.
44
S.
A.
T.
B.
Pfte.
47
S.
A.
T.
B.
Pfte.
p
fel
sprechgesang
per
aidd-
sib
ryd
- i
- ad
- braidd,
fel
p sprechgesang
per
aidd- sib
ryd
- i
- ad
- braidd,
Yn
psprechgesang
y
pell
ter,-
An
ad
-
li
-
ad,-
3
5
p
ad,
join withthumb
9:8
Dar
nat.mf
fu'r- llais; llais;
mp5
mp
An
ial,
- lled
odd-
3
mp
An
ial,
- lled
odd-
3
o
mf
dro fâu'r
3
- llyn
mp
mf
9:8
niwl
sprechg.
llwyd
p
cyn
i
3
- -
wyn;
p
cyn
i
3
- -
wyn;
niwl
sprechgesang
llwyd
p
Yn
ar
af-
10:8
p
7
156
50
S.
A.
T.
B.
Pfte.
54
S.
A.
T.
B.
Pfte.
weir
iodd,
- llong
nat.p
dodd,
mp
A'i
sprechg.
chel
u;-
weir
iodd,
- llong
pnat.
dodd,
mp
A'i
sprechg.
chel
u;-
mf
ac
nat.
yn o'r
3
- llong
sprechg.
mpfel
drych
3
-
mf
dan
nat.
o- a
3
dodd,
sprechg.
mpfel
drych
3
-
mf
R.H.
L.H.mp
6
drych
io
- laeth,
- Yn
y
3
niwl
di
perdendo
3
flan
- nu
- a
3
wnaeth.
drych
io
- laeth,
- Yn
y
3
niwl
di
perdendo
3
flan
- nu
- a
3
wnaeth.
io
laeth,
- drych
io
- laeth,
- Yn
y
3
niwl
perdendo
io
laeth,
- drych
io
- laeth,
-
Yn
y
3
niwl
perdendo
6
perdendo
6 6
6
6
6
157
57Atmospheric, Tranquil
Atmospheric, Tranquil
e = c.120
e = c.120
S.
A.
T.
B.
Pfte.
59
S.
A.
T.
B.
Pfte.
61rall.
rall.
S.
A.
T.
B.
Pfte.
pp
pp
pp
pp
3
ppp
pp
7 73
7
Yn
ppnat.
ys- - A fa- - llon- - ei
Yn
ppnat.
ys- - A fa- - llon- - ei
Yn
ppnat.
ys- - A fa- - llon- - ei
Yn
ppnat.
ys- - A fa- - llon- - ei
7:4 7:4
9:8
9:8
hun sy fe lly.- - -
hun sy fe lly.- - -
hun sy fe
3lly.- - -
hun sy fe lly.- - -
ppp
9:8
9:8
158
159
160
GARETH OLUBUNMI HUGHES
“Cwyn y Gwynt” (“The Wind’s Lament”) for Flute & Harp
inspired by Sir John Morris-Jones’s lyrical Welsh-language poem
in three short movements...
1. Llwydnos Gwynfannus (Restless Twilight)
2. Galargan: “Dagrau ddaw...” (Elegy: “Tears come…”)
3. Breuddwyd (Dream)
Winner of the Composer’s Medal (“Tlws y Cerddor”) at the 2012 Welsh National Eisteddfod in the Vale of Glamorgan
August 2015 Revision
Full Score
161
Programme Note
Cwyn y Gwynt (The Wind’s Lament) is Hughes’s sonata for flute and harp which won
the prestigious composer’s medal (“Tlws y Cerddor”) at the 2012 Welsh National Eisteddfod
in the Vale of Glamorgan. The work is based, from a subjective perspective, on Sir John
Morris-Jones’s well-known poem, which portrays the restless sound of wind outside of a
window. The poem uses symbolism to represent tears, sadness and eventually loss and the
death of a loved one.
The work is divided into the three following short movements:
1. Llwydnos Gwynfannus (Restless Twilight)
2. Galargan: “Dagrau ddaw...” (Elegy: “Tears Come...”)
3. Breuddwyd (Dream)
The first movement imagines the scene of a ‘twilight’ (which occurs prior to the night
scene which is present in the poem). This is a sonic representation of the wind’s restless gust
through agitated instrumental writing (comprising of tremolos and glissandi in the harp and
flutter-tongues in the flute).
The second movement stands as a slow expressive nucleus to the work. This is an
elegy which represents the grief and lamenting of the person described in the poem. A
melody (almost like some sort of folk song) exists in the flute line.
The third movement imagines the scene of a ‘dream’. Again, this is an idea which
deviates from the night scene which is present in the poem (where grief and despair prevents
the person in the poem from sleeping). Here we have a representation of subconscious
emotions through several chromatic arpeggios repeating in the harp and a chromatic melody
in the flute.
162
Nodyn Rhaglen
Mae Cwyn y Gwynt yn gyfansoddiad sydd wedi’i seilio, o raddfa destunol, ar gerdd
adnabyddus Syr John Morris-Jones, sydd yn portreadu sŵn aflonydd gwynt tu allan i ffenestr.
Mae’r gerdd yn defnyddio symbolaeth y gwynt i gynrychioli dagrau, tristwch ac yn y pen
draw colled a marwolaeth.
I efelychu hyn mae’r gwaith wedi rhannu mewn i dri symudiad:
1. Llwydnos Gwynfannus
2. Galargan: “Dagrau ddaw...”
3. Breuddwyd
Mae’r symudiad gyntaf yn dychmygu golygfa o ‘lwydnos’ (sydd yn dod cyn yr olygfa
o’r nos sydd yn bresennol yn y gerdd). Yma ceir cynrychiolaeth mewn sain o’r gwynt
aflonydd trwy ysgrifennu cynhyrfus (lle y gwelir sawl tremolo a glissando yn y delyn a sawl
tafod fflwter yn y ffliwt).
Mae’r ail symudiad yn sefyll fel niwclews araf, teimladwy i’r gwaith. Mae hwn yn
alargan sy’n cynrychioli tristwch a hiraeth y person yn y gerdd. Alaw (bron fel rhiw fath o
gân werin) sydd yn bodoli yn rhan y ffliwt.
Mae’r trydydd symudiad yn dychmygu golygfa o ‘freuddwyd’. Eto, mae hwn yn
rhywbeth sydd tu hwnt i’r olygfa sydd yn bresennol yn y gerdd (lle mae tristwch a gofid y
person yn y gerdd yn ei atal rhag cysgu). Yma ceir cynrychiolaeth o emosiynau isymwybodol
trwy sawl arpeggio cromatig yn ailadrodd yn y delyn ac alaw gromatig yn y ffliwt.
163
Original Welsh-Language Words: Sir John Morris-Jones English-Language Translation: Gareth Olubunmi Hughes
Composer: Gareth Olubunmi Hughes
Cwyn y Gwynt
Cwsg ni ddaw i’m hamrant heno, Dagrau ddaw ynghynt. Wrth fy ffenestr yn gwynfannus Yr ochneidia’r gwynt. Codi’i lais yn awr ac wylo, Beichio wylo mae ; Ar y gwydr yr hyrddia’i ddagrau Yn ei wylltaf wae. Pam y deui, wynt, i wylo At fy ffenestr i ? Dywed im, a gollaist tithau Un a’th garai di ?
The Wind’s Lament
My eyelids bring no sleep tonight, Teardrops come instead. A restless gust at my window pane Sighs and rears its head. Raising its voice now and weeping, It is sobbing so ; On the glass pane it hurls its teardrops In its wildest woe. Why do you come, oh weeping wind To curse my window pane ? Tell me, have you ever felt A loss with so much pain ?
164
Mysterious, Agitatedq = c.72
1. Llwydnos Gwynfannus (Restless Twilight)
Flute
Harp
3
Fl.
Hp.
5
Fl.
Hp.
7
Fl.
Hp.
LLLONNLN
ppp cresc.
l.v.
gliss.
5
mp mf
flz. - - - - - - -
5 3
mf ppp
6 6 6 6 6 6
mp
ppp cresc.
gliss.
3 7
mf
flz.
dim.5 3
mf dim.
6 6 6 6
165
9(q=q)
Fl.
Hp.
11
Fl.
Hp.
(q=q)13
Fl.
Hp.
15
Fl.
Hp.
flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - -
mp ff 5
ppp ff
gliss.
mp
6 6
3
- - - - - - - - - -
mp6 3 5 3 5
l.v.
mp A§ G§ D§
5
5
gliss. gliss.l.v.
5:4q
3 flz. - - - - - - - - - - - - - - 3
3
l.v. C# l.v.
MLLONNMM
MNLONNMM
mp mf
5
mf
gliss. gliss.
l.v.
ppmp
3
gliss.
gliss.
l.v.
mf
3
166
18
Fl.
Hp.
(q=q)21 (q=q)
Fl.
Hp.
23
Fl.
Hp.
26
Fl.
Hp.
flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
5 3 65 5 5
E§ B§
G# l.v.
3
C§
D major
A melodic minor
ff
f3 5 3 5
ff
gliss.
gliss.
gliss.
l.v. - - - - - - - - - - - - - - -
mf
6
6 5 5
mf
Bb
G§3
3
mp
G melodic minor
gliss.
flz. gliss.
lunga
F§ l.v. Gb B# Db
E#
5
lunga
C#Ab
F major
gliss.
gliss.
167
30
Fl.
Hp.
32
Fl.
Hp.
34
Fl.
Hp.
36
Fl.
Hp.
mp
ppp cresc.LNNONMLL
gliss.
3 7
mf
flz. - - - - - - - - - -
6
mf
6 6 6 6
3
6 6 6 6 6 6
flz. - - - - - - - - - - - - - - - -
6
dim.
9:8
mp l.v. sempre
gliss.
3
168
38rall.
Fl.
Hp.
mp
3
p
mp p pp
169
Slow, Melancholy, Sustainedh = c.40 or q = c.80
2. Galargan: “Dagrau ddaw...” (Elegy: “Tears come...”)
Flute
Harp
4
Fl.
Hp.
6
Fl.
Hp.
9
Fl.
Hp.
mp
LMLOLLLL
Cb A§
D§ Db melodic minor
mp
Cb major
5
3 3
3 l.v. - - - - - - -
Ab A§
LLLOLLLM
Db
Cb major
flz. flz.
5 5
5
F§ Ab Fb A§ Ab
Gb major
Cb major
Cb major
3
3
mp
Gb major
F§
170
11
Fl.
Hp.
13
Fl.
Hp.
15
Fl.
Hp.
17
Fl.
Hp.
mp
cantabile e espress.
mf
3 3
Cb major
Fb 3
mp 3
p
3
3 3
LLLOLLLM
A§
flz. flz. flz. flz.
Ab
3
3
5 5 5 5
Cb major
RH LH
F§
Gb major
gliss.
Fb
F§
3
Cb major Gb major
171
19
Fl.
Hp.
22
Fl.
Hp.
25
Fl.
Hp.
pp e misterioso
p
pp e misterioso G§
LH
Ab melodic minor
cresc.
7
3
3
Fb A§ D§ Ab Db
F§ 3 3
Ab harmonicminor
cresc.
Ab melodicminor
(cresc.)
mf e cresc. f
flz.flz.
5
C§
l.v. sempre
D§ A§ f
mf e cresc.
Db
Ab major Eb major Bb major Bb melodic minor
172
27
Fl.
Hp.
29
Fl.
Hp.
32
Fl.
Hp.
dim. mp
5 5
Gb dim.
Ab
mp e dim.
C§
Bb harmonicminor
Cb
Gb majorDb major
pp
mp 5 5
5
CbFb
p
mp C§ Cb A§ D§
Cb major
Db melodicminor
Cb major
7
3 3
3 l.v. - - - - - - - -
Ab A§
LLLOLLLM
Db
Cb major
173
34
Fl.
