Liviu Marinescu HARMONIC FIELDS. for chamber ensemble version 1

Transcription

1 Liviu Marinescu HARMONIC IELDS or chamber ensemble version

2 INSTRUMENTATION lute Clarinet in Bb (transosed score) Percussion Piano Violin 1 susended cymbal (including a bo) ood blocks tom-toms bass drum vibrahone To other versions o this ork are available: version 2a, or lute, clarinet in b lat, sorano saxohone and iano, and version 2b, or lute, oboe, clarinet in b lat, and iano or more inormation visit: liviumarinescucom PERORMANCE INSTRUCTIONS starting ith measure 72 all clusters in the iano are chromatic, to be layed on both the hite and black keys in measure 10, the iano and violin should gradually move about an octave higher, by going through random itches in measures 11 and 122, the ianist may start the glissando on the strings rom any itch in the high register o the instrument

3 Most debates on the meaning o harmony in music ill have to acknoledge the great heights reached in the estern orld during the tonal era Once e ste back a bit, the notions o harmony and togetherness in music gain ne meanings, ultimately revealing a much more comlex henomenon One could see harmony as more than unctional tonality, and even more imortantly, a lot more than ust homohony or a series o chords In a broad sense, harmony in music has been around or as ar back as e can imagine, and in many cultures, has coexisted quite haily ith unctional tonality The discussion on ho to achieve a state o harmony through sounds should alays begin ith the general understanding that musical ractice is irst and oremost a communal aair Comosers, erormers, and conductors exlore and enoy the art o music by seeking a sense o common urose In a general sense, they seek harmony even i only temorarily as they try to extend this sense o togetherness to their audiences as ell Harmonic ields reexamines the meaning o a e erennial concets, such as concord and consonance At the oundation o this ork there are our tyes o situations: areas built using modes derived rom the irst 1 artials o a lo C undamental (adusted to C, D, E, #, G, A, B, B), sections ocused on the remaining our itches (D, E,, A), textural segments reely ritten in a heavily chromatic idiom, and brie serial eisodes or much o the iece, all attemts to mimic the C artials in their natural order are interruted by moments o itch uncertainty Toards the end hoever, harmonic coherence is attained hen the roer coniguration o the C overtone series sloly aears in its natural order, thus roviding a sense o ocus and clarity The main goal as to ork ith very simle archetyal concets like consonance vs dissonance or ulse vs non-ulse in order to create moments o dearture and return rom a state o harmonic unity Liviu Marinescu's orks have received recognition in numerous estivals o ne music throughout the orld, and have been erormed by rominent orchestras and ensembles, including the Cleveland Chamber Symhony, Czech Bohuslav Martinu Philharmonic, Orchestra 2001 in Philadelhia, as ell as the National Chamber Radio and Music Academy orchestras in Bucharest His debut at the Bucharest International Ne Music estival hen he as 21 years old, as noted by the Parisian nesaer Le Monde de la Musique, hich described one o the concerts he coorganized ith other young comosers and artists as being inventive in its evolution, content, and substance, and romoting an anti-conormist vie Soon ater, the Bucharest nesaer Actualitatea Muzicala acknoledged that Marinescu not only has the intelligence and maturity exected rom a modern artist, but also the ability to exress himsel through sounds in a convincing ay In the US, his music has been raised by numerous ublications, including The Philadelhia Inquirer, Washington Post and Los Angeles Times, hile the critics o The Strad, Strings Magazine, and Ne York Concert Revie recognized its real exressive oer and attractive rhetoric, maestic assertiveness, and startling moments His orks have been recorded and released by Navona, Centaur, and Castone Records and ublished by the American Society o Comosers While in Bucharest, his early orks continued the exloration o heterohony, sound mass, and microolyhony olloing Edin London's invitation to study in the US in 199, Marinescu develoed a groing interest in the distortion and tisting o established comositional orms and ractices, through the use o arahrases and quotations More recently, his interest in exloring acoustic instruments in combination ith electronic sounds has led to the develoment o ne sonic gestures, and the creation o a more ersonal musical language Liviu Marinescu has taught a ide range o comosition and theory courses at the Colburn Conservatory, Concordia College, West Chester University, University o Maryland, and Cleveland State University, and has been a visiting roessor at the Trondheim Conservatory in Noray, Palacky University in the Czech Reublic, and the National University o Music in Romania Since his 2002 aointment as coordinator o music comosition and theory at Caliornia State University Northridge, Dr Marinescu has received numerous aards and grants rom the ulbright Commission, the American Music Center, ASCAP, Meet the Comoser und, and the romm Music oundation at Harvard University

4 l lute Clarinet in Bb Percussion Piano Violin Violoncello VIBES # # q» b b # 90 (hold edal don as indicated) O Ȯ (hold edal don as indicated) # O b # HARMONIC IELDS b Ȯ Ȯ b O O O O O O O O Ȯ O O b Ȯ O O Ȯ # Liviu Marinescu O O O O O O Ȯ O O O O O 2010 Liviu Marinescu All rights reserved O O Ȯ 1 O

5 l 12 R t t l 19 # b b b b b b O Ȯ b b b O b b O b b b b Ȯ O bb O O b b O Ȯ 2 O # n # b b Ȯ O b b b b # b #

6 l 2 l 1 # # b b # # # B # b # # # b B # b b t t # # # # # b b b # b

7 l B l 9 unison/color trill unison/color trill n # b n b n b b # # # # # n b b b b b n # # n n # # # # 1/2 Ped, molto legato # # b n b # b # b n # b b # n # # n # b n # b 7 n b # n # n # b # b b b # b n 7 # (hold edal don as indicated) b n

8 l l 2 b b b b b b b b b # # R r # # b # % b b $ # b n n # b # b secco (no edal) t BASS DRUM b b b # b b b b # b b b n

9 l 0 # b # # # # # # unison/color trill [B - C] Ÿ~~~~~~~~~~~~~~~~~~~~ # n unison/color trill Ÿi [C-Db] ~~~~~~~~~~~~~~~~ l 2 # b n b b b b # b # # ŸI [G#-A#] ~~~~~~~~~~ b b b # # b b # # # b b b b b b # n [A#-B] Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # n b # ~~~~~~~~~~~~~~~~~~~~~~~~ b Ÿi [Ab-Bb] b #

10 l # b # n b b b b # l 8 # b # # n # # b b b b b b b b b b b b b b b b # b b b b unison/color trill # b b b # # # n n n 7 unison/color trill b b #

11 l b # n # b # # n n 2 # n 1/2 Ped, molto legato 7 # # n # n 7 # # # n # # # n # b # # # b n 7 n l # b n b # # b b b n n b b n n b b n 9 n b # b n # n b # n # b n b 8

12 l b # # n b # n # n # b n b b b n b # b b n # # # b l n # n 7 b # # n b b n n b # n # b b n b b R n W BLOCKS b eté izz BASS DRUM secco (no edal) gliss b b b b b b b # b b n b # n 9 # R b n b n b b b b b b b b # # b b # b b # b b b n b R n b b b b # n

13 l 70 b b R # VIBES ( mallets) b # b b b b b # # b b b b b n l 7 # # t # b b # n ##n b R b b # b b R n b # n Ÿ~~~~~~~~~ # # arco 10

14 l