Hp.
36
rall.
Fl.
Hp.
mf
flz.flz.
5 5
5
F§ Ab Fb
mf
p
Gb major
Cb major
l.v. sempre
pp
3 3 3 3
ppp
5
A§ Ab C§ Cb
pp
l.v. sempre
F§
Cb major Db melodicminor
Cb major
Gb major
174
Dreamlike, Tranquil, Sustainede = c.80
3. Breuddwyd (Dream)
Flute
Harp
3
Fl.
Hp.
5
Fl.
Hp.
p
molto espress. sempre
MMMONNMM
l.v.
p
7 7 7 7
6
7
5 5
Db,Bb
Ab LMLONNML
7 7
5 10:8
G# A§ l.v. LMMOLNNM mp6 6
B§Eb
175
7
Fl.
Hp.
10
Fl.
Hp.
12
Fl.
Hp.
mp
3
l.v. 3 3
l.v.C#
7
7
D§
E§
A major
p
l.v.
p BbF§
3
MNLOMMNM
gliss.
mf
flz. - - - - - - - -
3 mp
double tongue
55
l.v. mp
l.v. sempre
mf
7
176
14
rall.
Fl.
Hp.
A tempo
16
Fl.
Hp.
19
rall.
Fl.
5
f p10:12
3
3
C§,B§G§,A#
MMMOMMMN
flz. - - - - - - - - - - - - -
mp 7
pp
35
l.v. sempre
5 Gb Db
69:8 mp pp
LMMOMMLN
7
3
11:8 12:8
177
178
GARETH OLUBUNMI HUGHES
“Twilight Impulse”
for Clarinet, Cello & Pianoforte
179
Programme Note
Twilight Impulse is a work for clarinet, cello and pianoforte commissioned by Catrin
Llinos Pointon. For this, I firstly conceived the idea of composing a work which symbolised a
pre-nocturnal time of day and the transition from twilight to dusk to night, as well as the
transformation which occurs in natural ambience and the state of wildlife during this period.
A source of inspiration for this idea was my fascination with the owl – I was first drawn
to this creature when I discovered its significance in the Celtic mythological fable of Blodeuwedd
– the conjured flower maiden who is transformed into an owl for all eternity as punishment for
her sin.
However, Twilight Impulse explores the plight of the common European tawny owl in its
natural environment rather than in any sort of a magical or mythological sense. This is a
nocturnal creature which begins its daily plight as day fades and the work symbolises the
transition in the natural environment during this period – whilst most birds are ending their daily
cycles, winding up their chores and sleeping, one, in particular, is beginning its nocturnal cycle –
I describe this as its “Twilight Impulse”!
180
Dedicated to Catrin, Sam & Daniel
181
q = c.100
q = c.100
Colourfully & Sweetly
Colourfully & Sweetly
Twilight ImpulseGARETH OLUBUNMI HUGHESScore written in C
Clarinet in Bb
Violoncello
Pianoforte
4
Cl.
Vc.
Pfte.
6
Cl.
Vc.
Pfte.
pp
mp
p 3
p
6
p
6 5
mf
mp
5
mp
65
182
9 rall.
rall.
A tempo
A tempo
Cl.
Vc.
Pfte.
12
Cl.
Vc.
Pfte.
14
Cl.
Vc.
Pfte.
mp
p
5
R.H
p
p
mp
join withthumb
183
16
Cl.
Vc.
Pfte.
18
Cl.
Vc.
Pfte.
20
Cl.
Vc.
Pfte.
mp 3
treble clefs atactual pitch
IV gliss.
3
mf e dolcissimo
5
p
p
184
24
Cl.
Vc.
Pfte.
28
Cl.
Vc.
Pfte.
32
Cl.
Vc.
Pfte.
p3 3 3
pp
sfz
pp
port.
pp
mp
3 5
pp
p
3
gliss.
p
5 6
185
34
Cl.
Vc.
Pfte.
36
Cl.
Vc.
Pfte.
38
Cl.
Vc.
Pfte.
p
mf
5
L.H
sffz sffz
R.H
mp
5
3
mp
55
mp
l.v.
L.H.
sffz
6
12:8
186
40
Cl.
Vc.
Pfte.
42
Cl.
Vc.
Pfte.
44
Cl.
Vc.
Pfte.
p
mp
flautando espress.sempre
p
mp
p
mp
187
46
Cl.
Vc.
Pfte.
48
Cl.
Vc.
Pfte.
51
Cl.
Vc.
Pfte.
3
3
gliss.3 5
p
53
mf e dolcissimo
3
p
L.H
188
54
Cl.
Vc.
Pfte.
58
Cl.
Vc.
Pfte.
63
Cl.
Vc.
Pfte.
3
p
3 3
L.H
pp pppp mp 5
pp pppp
pp
l.v.
mf
sul pont. sempre
mp
6 6
mp
189
65
Cl.
Vc.
Pfte.
67
Cl.
Vc.
Pfte.
69
Cl.
Vc.
Pfte.
mp
mf
5 5
5 5 5 5
cresc.
cresc.
cresc.
6 6 6
190
70
Cl.
Vc.
Pfte.
71
Cl.
Vc.
Pfte.
75
Cl.
Vc.
Pfte.
ff
fl.
mf
fp
f
p
mf
5
cresc.
mf
191
78
Cl.
Vc.
Pfte.
80
Cl.
Vc.
Pfte.
82
Cl.
Vc.
Pfte.
cresc.
fl.
f
l.v.
fff
ffff
sffz
ff
fff
8:6 10:8
mp
3 3
nat. e pizz.
mp 3
gliss.
3 3
192
85
Cl.
Vc.
Pfte.
87
Cl.
Vc.
Pfte.
90
Cl.
Vc.
Pfte.
5
mf pp5 6
3
mf
3 p5
mp
p
gliss.
L.H
R.H
6
p R.H L.H5
p
mf6
mpgliss
.
R.H
R.H
L.H
sffz sffz
193
93
Cl.
Vc.
Pfte.
95
Cl.
Vc.
Pfte.
98
Cl.
Vc.
Pfte.
arco
mp
legatiss.
sffz5
mp
13:8
5 6
p
l.v.
3
pp
5
mp
l.v.
pizz.
p
3
33
3 53
3
194
100
Cl.
Vc.
Pfte.
102
Cl.
Vc.
Pfte.
104
Cl.
Vc.
Pfte.
mp
arco
mf
mp
3 3 3 3
5 5 5 5
mf 5
5 5
10:8
join withthumb
10:8
10:8
5 5
3
IIIgliss.
1 4
mf
8:6 11:8
10:6 15:8
8:6 12:8
195
106
Cl.
Vc.
Pfte.
108
Cl.
Vc.
Pfte.
111
Cl.
Vc.
Pfte.
3
5
6 7
6
mp e misterioso
mf e dolcissimo
p
3 33
mp
196
115
Cl.
Vc.
Pfte.
119
Cl.
Vc.
Pfte.
121rall.
rall.
Cl.
Vc.
Pfte.
p
pp
IIport.
ppp
ppp e cresc.
3
pp
pp
pp e cresc.3
3 5
6
mf
35
mp
p
mp
6
p
197
123
Cl.
Vc.
Pfte.
pppp
pppp
( )l.v.
pp l.v.
( )pp
p
l.v.
198
199
200
GARETH OLUBUNMI HUGHES
“Cwyn y Gwynt” Tair Cân yn Seiliedig ar Farddoniaeth Syr John Morris-Jones
Wedi Sgorio i Lais Alto, Feibraffôn a Sielo
mewn tri symudiad byr...
1. Gwylltineb (Abstract)
2. Galargan
3. Breuddwyd (Abstract)
“The Wind’s Lament” Three Songs Based on the Poetry of Sir John Morris-Jones
Scored for Alto Voice, Vibraphone & Violoncello
in three short movements...
1. Wilderness (Abstract)
2. Elegy
3. Dream (Abstract)
201
202
Programme Note
Cwyn y Gwynt (The Wind’s Lament) is a composition which is based, from a
subjective perspective, on Sir John Morris-Jones’s well-known poem, which portrays the
restless sound of wind outside of a window. The poem uses symbolism to represent tears,
sadness and eventually loss and the death of a loved one.
The work is divided into the three following short movements:
1. “Gwylltineb” (“Wilderness”, [Abstract])
2. “Galargan” (“Elegy”)
3. “Breuddwyd” (“Dream”, [Abstract])
The first movement imagines a twilight scene (which occurs prior to the night scene
which is present in the poem). This is a sonic representation of the wind’s restless gust
through agitated instrumental writing (complemented by chromatic, melismatic writing in the
voice, which is based on a selection of symbolic words and sentences from the poem).
The second movement stands as a slow expressive nucleus to the work. This is an
elegy which represents the grief and lamenting of the person described in the poem. A
melody based on the verses in the poem (almost like some sort of folk song) exists in the
vocal line.
The third movement imagines the scene of a ‘dream’. Again, this is an idea which
deviates from the night scene which is present in the poem (where grief and despair prevents
the person in the poem from sleeping). Here we have a representation of subconscious
emotions through several chromatic arpeggios repeating in the vibraphone and cello and a
chromatic, melismatic melody returning to the voice.
203
Nodyn Rhaglen
Mae Cwyn y Gwynt yn gyfansoddiad sydd wedi’i seilio, o raddfa destunol, ar gerdd
adnabyddus Syr John Morris-Jones, sydd yn portreadu sŵn aflonydd gwynt tu allan i ffenestr.
Mae’r gerdd yn defnyddio symbolaeth y gwynt i gynrychioli dagrau, tristwch ac yn y pen
draw colled a marwolaeth.
I efelychu hyn mae’r gwaith wedi rhannu mewn i dri symudiad:
1. Gwylltineb (Abstract)
2. Galargan
3. Breuddwyd (Abstract)
Mae’r symudiad gyntaf yn dychmygu golygfa o lwydnos (sydd yn dod cyn yr olygfa
o’r nos sydd yn bresennol yn y gerdd). Yma ceir cynrychiolaeth mewn sain o’r gwynt
aflonydd trwy ysgrifennu cynhyrfus (lle y gwelir alaw gromatig, melismatig yn y llais sydd
yn seiliedig ar ddetholiad o eiriau a brawddegau arwyddol yn y gerdd).
Mae’r ail symudiad yn sefyll fel niwclews araf, teimladwy i’r gwaith. Mae hwn yn
alargan sy’n cynrychioli tristwch a hiraeth y person yn y gerdd. Alaw yn seiliedig ar benillion
y gerdd (bron fel rhiw fath o gân werin) sydd yn bodoli yn y llinell leisiol.
Mae’r trydydd symudiad yn dychmygu golygfa o ‘freuddwyd’. Eto, mae hwn yn
rhywbeth sydd tu hwnt i’r olygfa sydd yn bresennol yn y gerdd (lle mae tristwch a gofid y
person yn y gerdd yn ei atal rhag cysgu). Yma ceir cynrychiolaeth o emosiynau isymwybodol
trwy sawl arpeggio cromatig yn ailadrodd yn y feibraffôn a’r sielo ac alaw gromatig,
melismatig yn dychwelyd i’r llais.
204
Original Welsh-Language Words: Sir John Morris-Jones English-Language Translation: Gareth Olubunmi Hughes
Composer: Gareth Olubunmi Hughes
Cwyn y Gwynt
Cwsg ni ddaw i’m hamrant heno, Dagrau ddaw ynghynt. Wrth fy ffenestr yn gwynfannus Yr ochneidia’r gwynt. Codi’i lais yn awr ac wylo, Beichio wylo mae ; Ar y gwydr yr hyrddia’i ddagrau Yn ei wylltaf wae. Pam y deui, wynt, i wylo At fy ffenestr i ? Dywed im, a gollaist tithau Un a’th garai di ?
The Wind’s Lament
My eyelids bring no sleep tonight, Teardrops come instead. A restless gust at my window pane Sighs and rears its head. Raising its voice now and weeping, It is sobbing so ; On the glass pane it hurls its teardrops In its wildest woe. Why do you come, oh weeping wind To curse my window pane ? Tell me, have you ever felt A loss with so much pain ?
205
Misterioso e Agitatoq = c.72
1. Gwylltineb (Abstract)
Alto
Vibraphone
Violoncello
5
Alto
Vib.
Vc.
9
Alto
Vib.
Vc.
12
Alto
Vib.
Vc.
medium sticks,motor off
p
5
3
p
sul pont.
gliss.
3
Cwyn
mp
y Gwynt Cwsg ni ddaw
3
Cwsg ni
5
3
gliss.
3
ddaw Cwyn
mp
y Gwynt
fff5 6
ff
white notes gliss
p
5
nat.
p
actual pitch
single bow gliss
ff
I3
Cwsg
mp
ni
5
ddaw
3
Cwyn
Sprechgesang
y
Gwynt
3
3
3 5
3
5
p
p
206
15
Alto
Vib.
Vc.
18
Alto
Vib.
Vc.
21
Alto
Vib.
Vc.
23
Alto
Vib.
Vc.
och
mf
nei- dia'r- gwynt.
mf
p mp
3
mf p
flautando
mp
5 5
och nei- dia'r- gwynt. och
Sprechgesang
nei
- - dia'r
- gwynt.
5 3
3
65 5
5
3 3nat.
I
5
fff
white notes gliss
ff mp
3 5 3 5
ff
p
wyll
mf
taf- wae. wyll
Sprechgesang
taf
- - wae.
6
3
6 5 5
nat e pizz.
mp
3 3 IIIgliss.
207
26
Alto
Vib.
Vc.
30
Alto
Vib.
Vc.
34
Alto
Vib.
Vc.
38
Alto
Vib.
Vc.
yn
Sprechstimme - - - - - - - - - - - - - -
ei wyll taf- wae.
gliss.
5
IIIgliss. arco IV
gliss.
Cwyn
mp
y Gwynt Cwsg ni ddaw
3
Cwsg
Sprechgesang
ni
p
5 3
sul pont.
p
gliss.
3
ddaw
- - - - - - - - - -
Cwyn y
3
Gwynt
6
9:8
gliss
.3
p pppp
pp ppp
take soft sticks,motor on at slow/moderate speed
pp pppp
208
Lento Sostenutoh = c.50
2. Galargan
Alto
Vibraphone
Violoncello
4
Alto
Vib.
Vc.
6
Alto
Vib.
Vc.
9
Alto
Vib.
Vc.
Cwsg
p
ni ddaw i'm ham rant- he no,- Dag rau- ddaw yng -
soft sticks,motor on at slow/moderate speed
pp
pp
hynt. Wrth fy ffe
[fɛnesnɛs
--
trtʌr]
--
3 3 3
5
port.
yn gwyn fan- nus- Yr
Sprechgesang
och
nei
- dia'r
- gwynt.
p
p
209
11
Alto
Vib.
Vc.
13
Alto
Vib.
Vc.
15
Alto
Vib.
Vc.
17
Alto
Vib.
Vc.
Co
mp
di'i- lais yn awr
mf
ac wy lo,-
3 3
3
Bei
mp
- chio wy lo- mae;
3
p
3
3 3
p
Ar
Sprechgesang
y
gwy
dr
- yr
hyr
ddia'i
- ddag
rau-
3
3
5 5 5 5
yn
Sprechstimme
ei wyll taf- wae.gliss.
3
sul pont.port. port.
210
19
Alto
Vib.
Vc.
22
Alto
Vib.
Vc.
25
Alto
Vib.
Vc.
27
Alto
Vib.
Vc.
Pam
pp e misterioso
y deu i,-
ppp e misterioso
nat.e pizz.pp e misterioso
wynt, i wy lo- At fy ffe nes- tr- i?
3
3
7
Dyw
Sprechgesang
mp
ed
- im,
a
goll
aist
- ti
thau
-
p
mp
Un a'th gar - rai di?
arco
211
29
Alto
Vib.
Vc.
32
Alto
Vib.
Vc.
34
Alto
Vib.
Vc.
36
Alto
Vib.
Vc.
Pam
p
y deu i,- wynt, i wy lo- At fy ffe nes- tr-
pp
pp
i?
Sprechgesang
Dyw
ed
- im,
a
3
3
3
7
pizz.
p
goll
- aist
ti
thau
- Un a'th gar ai- -
ppp
ppp
arco
di?
pp3 3 3 3 ppp 5
l.v.
ppppl.v. motor off
pppp
212
Sostenuto Molto e Tranquilloe = c.80
3. Breuddwyd (Abstract)
Alto
Vibraphone
Violoncello
3
Alto
Vib.
Vc.
5
Alto
Vib.
Vc.
Cwsg
p
soft sticks,motor off
pp7 7 7 7
pp e flautando espress.
port.
5 5 5
Cwsg
10:8
6
7
actual pitch
Cwsg
5
6 6 9:8
6
6
213
7
Alto
Vib.
Vc.
10
Alto
Vib.
Vc.
12
Alto
Vib.
Vc.
wy
mp3
- lo wy lo- - -
p
6
6
9:8
nat.
p 7 3
Cwsg
p
pp
7 7
pp
flautando Igliss.
Cwsg
10:8
3
5
III
port.
214
14rall.
Alto
Vib.
Vc.
A tempo
16
Alto
Vib.
Vc.
19rall.
Alto
Vib.
Vc.
Cwsg
5
9:8 10:12
nat. 5 5
Cwsg
Sprechstimme - - - - - - - - - - - - - -
a ddaw
7
Cwsg
pp
a
35
5
ppp 6
ppp
ddaw
7
12:8 12:8
215
216
GARETH OLUBUNMI HUGHES
“Iâr fach yr haf” & “Y Gwylanod”
Dwy gân yn seiliedig ar farddoniaeth Syr John Morris-Jones
wedi eu sgorio i soprano, ffliwt/piccolo a pianoforte
“The Butterfly” & “The Seagulls”
Two songs based on the poetry of Sir John Morris-Jones
scored for soprano, flute/piccolo & pianoforte
217
218
Programme Note
This work is a lively setting of two well-known lyrics by Sir John Morris-Jones – “Iâr
fach yr haf” (“Butterfly”, which is a translation of Heinrich Heine’s “Der Schmetterling”) and
“Y Gwylanod” (“The Seagulls”) – for soprano, flute/piccolo and pianoforte.
Butterfly starts with a looping ostinato pattern in the flute and piano (symbolising the
butterfly’s hovering flight) before the vocal line enters, singing the first verse and then adding
lines of melismatic writing.
There is a change in musical character in the second verse (which sees a first reference to
the nightingale and the “silent evening star”), where the music is slower and more relaxed but
includes sudden birdsong-like flourishes, which symbolise the nightingale’s call.
The third and final verse is a recapitulation of musical material in the first verse before a
short coda section.
The Seagulls is lively, colourful and uses rhythmic syncopation throughout. The piccolo
is used to symbolise the high-pitched cry of seagulls at the seashore, as described in the poem.
Again, the second verse sees a change in musical character (which represents a flashing
“gleam of sunlight” and a vision of the gulls “spinning swiftly on their wings” in the distance),
where the music is less colourful and more relaxed.
The final verse is a very colourful recapitulation of the first verse and ends with the voice
singing above a brilliant flourish of arpeggiation in the piano line.
219
Nodyn Rhaglen
Mae’r gwaith hwn yn osodiad bywiog o ddwy delyneg adnabyddus gan Syr John Morris-
Jones – “Iâr fach yr haf” (sydd yn gyfieithiad o “Der Schmetterling” gan Heinrich Heine) ac “Y
Gwylanod” – i soprano, ffliwt/piccolo a pianoforte.
Mae Iâr fach yr haf yn dechrau gyda phatrwm ostinato yn ailadrodd yn y ffliwt a’r piano
(sy’n arwyddol o haid y iâr fach yr haf) cyn i’r llinell leisiol ymuno a chanu’r pennill cyntaf cyn
adio llinellau o ysgrifennu melismatig.
Mae yna newid mewn cymeriad cerddorol yn yr ail bennill (lle y gwelir cyfeirnod gyntaf
i’r eos a “tawel seren yr hwyr”). Mae’r gerddoriaeth yn fwy araf a llaes ond yn cynnwys rhannau
blodeuog sydyn sy’n efelychu cân yr eos.
Mae’r pennill olaf yn ailddatganiad o’r defnydd cerddorol yn y pennill cyntaf cyn y
clywir coda byr i’r gân.
Mae’r gosodiad o Y Gwylanod yn fywiog, lliwgar ac yn defnyddio trawsacenion
rhythmig. Mae’r piccolo yn cael ei ddefnyddio i efelychu cri’r wylan ar lan y môr, fel y
disgrifiwyd yn y gerdd.
Eto, mae yna newid mewn cymeriad cerddorol yn yr ail bennill (sy’n cynrychioli golau
heulwen “ddisglair wyn” a golwg o’r gwylanod yn “troelli’n ebrwydd ar yr adain” yn y pellter),
lle mae’r gerddoriaeth yn llai lliwgar ac yn fwy llaes.
Mae’r pennill olaf yn ailddatganiad hynod o liwgar o’r pennill cyntaf ac yn y diweddglo
fe glywir y llais yn canu uwchben llinell piano blodeuog, disglair.
220
Der Schmetterling...
Der Schmetterling ist in die Rose verliebt, Umflattert sie tausendmal, Ihn selber aber goldig zart Umflattert der liebende Sonnenstrahl. Jedoch, in wen ist die Rose verliebt ? Das wüßt' ich gar zu gern. Ist es die singende Nachtigall ? Ist es der schweigende Abendstern ? Ich weiß nicht, in wen die Rose verliebt; Ich aber lieb' euch all: Rose, Schmetterling, Sonnenstrahl, Abendstern und Nachtigall.
1
Iâr fach yr haf
Mae iâr fach yr haf yn caru’r rhos, A hofran o’i gylch y bydd, A’i charu hithau, a hofran o’i chylch Mae pelydryn o dywyn dydd. Ond pwy aeth â serch y gwridog ros ? Mi garwn pe dewdai a’i gŵyr; Ai’r eos a gân ei melys gainc, Ai tawel seren yr hwyr ? Fy nghalon ni ŵyr pwy yw cariad y rhos, Ond caru’r wyf fi, fe’i gŵyr, Y rhos, a’r pelydryn, ac iâr fach yr haf, A’r eos, a seren yr hwyr.
The Butterfly...
The Butterfly is in love with the Rose And hovers around her alway, But a golden Sunbeam loves him again, And flutters around him all day. But tell me, with whom is the Rose in love ? That would I know soonest by far; Or is it the singing Nightingale ? Or the silent Evening Star ? I know not with whom is the Rose in love; But I love you all as ye are: The Butterfly, Sunbeam, and Nightingale, The Rose, and the Evening Star.
Original German-Language Words: Heinrich Heine (1797-1856)
Welsh-Language Translation: Sir John Morris-Jones (1864-1929) English-Language Translation: Kate Freiligrath Kroeker (1845-1904)
Composer: Gareth Olubunmi Hughes (1979-)
221
1. Iâr fach yr haf
q = c.112
q = c.112
Leggiero Sempre
Leggiero Sempre
[Cyfiethiad o delyneg y bardd Almaenaidd Heinrich Heine]
Soprano
Flute
Pianoforte
3
Sop.
Fl.
Pfte.
5
Sop.
Fl.
Pfte.
p
p
with light sustain pedalling
mp
Mae
3 3 3 3 3 3
iâr fach yr haf yn ca ru'r- - rhos, A
p
p
222
7
Sop.
Fl.
Pfte.
9
Sop.
Fl.
Pfte.
11
Sop.
Fl.
Pfte.
hof ran- o'i gylch y bydd,
A'i
3 3 3 3 3 3
cha ru- hi thau,- a hof ran o'i chylch Mae pel -
mp
y
mf
dryn- o dyw yn- - dydd.
3
3 3 3
mp
223
13
Sop.
Fl.
Pfte.
15
Sop.
Fl.
Pfte.
17
Sop.
Fl.
Pfte.
5
p
p
3
3
3
3
Mae
mp
iâr fach yr haf yn
3
3
3
p
224
19
Sop.
Fl.
Pfte.
21
Sop.
Fl.
Pfte.
23
Sop.
Fl.
Pfte.
ca ru'r- rhos, A hof - ran o'i gylch y
3
p
3
3
3
3
bydd,
A'i cha ru- hi - thau, a
3
3
3
hof - ran o'i chylch Mae pel y
mf
- dryn- o dyw yn- -
3
mp 3 3 3 3
mp
225
25
Sop.
Fl.
Pfte.
27Un poco meno mosso
Un poco meno mosso
q = c.96
q = c.96
Sop.
Fl.
Pfte.
29
Sop.
Fl.
Pfte.
dydd.
mp
l.v.
l.v.
3
5
p
pp
3
pp
3
3
226
31
Sop.
Fl.
Pfte.
33
Sop.
Fl.
Pfte.
35
Sop.
Fl.
Pfte.
Ond
p
pwy aeth â serch y gwr -
pp
3
3 3
i dog- - ros? Mi gar wn- pe dwe dai- a'i
gliss.
pp
3
3
gŵyr;
Ai'r
mf
e os- a gân ei3
mf
5 5
mf
6 6 5 5
3
3
5 5 6 6
227
37
Sop.
Fl.
Pfte.
40
Sop.
Fl.
Pfte.
42
Sop.
Fl.
Pfte.
mel ys- gainc,
p
Ai taw el- ser en- yr hwyr?
pp
pp
5 5
pp
5 5
LH
ppp
3
5
pp
3
pp
3
3
228
44
Sop.
Fl.
Pfte.
46
Sop.
Fl.
Pfte.
47
Sop.
Fl.
Pfte.
Ond
p
pwy aeth â serch y gwr
3 3
-
pp
3
3 3
i dog- - - - ros? Mi
pp
ga rwn- pe dwe dai- a'i
gliss.
gŵyr;
gliss.
Ai'r
mf3 3 3
3
3
3
3
229
49
Sop.
Fl.
Pfte.
51
Sop.
Fl.
Pfte.
q = c.112
q = c.112
Leggiero (Tempo primo)
Leggiero (Tempo primo)
54
Sop.
Fl.
Pfte.
e os- a gân ei mel ys- gainc Ai
p
5 5
mf 5 5
mp
taw el- ser en- yr hwyr?
pp
ppp p
pp
LH
a
mp
a- a- a- a-a a- a- a- -
p
p
230
56
Sop.
Fl.
Pfte.
58
Sop.
Fl.
Pfte.
60
Sop.
Fl.
Pfte.
a- a a- a- a- a- a a- a- a- -
a-
mp
always doubletongued, staccato
p
with light sustain pedalling
mp
Fy
accents on first note only
3 3 3 3 3 3
231
62
Sop.
Fl.
Pfte.
64
Sop.
Fl.
Pfte.
66
Sop.
Fl.
Pfte.
ngha lon- ni ŵyr pwy yw car iad- y rhos, Ond
mp
p
ca ru'r- wyf fi, fe'i gŵyr
Y
3 3 3 3 3 3
rhos, a'r pel y- dryn,- ac iâr fach yr haf, A'r
mp
232
68
Sop.
Fl.
Pfte.
70
Sop.
Fl.
Pfte.
72
Sop.
Fl.
Pfte.
e os,- a ser en- yr hwyr
3 3 3 3
5
mp
5 5 5 5
6 6 6 6
mp
6 6 6
6 6 6 6 6 6 6 6
233
74
Sop.
Fl.
Pfte.
76
Sop.
Fl.
Pfte.
78
Sop.
Fl.
Pfte.
mf
Fy ngha lon- ni ŵyr pwy yw
6 6 6 6
6 6 6 6 6 6 6 6
car iad- y rhos, Ond ca ru'r- wyf fi, fe'i
mp
6 6 6
6 6 6 6 6 6 6 6
gŵyr
Y rhos, a'r pel y- dryn,- ac
5
6 6 6 6
7 7 7 7
6 6 6 6
234
80
Sop.
Fl.
Pfte.
82q = c.96
q = c.96
Un poco meno mosso
Un poco meno mosso
Sop.
Fl.
Pfte.
85
Sop.
Fl.
Pfte.
iâr fach yr haf, A'r e
mf
os,- a
p
ser en- yr
mp 3
77 7
7
mp
hwyr.
pp Y
p
rhos, a'r pel y- dryn,- ac
pp pp
pp
iâr fach yr haf, A'r e
mf
os- a
p
ser en- yr
mp
3
pp
3
3
3
235
88 molto rall.
molto rall.
Sop.
Fl.
Pfte.
90
Sop.
Fl.
Pfte.
hwyr.
pp
pp ppp3
6 6 6
ppp
236
2
Y Gwylanod
Rhodio glan y môr yr oeddwn, Meddwl fyth amdanat ti; Hedai cwmwl o wylanod Buain llwyd uwchben y lli. Troelli’n ebrwydd ar yr adain Wnaeth yr adar llwyd-ddu hyn; Yn y fan, yng ngolau’r heulwen, Gwelir hwynt yn ddisglair wyn. Bu fy nyddiau gynt yn llwydaidd, A heb lewych yn y byd; Twynnodd gwawl dy gariad arnynt – Gwyn a golau ŷnt i gyd.
The Seagulls
I was strolling on the seashore, Mind fixated all on you; Then a cloud of seagulls emerged, Grey above the coast they flew. Spinning swiftly on their [spanned] wings Did these grey-black birds in flight; In the spot, a gleam of sunlight Flashing bright in shining-white. Once my days were greyish-dull And lacked the lustre of this world; Then your radiant love shone on them – Every moment, radiance hurled!
Original Welsh-Language Words: Sir John Morris-Jones English-Language Translation: Gareth Olubunmi Hughes
Composer: Gareth Olubunmi Hughes
237
Colourfully, e=e always
Colourfully, e=e always
e = c.156
e = c.156
2. Y Gwylanod
Soprano
Piccolo
Pianoforte
4
Sop.
Picc.
Pfte.
7
Sop.
Picc.
Pfte.
p
with light sustain pedalling
p
Rho
mp
dio- glan y
p
môr yr oedd wn,- Medd wl- - fyth am -
238
9
Sop.
Picc.
Pfte.
12
Sop.
Picc.
Pfte.
14
Sop.
Picc.
Pfte.
dan- at- - ti;
LH
p
He
mp
dai- cwm wl- o wy lan
f
- od- -
mf
cresc. mf
Bu
mp
ain- llwyd uwch ben- y lli.
3
p
p
239
17
Sop.
Picc.
Pfte.
19
Sop.
Picc.
Pfte.
21
Sop.
Picc.
Pfte.
p
p
Rhod
mp
io- glan y môr yr oedd wn,-
3
p
p
240
24
Sop.
Picc.
Pfte.
26
Sop.
Picc.
Pfte.
29
Sop.
Picc.
Pfte.
Medd wl- fyth am dan- nat- - ti;
Hed
mp
ai- cwm wl- -
p
o wy la
f
- nod- - Bu
mp
ain- llwyd uwch -
mf p9:6
9:6
mf
p
241
31 Sustained & less articulate, but e=e
Sustained & less articulate, but e=e
Sop.
Picc.
Pfte.
34
Sop.
Picc.
Pfte.
36
Sop.
Picc.
Pfte.
ben- y lli.
pp
3
legatissimo sempre
pp
3
3
3
mp
mp
3 3
Troe
mf
lli'n- - eb rwydd- - ar yr a dain-
3
5 5 5 5 6 6
242
38
Sop.
Picc.
Pfte.
40
Sop.
Picc.
Pfte.
44
Sop.
Picc.
Pfte.
Wnaeth
p
yr a - dar llwyd ddu- hyn;
pp
pp
5 5 5 5 6 6
Yn
p
y fan, yng ngo lau'r- heul - wen,
pp
3
5
pp
3
33
3
3
Gwe lir- hwynt yn ddis glair- wyn.
pp
3
pp 3
pp
3
3
3
3
3
243
48
Sop.
Picc.
Pfte.
50
Sop.
Picc.
Pfte.
52
Sop.
Picc.
Pfte.
mp 6 6
mp
3 3 6 6 6 6
Troe
mf
lli'n- eb rwydd- - ar yr a - dain
6
sim.
3
6 6 3 3
Wnaeth
p
yr a dar- - llwyd ddu- hyn;
3
5
pp 5 5 5 5
pp
6 6 3 3
244
54
Sop.
Picc.
Pfte.
57
Sop.
Picc.
Pfte.
59 More articulate (Tempo primo)
More articulate (Tempo primo)
Sop.
Picc.
Pfte.
Yn
p
y fan, yng
pp 5
pp
3
3 3
3
3
ngo - lau'r
3
heul wen,- Gwe lir- hwynt yn
3
33
ddis glair- wyn.
3
pp
3
p
with light sustain pedalling
245
62
Sop.
Picc.
Pfte.
64
Sop.
Picc.
Pfte.
67
Sop.
Picc.
Pfte.
p
3
Bu
mp
fy nydd - iau
p
p
3
4
gynt yn llwyd aidd,- A heb lew ych- yn y byd;
2
4
246
70
Sop.
Picc.
Pfte.
73
Sop.
Picc.
Pfte.
75
Sop.
Picc.
Pfte.
Twyn
molto cresc.
nodd- gwawl dy
molto cresc.
molto cresc.
9:69:6
6 6
gar iad- ar - nynt Gwyn a go lau-
3
3
9:6 9:6
9:6 9:6
ŷnt
ff
i gyd.
f pp
(
sfz
)
9:6 9:6
f
( )
mp
247
Very Colourful
Very Colourful
78
Sop.
Picc.
Pfte.
80
Sop.
Picc.
Pfte.
82
Sop.
Picc.
Pfte.
p 9:6 9:6
p
3
p 9:6 9:6
3 3
Bu
mp
fy nydd iau- -
3
p 3
p
3
4
248
84
Sop.
Picc.
Pfte.
86
Sop.
Picc.
Pfte.
89
Sop.
Picc.
Pfte.
gynt yn llwyd aidd,- A heb lew ych- -
9:6 5:6 9:6
4 4
yn y byd;
3
brilliante
molto cresc.
Twyn
molto cresc.
nodd- - - gwawl dy
molto cresc.
249
90
Sop.
Picc.
Pfte.
91
Sop.
Picc.
Pfte.
92
Sop.
Picc.
Pfte.
gar iad- - - - ar nynt- - - -
Gwyn a go lau
ŷnt
ff
i gyd.
f
5
f
250
93
Sop.
Picc.
Pfte.
p
mp pppp
(sffz )
( )
mp
251
252
A Postgraduate Submission for the Exaudi Workshop at Cardiff University (March 2013)
Amber on Black for solo SATB singers a cappella
MUSIC: GARETH HUGHES
WORDS: STEPHEN BOON
253
254
Programme Note
Poet Stephen Boon is a close friend of mine, whom I met whilst a university student in
London. His work draws on influences including Japanese Haiku, imagism and concrete poetry.
These influences can be seen in the work presented here. Haiku (and its shorter lived English
language counterpart – imagism) can capture a moment of universal truth with an economy of
language that often has an elliptical quality that does not always rely on standard syntax. Taken
further in concrete poetry, the way in which the words are arranged on the page, is intended to provide
meaning.
Amber on Black contains a set of poems which repeat a colour theme – amber set against a
black background. When asked about the title for the settings in Amber on Black, Boon explains...
“The colour combination has an elemental resonance. In our darkest past, humans tamed
fire. We were able to light the darkness. It was a fundamental step towards civilisation. As a
visual metaphor, it draws on the Platonic idea of turning from the cave wall to face the fire –
albeit in a much smaller and personal sense – and provides an atmosphere for this series of
poems”
Of the first poem in the series, Boon further explains...
“The syntax and rhythm of the poem, particularly the third stanza, were used to evoke very
personal impressions of a disquieting and unsuccessful late-night meeting as I travelled home
on the over ground section of the Hammersmith and City Line... the sparks served to
illuminate the difficulties I had in communicating and a fear that what was an intense
relationships was temporary and like other relationships would disappear as quickly as it had
come about.”
My vocal writing in Amber on Black is influenced by the avant-garde vocal works of György
Ligeti, Luciano Berio and Karlheinz Stockhausen. The vocal lines are effectively treated as musical
instruments and use a variety of extended techniques, including speaking, speech-song, whispering,
murmuring, inhaling and exhaling. Non-linguistic phonetic pronunciations are also used, words from
the poem are transformed and mutated and onomatopoeic effects add symbolic meaning to the sounds
and gestures created.
255
256
Pronunciation guide Vowels ː indicates length
˜ indicates nasality a as in cat, plait ɛ bed, death ɒ as in cordon bleu ɪ sit, myth, begin, theology ɒː Lyons i cosy, eerie, anemone, Spanish si ɑ French en ɒ hot, wash, trough ɑː French blanche ʌ run, son, glove, rough ɛ French vin ʊ put, good, should, ambulance ɛː French cinq ə ago, gather, flavour, cheetah, thorough, lemon,
success, mistaken ɔ French mon
ɔː French monde ɑː arm, calm, locale, brahmin œ French un əː her, earn, bird, spur, myrrh iː see, pea, seize, decent, fetus, paeon ɔː saw, ball, board, horse, thought, applaud Consonants and semivowels uː too, glue, fruit, route, through, shrewd ɛː hair, dare, pear, there, vary b, d, f, h, k, l, m, n, p, r, s, t, v, w, and z have their usual
English values. ʌɪ as in my, high, ice, sign, seismic, bonsai aʊ how, plough, sound, kraut g as in get eɪ day, gate, daisy, they, rein, deign tʃ chip, ditch, cello, Czech, culture, question əʊ no, cocoa, soul, roe, though, glow, beau,
mauve, yeoman dʒ jar, hedge, urge, logic, gentle, privilege, soldier
ŋ ring, bank, conquer, junction ɪə near, beer, theory, query, severe emir, grenadier θ thin, throne, birth, health, tooth ɔɪ boy, spoil, Freudian ð this, clothe, smooth, swarthy, Welsh neuadd ʊə poor, rural, dour, liqueur ʃ she, ash, chef, station, mission, spacious,
herbaceous ʌɪə tire, byre, choir, quiet, diaphragm aʊə sour, flower, coward ʒ vision, erasure, aubergine, bourgeois j yes, tune, new, eulogy ɑ as in French pas x loch, German ach, Spanish Rioja, Welsh chi e French été, Italian verde ç German nicht ɔ French homme, Italian donna, German Gott ʎ Spanish olla, llamar, Italian gli o French eau, mot, Italian figlio ɬ Welsh lliw, cell, hunllef u French tout ɲ French mignon, Spanish piña, Italian gnocco ø French bleu, German spötteln ɥ French nuit œ French bœuf y French du, German fünf eː German Ehre Other Symbols Employed oː German Boot øː German Höhle ɱ voiced labiodental/nasal œː French douleur ʀ voiced uvular trill yː German Führer ! tongue click aɪ German ein, frei ɔy German Häuser ui Welsh gŵyl, hwyl, wy Stress ˊ indicates primary stress on the following syllable ̋ indicates extra stress on the following syllable ˎ indicates secondary stress on the following syllable * This pronunciation guide is modeled on the guide which appears in The Shorter Oxford English Dictionary, vol. 1, A–M (2007, Sixth edition), xliii. ** Examples of Welsh-language syllables and non-European syllables (as listed under the heading ‘Other Symbols Employed’) have been added to the guide by the composer
˜ ˜ ˜ ˜ ˜ ˜ ˜
˜ ˜
257
Text in the Poem Phonetic (IPA) Spellings of the Text
Amber on Black
i
You talked. I. Trussed. Word buffeted word. Articulation derailed.
How to set emotion in motion?
Something is needed!
Gauge against which to track. Track upon which to set.
Sparks behind which to trace.
Illumination. Fast, or slow –
How was it for you?
ii
Damp mist at midnight:
a procession of street lamps all bowed with haloes
ambə ɒn blak
juː tɔːkd ʌɪ trʌsd wəːd bʌfɪtɪd wəːd
ɑːˎtɪkjʊˊleɪʃ(ə)n diˊreɪld
haʊ tuː sɛt iˊməʊʃ(ə)n ɪn ˊməʊʃ(ə)n ˊsʌmθɪŋ ɪz niːdɪd
geɪdʒ əˊgeɪnst wɪtʃ tuː trak
trak əˊpɒn wɪtʃ tuː sɛt spɑːks bɪˊhʌɪnd wɪtʃ tuː treɪs
ɪˎluːmɪneɪʃ(ə)n fɑːst ɔː sləʊ
haʊ wɒz ɪt fɔː juː
damp mɪst at ˊmɪdnʌɪt eɪ prəˊsɛʃ(ə)n ɒv striːt lamps
ɔːl baʊd wɪð heɪləʊs
In the score, English-language words/text from the poem are notated in ‘bold text’. Phonetic syllables (using IPA pronunciation) are notated in ‘plain text’. Phonetic syllables are occasionally notated in [square brackets] for clarity. In addition, certain words/syllables from the poem will occasionally have their phonetic spellings shown underneath in [square brackets] to provide an exact pronunciation.
258
NOTATION GUIDE:
Singing Voice (nat.)
Sprechgesang (i.e. “Speech-song”)
accurately pitched on 5 staves
Sprechgesang (i.e. “Speech-song”)
Sprechstimme (i.e. “Speech”)
Murmur
Whisper
Inhale approximately pitched
on 1 stave
Exhale
Inhale & Speak
Exhale & Speak
ADDITIONAL TECHNIQUES EMPLOYED:
ʀ
flz. - - - - - - - - - - - - - - - - - - -
ʀ ʀ ʀ ʀ ʀ
Hard flutter-tongue on “ʀ” syllable (voiced uvular trill)Articulated with the back of the tongue on the uvula
r
poco flz. - - - - - - - - - - - - - - - -
r r r r r
Soft flutter-tongue on “r” syllable (voiced alveolar trill)Articulated with the tip of the tongue on the alveolar ridge
! ! ! ! ! !
Tongue Clicks
ɑː
uː n m
Vowel or Consonant Mutations
259
Font Type
In the score, English-language words/text from the poem are notated in ‘bold text’ and phonetic syllables (using IPA pronunciation) are notated in ‘plain text’ as shown in the example below from the soprano line in mm. 1–3:
The word “Am-ber” is taken directly from the poem and sung in a conventional way on the first crotchet beat, followed by the syllables [a], [m] and [bə], which are sung phonetically, enabling the word to be split up into more than two syllables. Square Brackets
Phonetic syllables are occasionally notated in [square brackets] for clarity. In addition, certain words/syllables from the poem will occasionally have their phonetic spellings shown underneath in [square brackets] to provide an exact pronunciation, as shown in the example below from the alto line in m. 139:
This figure mixes phonetic spellings with text from the poem, so square brackets are notated on the syllables [iː] and [ʀ] for clarity. In addition, the phonetic spelling [ɔː] is shown underneath the word “or” from the poem to provide an exact pronunciation and to help show how that particular syllable should be mutated to and from [ʀ] and [iː] respectively.
260
Repeated Syllable Combinations
Repeated syllable combinations (similar to those seen in Luciano Berio’s vocal writing) are employed as shown in the example below from the soprano line in m. 133:
The syllable combination in brackets is repeated for the duration of the extender line, such that the above figure is shorthand for...
The performers must be careful not to mistake this way of notating repeated syllable combinations with whispering (which also uses stems and beams without noteheads). Vowel or Consonant Mutations on Repeated Syllable Combinations
Mutations on repeated syllable combinations sometimes occur, as shown in the example below from the bass line in mm. 154–61:
Here, the syllable combination [əʊ a] is mutated to [aʊ ɛ] and then back to [əʊ a] (i.e. in the first syllable of the combination [ə] is mutated to [a] and back; in the second syllable of the combination [a] is mutated to [ɛ] and back). This provides a quasi-electronic mutation effect.
261
Repetition of Long Syllable Combinations
When longer syllable combinations are repeated the notation system below (from the bass line in mm. 83–4) might be employed:
The syllable combination in brackets is repeated, such that the above figure is shorthand for...
Instead of having a continuous extender line after a single repeat symbol, the repeat symbol is duplicated on the exact beat which the combination starts on as many times as the combination occurs. Stems & beams without noteheads on glissandi In order to allow performers to keep track of the exact rhythmic values related to a glissando line it is sometimes necessary to notate stems without noteheads joined to the line, as shown in this example from the soprano line in mm. 113–4:
Due to a lack of notehead, a crotchet stem is the longest time-value that can be notated in such cases therefore multiple consecutive crotchets stems might need to be shown on a long glissando. However, it is possible to show time-values shorter than a crotchet (i.e. quavers, semiquaver etc...) through the addition of beams.
As with the repeated syllable combinations described above, the performers must be careful not to mistake this way of notating glissandi with whispering (which also uses stems and beams without noteheads).
262
Warm Expressive q = c.72
Amber on BlackMusic: Gareth Olubunmi Hughes
Words: Stephen Boon
i“Articulation Derailed”
SOPRANO
ALTO
TENOR
BASS
Rhythmic, Articulate (q=q)4
S.
A.
T.
B.
Am
f
ber-
3
a
mf
m bə
pp5 5
Am
f
ber-
3
n
mp3
bə
pp
Am
f
ber-
3
ɛm
mf (sprechgesang)
im
3
ɛm i m ɛ m
5
Am
f
ber-
3
ɛn
mp (sprechgesang)
n ɛ n
3
bla
p (speech)
ka ta ka bla ka ta ka ka la ka ba dla ka dʒa ka ka ja ka dʒa la ka dʒa ka ka ja ka dʒa
kɛ
p (speech)
tɛ dʒɛ tɛ kɛ aʃ aθ la bla θa ʃa kɛ tɛ dʒɛ tɛ kɛ
5 3 3 5
bə
(nat.)pp
mf (speech)
on
bə
(nat.)pp
on
mp(speech)
Black
gliss.
5
263
6
S.
A.
T.
B.
8 (e=e)
S.
A.
T.
B.
bla ka ta ka ka la ka ba
You
mp
talked.
gliss.
5
aʃ aθ la bla θa ʃa You
mf
jəʊ jəʊ
3 3
ak
sfz
kɛ
p
tɛ dʒɛ tɛ kɛ aʃ aθ la bla θa ʃa kɛ tɛ dʒɛ tɛ kɛ
5 3 3 5
sfz
bla
p
ka ta ka ka la ka ba dla ka dʒa ka ka ja ka dʒa la ka dʒa ka ka ja ka dʒa
3
sfz
I.
[ʌɪ]
p3
iː ɑː uː
3
jɔːkd
sfz
I.
mf
Trussed. tʌ
(sprechgesang)
rʌ ʌ s d
5
aʃ aθ la bla θa ʃa kɛ tɛ dʒɛ tɛ kɛ aʃ aθ la bla θa ʃa kɛ tɛ dʒɛ tɛ kɛ
3 3 5 3 3 5
bla ka ta ka ka la ka ba bla ka ta ka ka la ka ba dla ka dʒa ka ka ja ka dʒa la ka dʒa ka ka ja ka dʒa
264
(e=e)10
S.
A.
T.
B.
13
S.
A.
T.
B.
sfz
ʌ
sfz (nat.)
Word
mf
buf fet- ed- word.
(nat.)
Word
gliss.
buf fet- ed- word.
33
blak
sfz
Word
mf
buf fet- ed- word. Word buf fet- ed- word.
3 3
blak
sfz
Word
mp (sprechgesang)
buf fet- ed- word.
(nat.)
gliss.
Word buf fet- ed- word. Word buf fet- ed-
3 3
Word buf fet- ed- word. Word buf fet- ed- word.
3 3
mp
Word buf fet- ed- word.
265
15
S.
A.
T.
B.
17
S.
A.
T.
B.
w
mf
b f d w b f d w b f d w b f d w b f d w b f d w b f d
5 5 5 5 5 5 5
word. Word buf fet- ed- word. Word buf fet- ed- word. b θ t b θ t b θ t b θ t b θ t b θ t
3 3
6 6 6
Word buf fet- ed- word. Word buf fet- ed- word. b f t b f t b f t b f t b f t b f t
3 3 6 6 6
Word buf fet- ed-
(nat.)
word.
mf
d θ b w d θ b w d θ b w
5 5 5 5
Word
f
buf fet- ed- word.
(nat.)
Word
mp
buf fet- ed- word.
3 5
Word
f
buf fet- ed- word. Word
mp
buf fet- ed- word.
(nat.)3 5
Word
f
buf fet- ed-
word.
(nat.)
Word
mp
buf fet- ed- word.
(nat.)3 5
Word
f
buf fet- ed-
word. Word
mp
buf fet- ed- word.
3 5
266
19
S.
A.
T.
B.
21
S.
A.
T.
B.
ar tic- u- la- tion- de railed-
gliss.
6
ɑː
(mp)
tak jɑː lɑɪ ʃan
3
6
ar tic- u- la- tion- de railed-
gliss.
6
eː
(mp)
tɛk jeː leɪ ʃɛn
6 3
ar tic- u- la- tion- de railed-
gliss.
6
iː
(mp)
tɪk jiː
6
ar tic- u- la- tion- de railed-
gliss.
6
uː
(mp)6
ɑː tak jɑː lɑɪ ʃɑː
3
nɑː ʃɑː n
eː tɛk jeː leɪ ʃeː em ʃeː m
3
liː ʃɪn
3
iː tɪk jiː liː ʃiː
3
ŋ iʃ iː
3
tʌk juː lʌɪ ʃʌn
uː tʌk juː lʌɪ ʃuː ɲ
3 3
267
23
S.
A.
T.
B.
25
S.
A.
T.
B.
(nat.)
ar
f
tic- u- la- tion-
ar tic- u- la- tion- ar tic
sffz
- u- la
sffz
- tion-
6 66
(nat.)
ar
f
tic- u- la- tion-
ar tic- u- la- tion- ar tic
sffz
- u- la
sffz
- tion-
6 6 6
liː ʃiː ŋ
3
ar
f
tic- u- la- tion-
ar tic- u- la- tion- ar tic
sffz
- u- la
sffz
- tion-
6 66
ʃuː ɲ
3
ar
f
tic- u- la- tion-
ar tic- u- la- tion- ar tic
sffz
- u- la
sffz
- tion-
66
6
de railed- di
mf
r
poco flz.
di eɪld
eɪld
gliss.
5
de railed- di
mf
r
poco flz.
di eɪld
eɪld
gliss.
5
de railed- di
mf
eɪld di ʀ
flz.5
de railed- di
mf
eɪld di ʀ
flz.5
268
28
S.
A.
T.
B.
30Sensitive, Expressive (q=q)
S.
A.
T.
B.
ar
f
tic- u- la- tion- de railed-
gliss.
6
de railed
ff
-
6mp
gliss.
6
ar
f
tic- u- la- tion- de railed-
gliss.
6
de railed
ff
-
6mp
gliss.
6
ar
f
tic- u- la- tion- de railed-
gliss.
6
de railed
ff
-
6mp
gliss.
6
ar
f
tic- u- la- tion- de railed-
gliss.
6
de railed
ff
-
6mp
gliss.
6
pppp
pppp
How
mp
to set e mo- tion- iː m əʊ
3
e mo- tion
3
-
3
pppp
ɪn
mp
m əʊ ʃ
ən ɪn
5
pppp
How
mp
to set e
3
-
269
33
S.
A.
T.
B.
36
S.
A.
T.
B.
in
p
mo tion?
mf
-
pp
haʊ
mp
taː sat aː
53
iː m əʊ
3
e mo- tion
3
- on
(mp)
moː ʒon on
5
m ə ʊ ʃ
ən
5
həʊ
(mp)
teː sɛt eː məʊ ʃɛn eː
3
eː məʊ ʃɛn
33
mo - tion
pp 5
a ma ʊ m aʊ zan
(nat.)
zən
p
z
5
moː ʒon
5
ʒ
p
ən ʒ
eː
3
eː məʊ ʃɛn
3
ʃ
p
ən ʃ
ɪ
mp
nɪ m ɔ ɪ sɪn
(nat.)5
s
p5
270
39
S.
A.
T.
B.
42
S.
A.
T.
B.
(z)
3:2hgliss. 3
3
(ʒ)
3:2hgliss.
33
(ʃ)
* Where glissandi on unpitched syllables occur (such as [s], [ʃ] or [θ]), the singer should change pitch by changing mouth shape(i.e. “smile” or “grin” on the highest pitches and “pout” on the lowest pitches)
*3:2h gliss.3
3
(s)
*3:2h
gliss.
33
(z)
ppp
h
pinhale
h
exhale
ʃʌm
mp (murmur)
ðɪŋ
(ʒ)
ppp
s
pp
θ
(ʃ)
ppp tongue clicks
!
p
! ʃ
pp
ð
(s)
ppp
Some
mp (whisper)
thing- h
inhale
p
h
exhale
tongue click
!
271
45
S.
A.
T.
B.
48
S.
A.
T.
B.
s
pp * gliss. 3 3
(θ)
(pp) *
gliss.
3 3
(ð)
pppp
is
p
h
mfinhale
h
exhale
Some
p
thing- is
3
need ed!- ʃ
pp
gliss.
z
pp
gliss.
3 3
(s)
(pp)
pppp
n
pp
iː
5
Some
p
thing- is need ed!
5
- h
inhale
pp
h
exhale tongue click
!
mp
need
p
ed!-
(ʃ)
(pp)
pppp
n
pp
iː
5
(z)
(pp)
pppp
need
inhale &speak
pp
ed!
exhale &speak
-
5
272
51
S.
A.
T.
B.
54
Steady but gradually accelerating and building in intensityaccelerate from q = cc. 50 84 between mm. 55 83
S.
A.
T.
B.
Some
p
thing- is need ed!
5
- !
tongue click
(p)3
! !
pp
!
(p)
need
inhale &speak
ed!
exhale &speak
5
- Some
pp (whisper)
thing- is
3
need
gliss.
ed!- -
!
p5
is
inhale &speak
h
exhale
Some
pp (whisper)
thing- is need
gliss.
ed!- -
5
6
Some
p (murmur)
thing- is need ed!- Some
ppthing
-
3
need
ed!
- -
10:8e
tɑː
p
ak ɑːt ak tak
3
Gauge
mp
a gainst- which to track. r
p, poco flz. - - - - - - - - - - - - - - -
r r
3 3
273
57
S.
A.
T.
B.
60
S.
A.
T.
B.
63
S.
A.
T.
B.
Sparks
mp (whisper)
be hind- which to trace.
3
ɑːt
p
ɛk teː ak ɛ tɛk
3
h
p
h h h h h
3
Track
mp
up on- which to set. r
p, poco flz. - - - - - - - - - - - -
r r
33
r
p, poco flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
r r r r r r spɑː
3
r
mp, poco flz.3 3
gliss.
eːt
p
ɛɪs tɛɪs teː ɛɪs tɑː
(murmur)
aç ɑːt aç taç tɑː ɛtʃ
3
eːt atʃ
3 3
h
p
h h h h h Gauge
mp (murmur)
a gainst- which to tr
poco flz.
ak
gliss.
h
p
h
3
h h
3 3
ɑː
p
iː
mp,poco flz.
tr ak
gliss.
up on- which to set.
3
ks be hind- which to tr
poco flz.
ɛɪs
gliss.
h
mp
h h h h h h h
3 3 3
teː ɛɪθ eːt ɛɪʃ
3
tɑː
mp
ax ɑːt ax
3
h h h h
3
Gauge
mf
a gainst- which to track.
mp, flz. - - - - - - - -
ʀ ʀ
3 3
r
p, poco flz.
ɑː
gliss.
iː
274
66
S.
A.
T.
B.
69
S.
A.
T.
B.
72
S.
A.
T.
B.
h h h h h
(mp)
eː ɑː Sparks
mf
gliss.
be hind- which to trace.
35 3
eː ɑː ɑːt ɛks teː aks iː ɑː
3
h
mp
h h h h h
3
h h h h
3
Track
mf
up on- which to set. ʀ
mp, flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
ʀ ʀ
3
ʀ ʀ
33
mp, poco flz. - - - - - -
r r ʀ
flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
ʀ ʀ ʀ
3
tɛɪ ʒ
3
tɛɪ z tɑː
(mp)
as ɑːt as ɑːt ɛʃ teː aʃ
33 3
h h
3
h h Gauge
mf
a gainst- which to tʀ
flz. - - - - - - - - - - - - - - - -
ax
3
ɑː uː iː h h h tʀ
mf, flz.
ak up on- which to set.
3 3
Sparks
mf
be hind- which to tʀ
flz. - - - - - - - - - -
ɛɪs
gliss.
h h
5 3
tɛɪ ʒ
3
gliss.
z
mf
tɑː ɛx
mp
h h
3
h h h Gauge
f
a gainst- which to track.
3
mp, flz.
ʀ
ɑː
gliss.iː ʀ
mf, flz. - - - - -
275
74
S.
A.
T.
B.
77
S.
A.
T.
B.
h h h h
sa
f
pa ra ɑːks be hind- which to trace.
3 3 3
teː iː uː ak ʀ
flz. - - -
ʀ
mf, flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
h h
Track
f
up on- which to set. h
mf
h teː ɛɪs
3
mf, flz. - - - - - - - - - - - - - - - - - - - - - - - -
ʀ
gliss.
ɑː
f
sa pa eː rɛ ɑːks be hind- which to tʀ
flz. - - - - - -5 3
tɑː
(mf)
ɛks teː ɛɪʃ
gliss.
Gauge
f
a gainst- which to tʀ
flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
gliss.
ax
3
tʀ
f, flz.
ak
gliss.
up on- which to set. ʀ
mf, flz. - - - - - - - -
gliss.
3
276
79
S.
A.
T.
B.
Rhythmic, Mechanical, Machine-Like q = c.84
83
S.
A.
T.
B.
- - - -
ɛɪs tʀ
flz.
ɛɪs
sfz
tʀ
flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -3 gliss.
3 3
spɑː
f
ʀ
flz. - - - - - - - - - -
ɑːks
sfz
tʀ
flz. - - - - - - - - - - - - - - - - - - - - - - - - -5 5
tʀ
(f), flz. - - - - -
ɛx
sfz
tʀ
flz. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
gliss.
tʀ
f, flz. - - - - - - - - - - - - -
ak
sfz
tʀ
flz. - - - - - - - - - - - - - - - - - - - - - -
gliss.
3 3
aks
sffz
ak
sffz
tʃuː
f
tʃuː tʃuː
3
ak
sffz
h
f
h ʀ
flz.
tʃuː
(f)
tʃuː
3
Sparks
5xgliss.
ak
sffz
ʀ
f, flz.
h h ʀ
flz.
h h h h ʀ
flz.6
(ka
f
da ka tra ka ta)
3 3 3 3 3 3 3 3 3 3 3 3
277
86
S.
A.
T.
B.
89
S.
A.
T.
B.
92
S.
A.
T.
B.
sa pa ra ɑːks Sparks tʃuː
3 3 5
5x
ʀ
flz.
ɑː sa pa eː rɛ ɑːks tʃuː
35 5 3
h h h h
Gauge
ff
a gainst- which to tʀ
flz. - - - - - -3 3 3
3 3 3 3 3 3 3 3 3 3 3
tʃuː
3
ɑː
(f)
sa pa eː rɛ ɑːks sa pa ra ɑːks
5 5 3 3
(ta
(f)
ka tra ka ta ka da ka) - - - - - - - -
ax
tra
ff
ɑː iː ɪak up on- which to set.
3 3 3
(f)
sa pa ra ɑːks
3 3 3 3 3 3 33
3
tʃuː
3
ka da ka (tra
(f)
ka ta ka da ka)
3 3 3 3 3 3
(f)
f
h h h h ʀ
flz.
ɑː
ff
sa pa eː rɛ ɑːks be hind- which to tʀ
flz.6 5 3
tʃuː tʃuː
3
tra ka ta (ka
(f)
da ka tra ka ta)
3 3 3 3 3 3
278
94
S.
A.
T.
B.
97
S.
A.
T.
B.
tra ka ta ka
ff
tʀ
flz.
ak
sffz3 3 3 3 3 3 3 3
ta ka tra ka tak
ff
tʀ
flz.
ak
sffz
ɛɪs ta
f
ka tra ka (ta ka da ka ta ka tra ka) ta ka da ka rak
ff
tʀ
flz.
ak
sffz
ka da ka ta
ff
tʀ
flz.
ak
sffz3 3 3 3 3 3 3 3
tʀ
(ff, flz.)
gliss.
3
ɛɪs
sfffz
track
sfffz5 6
spɑː
(ff)
ʀ
flz. gliss.3
ɑːks
sfffz
trɛx
sfffz5
tʀ
(ff, flz.)3
ɛx
sfffz
Sparks
sfffz5 5
tʀ
(ff, flz.)3 3
3
ak
sfffz
trace
sfffz
279
100
Slowly, Warm, Atmospheric e = c. 63
(e=e sempre)
S.
A.
T.
B.
103
S.
A.
T.
B.
106
S.
A.
T.
B.
(No pause, count exactly five beats) ɪ
mp
ʃən Il lu- mi- na- tion-
(No pause, count exactly five beats) mɪ
mp
ʃən Il lu- mi- na- tion-
(No pause, count exactly five beats) luː
mp
ʃən Il lu- mi- na- tion-
(No pause, count exactly five beats) neɪ
mp
ʃən Il lu- mi- na- tion-
(mp)
neɪ ʃən Il lu- mi- na- tion- ɪ
(mp)
mɪ ʃən Il lu- mi- -
(mp)
luː ʃən Il lu- mi- na- tion- ɪ
p
l uː eː iː
3 3
(mp)
mɪ ʃən Il lu- mi- na- tion- ɪ
p
l uː eː iː
3 3
ɪ
(mp)
ʃən
gliss.
Il lu- mi- na- tion-
(mp)
luː neɪ ʃən Il lu- mi- -
na tion- luː
(mp)
neɪ ʃən
(nat.)
Il lu- mi- na- tion-
ʃn ɪ
mp
iː l uː mɪn eː iː
(nat.)
ɪ ʃə n
3
ʃn ɪ
mp
iː l uː mɪn eː iː
(nat.)
ɪ ʃə n
3
na tion- ɪ
(mp)
mɪ ʃən Il lu- mi
(nat.)
- na- tion-
280
109
S.
A.
T.
B.
113
S.
A.
T.
B.
ɪ
p
ɪ
p
uː luː eː iː ʃn
f
eɪ
p
ɪ
p
uː luː eː iː ʃn
f
uː
p
ɪ
p
uː luː eː iː ʃn
f
ʃ
f
n
p
ɪ
p
uː luː eː iː ʃn
f
iː
pp
simultaneous pitch gliss. &vowel/consonant mutations
uː mɪn eː iː ʃən
mf
gliss.
ɪ
mf
ɛ
mp
a ɛ
iː
pp
simultaneous pitch gliss. &vowel/consonant mutations
uː mɪn eː iː ʃən
mf
gliss.
l
mf
ʎ
mp
ɪ
iː
simultaneous pitch gliss. &vowel/consonant mutations
pp
uː mɪn eː iː ʃən
mf
gliss.
uː
mf
ʊ
mp
iː
pp
simultaneous pitch gliss. &vowel/consonant mutations
uː mɪn eː iː ʃən
mfgliss.
m
mf
281
116
(e=e)
S.
A.
T.
B.
121
S.
A.
T.
B.
ɪ
mf
y
mp
eː
mf
iː
mp
eː y ɪ
pp
ɛ
ppp
a
iː z ʒ
mp
ʃ
mf
s
mp
ɬ ɬ
ppp
l
pp
uː
oː ɔː ɑː ʌ əː
mf
uː
pppp
Fast a (as ta)
ppp, whispered
10:8
ɱ
mp
n
mf
ɲ
mp
ŋ ɲ n
mf
ŋ
ppp
ɲ n
ɑː iː
pp
y
ppp
eɪ
pp
iː
ppp
ɪ
pppp
(as ta)
(murmur)
or slow
(whispered)
accelerate over 4 e beats...
a əʊ
a əʊ a
Fast a (as ta)
10:8 10:8 6
m
pp
ɱ
ppp
n
pp
ʒ
ppp
282
125
S.
A.
T.
B.
128
S.
A.
T.
B.
aɪ
ppp
əː
pp
uː
fɛst ɛ (ɛs tɛ)
ppp breathy, almost whispered
10:8 10:8 10:8 10:8
(ppp)
(as ta)
slow a (əʊ a)
decelerate over 2 e beats...
(murmur)
Fast,
10:8 10:8 6
ʃ
pp
z
ppp
n
pp
pppp
slow a (əʊ a)
ppaccelerate over 2 e beats...
Fast a (as ta) slow a (əʊ a)
decelerate over 2 e beats...
610:8 10:8 6
[y]
p
or[ɔː]
[r]
poco flz.
slow
Il
mp
lu- - - mi- - - - - - - -
283
131
Colourful, Energetic(e = c.63)
S.
A.
T.
B.
134
(x=x sempre)
S.
A.
T.
B.
slow a (əʊ a)
p (speech)
decelerate over 4 e beats...
Fast a (as ta)
f
610:8 10:8
fɛst ɛ (ɛs tɛ)
(pp)
Fast a (as ta)
f, ord.
10:8 10:8 10:8 10:8 10:8
s
l ə uː
gliss.
Fast a (as ta)
f
10:8 10:8
na tion- - Fast a (as ta)
f
10:8 10:8
(as ta) or
mf
s
gliss.
l ə uː fɛst ɛ (ɛs tɛ)
f
10:8 10:8 10:8
(as ta) or
mf
slow
fɪst ɪ (ɪs tɪ)
f
10:8 10:8 10:8
(as ta) or
mf
s
gliss.
l ə uː fɒst ɒ (ɒs tɒ)
f
10:810:8 10:8
(as ta) or
mf
s
gliss.
l ə uː Fast a (as ta)
f
10:8 10:8 10:8
284
138
S.
A.
T.
B.
143
S.
A.
T.
B.
(ɛs tɛ) [iː]
mf
[ɔː]or [r]
poco flz.
s
l ɑː uː Fast a (as ta)
fdecelerate & accelerate over 5 e beats...
285
10:8 10:8 6
(ɪs tɪ) [iː]
mf, gliss.
[ɔː]or [ʀ]
flz.
s
l ɑː uː slow
accelerate & decelerate over 5 e beats...
f
a (əʊ a)
10:8 6
(ɒs tɒ) [y]
mf
[ɔː]or [r]
poco flz.
s
l ə uː slaʊ
accelerate & decelerate over 5 e beats...
f
ɛ (aʊ ɛ)
10:86
(as ta) [y]
mf
[ɔː]or [ʀ]
flz.
s
l ə uː fɛst ɛ (ɛs tɛ)
decelerate & accelerate over 5 e beats...
f
10:8 10:8 6
slow a (əʊ a) Fast a (as ta) Fast,
mf
[y][ɔː]or
[ʀ]
flz.
6 10:8
Fast a (as ta) slow a f
mf
ɑː s t
sffz
10:8 6
fɛst ɛ (ɛs tɛ) slaʊ ɛ f
mf
ɛː s
d
sffz
10:8 6
slaʊ ɛ (aʊ ɛ) fɛst ɛ (ɛs tɛ) Fast,
mf
[iː][ɔː]or
[r]
poco flz.
6 10:8
146
S.
A.
T.
B.
148
S.
A.
T.
B.
slow
(mf)
accelerate & decelerate over 9 e beats...
a (əʊ a) (aʊ ɛ)
6 10:8
Fast a (as ta)
mfdecelerate & accelerate over 9 e beats...
(ɛs tɛ)
10:8 6
mf
z s ɬ
l y əː
(mf)
ʃ s ɬ
l y ɑː
gliss.
(əʊ a)
(mf)
[iː] [əː] or[ɔː]
6
(as ta)
(mf)
[y] [eː] or[ɔː]
6 10:8
oː uː
gliss.
Fast a (as ta)
(mf)
decelerate over 5 e beats...
10:8 10:8
oː uː slow
(mf)
a (əʊ
accelerate over 5 e beats...
a)
286
150
S.
A.
T.
B.
152
S.
A.
T.
B.
[dʒ] [ʀ]
flz. - - - - - - -gliss.
slow
accelerate & decelerate over 9 e beats...
f
a (əʊ a)
6
[v] [r]
poco flz. - - - -
f
(mf)
v uː
(as ta) z
(mf)
s ɬ
6
(əʊ a)
(mf)
f
v uː
6 10:8
(aʊ ɛ) (əʊ a)
10:8 6
ɛː iː z s
d
sffz
l y ɑː oː uː
ɛː iː z s t
sffz
287
154
S.
A.
T.
B.
157
(x=x)x = c.126 or e. = c.42
S.
A.
T.
B.
Fast a (as ta)
ff
(ɛs tɛ) (as ta) z
pgliss.10:8 10:8 10:8 10:8 10:8
slaʊ ɒ (aʊ ɒ)
ff
(əʊ ɪ) (aʊ ɒ) or
p10:8 10:8 10:8 10:8 10:8
fɪst ɪ (ɪs tɪ)
ff
(ɒs tɒ) (ɪs tɪ) How
mp10:8 10:8 10:8 10:8 10:8
slow a (əʊ a)
ff
(aʊ ɛ) (əʊ a)v
p
gliss.
10:8 10:8 10:8 10:8 10:8
l ə uː Fast a (as ta)
mp
for you? How
pp (murmur)
was it for you? How
10:8 10:8
How
mp
was it slow
[iː]
p
[əː] or[ɔː]
[v] [r]
poco flz.
how
(p)
was it Fast
[y]
p
[eː][ɔː]or
[dʒ] [ʀ]
flz. - - - - -
gliss.
(murmur)
how
pp
ɑː s d
mf
slow a (əʊ a)
mpdecelerate over 4 e beats...
for
p
you?
6
288
160
S.
A.
T.
B.
162
S.
A.
T.
B.
165
S.
A.
T.
B.
was it for you? How was it for you? How
pp (whisper)
was it for you? How was it for you?
was it for you? How
pp (whisper)
was it for you? How was it for
was it for you? How
p
was it for you?
How
pp (murmur)
was it for you? How
(whisper)
was it for you? How was it for
h
mp
h ! for
p
you? !
you?
v
pp
ɔː How
p (murmur)
was it
h
mp
h !
pp
for
inhale &speak
you?
exhale &speak
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was it
you?
v
pp
ɔː !
p
it
for
inhale &speak
you?
exhale &speak
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was it for
gliss.
you?
for you? !
(p)
! !
pp
for you? How
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for
you?
h How
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was it for
gliss.
you?
289
290
GARETH OLUBUNMI HUGHES
“Eternal Owl Call”
for Kingma System Bass Flute & Electronics
291
292
Programme Note
Eternal Owl Call is a work which depicts the Celtic mythological fable of Blodeuwedd, a
beautiful maiden who is conjured from flowers and oak to marry a prince but flees and is
eventually transformed into an owl for all eternity as punishment for her sin.
It has been composed for bass flute with live electronic processing for
performance/recording by avant-garde flautist Carla Rees and the Rarescale contemporary music
ensemble. The computer algorithms have been created by the composer in order to add
electronically generated layers of sound and apply sonic transformations to the flute line through
a microphone and loudspeakers.
The piece is divided into four discernable sections:
1. In first section, looped electronic recordings of neotropical wildlife and an owl call play
in background whilst a subdued low-pitched flute melody plays in the foreground.
2. In the second section natural harmonics in the flute along with a cluster of electronically
generated bell-like harmonics symbolise perpetual judgement.
3. In the third section, breathy multiphonics and articulated air sounds in the flute are
sustained and ‘frozen’ through a long, atmospheric reverberation channel which is added
to the microphone signal – symbolising a trapped human being. A layer of electronically
generated pulses are also added in the bass – representing the heartbeat of a human.
4. The final section is a retrograde of structural material in the first section with timbral
modifications added; however, the long atmospheric reverberation channel remains,
adding a haunting, ghostly feel to the resulting sound of the flute melody and looped owl
call.
293
“Eternal Owl Call”GARETH OLUBUNMI HUGHES
Very Subdued, Melancholy, Sustainede = c.88
Bass Flute
Electronics
6
(q=q)
B. Fl.
Electro
11
B. Fl.
Electro
14
B. Fl.
Electro
Airy & Very Colouristicq = c.50
17
(q=q)
B. Fl.
Electro
ppp ppp
Looped neotropical ambience& frog samples fade in
1.01
ppgliss.
-25
pp
-25
Harmonized tawny owl call samplesemerge & random frequency modulationis added to the owl & frog samples
1.02
p
Ktr
Slow timbral trill on theC-key to produce a slightmicrotonal alteration
3
Random pan modulation is addedto the owl & frog samples
1.03
gliss.
3
Don’t wait for audio signalto completely fade out!
5 5
5
Audio signal fades out tosilence over 142.5 seconds
1.04Adds reverb + 7 delaytaps to the effects bus
1.05
dolciss.
mp
3
mp
3
mp
gliss.-35 -10
3
Bell-like additive synthfrequencies ring at repeatedintervals[building to a cluster-chord]
Partials of C3 (130.81 Hz)
2.01
+2 -14 etc... -14
Partials of D3 (146.83 Hz)
2.02
+2 etc...
294
23
B. Fl.
Electro
28
B. Fl.
Electro
32
B. Fl.
36
B. Fl.
Electro
38
B. Fl.
Electro
mp
-10 -35
mp e poco cresc.
-35 -103
Partials of Db2 (69.30 Hz)
2.03
+2 -14 -31
etc... Partials of Eb2 (77.78 Hz)
-31
2.04
-14 +2
etc...
mf e poco cresc.
-35 -10
gliss. up as much as possible
5
flz.
f
gliss. down as much as possible
3
Partials of F2 (87.31 Hz)
2.05
-14 +2 -31
etc... Partials of G2 (98.00 Hz)
2.06
+2 -14 -31 etc...
ord.
gliss. up as much as possible
(f)
Indeterminate multiphonics on harmonics,take deep breaths on rests
mf
Repeat figure until the new highpartials reach a constant level
9:8 5
-31
2.07+1
Adds an octave of clustered natural harmonicpartials above existing partials of C3 & D3
+41 +41 +1 -31
etc...
mp 3
Repeat figure until the looped bassline reaches a constant level
5
Adds a looped bass lineof deep bell-like pitches
2.08
etc...
295
41B. Fl.
Electro
44 B. Fl.
Electro
Atmospheric, Warm, Breathyq = c.46
47
B. Fl.
Electro
51
B. Fl.
Electro
56
B. Fl.
flz.
mf
-10 +15
pmf
-10
3 Repeat figure until the new highpartials reach a constant level
-10
2.09+5 -2
Adds an extra octave of clustered natural harmonicpartials above existing partials of C3 & D3
+28 +28 -2 +5 etc...
ord.
mp
5
mf
flz. -10
3 mp
ord.
Repeat figure until the additivesynths have completely faded out
mf
flz. -356
All additive synths in patch #2are gradually silenced and a ‘dry’tawny owl call sample crossfades in
2.10Sub-patch 2.11 should bestarted after the musicalfigure above has repeated once
Removes the reverb/delayeffects bus from themicrophone input signal
2.11
ord.lunga
pp mf pp
lunga
pp mf pp
mf
flz. mp
mf
mp
5 ord.
pp
mp pp
Solo flute withoutelectronic processing& ‘dry’ tawny owl callsample only
Flute multiphonic pitches are sustained using a long reverb/delay algorithm[building to a sound-mass], tawny owl call sample fades out
3.01 Adds reverb + 12 delay taps to the effects bus & microphone signal
Indeterminate multiphonics on harmonics,take deep breaths on rests
f3 3 mp ff p
p mf p
Sends a bass pulse &modulated sine wavesto the effects bus
3.02
gliss.
gliss.
etc...
Adds a variable combfilter to the effects bus
3.03
mf
flz.
mp
mf mp
5
mp
ord.
f mp
Indeterminate multiphonics on harmonics,take deep breaths on rests
f5
mp
D§ will not sound on f and ff dynamics
ff p
296
61
B. Fl.
Electro
63
Tempo Primo (Very Subdued,Melancholy, Sustained)The flute timbre in the final section is always eitherhollow sound (h.s.) or flutter tongued (flz.)
e = c.88
B. Fl.
Electro
67
B. Fl.
70
(q=q)
B. Fl.
Electro
74rall.
B. Fl.
78
B. Fl.
Electro
KaTah
mf
Articulated air sounds
Cha Ka Ti Ka Cha Ka Cho KeTeh Cho Ke Ti Teh Ke Che Ke
3 3 3 3
Crossfade: [modular synths] &[modulated nature sounds],the lowest pitched bass pulse is retained
3.04
Shhh
mp
Se Peh Shhh
Repeat figure until the modulated naturesounds are louder than the modular synths
5 pp
p
h.s. gliss. down as much as possible
3
53
5
Harmonized tawny owl call & neotropical nature sounds(with random frequency & pan modulation) crossfade in[Crossfade already triggered in sub-patch 3.04]
Simultaneousflutter & trill
p
h.s.
flz.
p
Simultaneous flutter & trill on the C-key
5
flz. + trill h.s.
gliss. down/up as much as possible
3 flz. (+ trill)
ppCrossfade: [modulated nature sounds]& [reverberated/delayed tawny owl callwith pitch bends]
3.05
h.s.
-25 flz.
pph.s. -25 flz.
ppp
h.s. flz.
ppp
h.s. flz.
Audio signal fadesout to silence…END OF SECTION
3.06
297
Summary of Electronic Patches Patch #1 – Fade In of Neotropical Ambience & Owl Call Consisting of the following sub-patches: 1.01 Looped neotropical ambience & frog samples fade in 1.02 Harmonized tawny owl call samples emerge & random frequency modulation is added to the owl & frog samples 1.03 Random pan modulation is added to the owl & frog samples 1.04 Audio signal fades out to silence over 142.5 seconds [Flute: Don’t wait for audio signal to completely fade out!] 1.05 Adds reverb + 7 delay taps to the effects bus Patch #2 – Cluster of Additive Synth Frequencies & Harmonics Consisting of the following sub-patches: 2.01, 2.02, 2.03, 2.04, 2.05, 2.06 Bell-like additive synth frequencies ring at repeated intervals (building to a cluster-chord) [Each additive synth consists of an array of up to 11 frequencies, comprising of the 2nd through the 12th natural-harmonic partial of a fundamental frequency (the fundamental frequency itself does not sound). Each individual node within the array consists of a sine wave at a given frequency controlled by a square wave amplitude filter. The maximum amplitude values on the upper partials are exponentially lower than those on the lower partials (i.e. the upper partials will be quieter than the lower partials). Also, the amplitude filters on the upper partials are exponentially quicker than the those on the lower partials (i.e. the bell-like peaks on the upper partials will ring more frequently). An EQ-based tremolo effect (using a resonant high-pass filter) at a randomly selected frequency-rate is also applied to the additive synths in each individual sub-patch – this creates a ‘psychedelic’ effect and prevents the lower frequencies in the accumulated cluster-chord from becoming too dense and overpowering] 2.07 Adds an octave of clustered natural harmonic partials above existing partials of C3 & D3 [The frequencies of prime numbered partials ring in order to avoid octave doublings (i.e. 7th, 11th & 13th partials of the harmonic series)]
298
2.08 Adds a looped bass line of deep bell-like pitches [There is no tremolo effect on the bass line!] 2.09 Adds an extra octave of clustered natural harmonic partials above existing partials of C3 & D3 [The frequencies of higher prime numbered partials ring in order to avoid octave doublings (i.e. 17th, 19th & 23rd partials of the harmonic series)] 2.10 All additive synths in patch #2 are gradually silenced and a ‘dry’ tawny owl call sample crossfades in Sub-patch 2.11 should be started after the musical figure above has repeated once 2.11 Removes the reverb/delay effects bus from the microphone input signal Patch #3 – Long Reverb Sound Mass + Nature Sounds Crossfades Consisting of the following sub-patches: Solo flute without electronic processing & ‘dry’ tawny owl call sample only 3.01 Adds reverb + 12 delay taps to the effects bus & microphone signal. Flute multiphonic pitches are sustained using a long reverb/delay algorithm (building to a sound-mass). Tawny owl call sample fades out 3.02 Sends a bass pulse & modulated sine waves to the effects bus 3.03 Adds a variable comb filter to the effects bus 3.04 Crossfade: [modular synths] & [modulated nature sounds], the lowest pitched bass pulse is retained Harmonized tawny owl call & neotropical nature sounds (with random frequency & pan modulation) crossfade in [Crossfade already triggered in sub-patch 3.04] [“neotropical nature sounds” includes: rainforest ambience, pigmy owl, water streams, swamps, other birdsong, long-tailed otter, neotropical frogs, insects (inc. mosquitoes, buzzing)…]
299
3.05 Crossfade: [modulated nature sounds] & [reverberated/delayed tawny owl call with pitch bends] 3.06 Audio signal fades out to silence… END OF SECTION
300
301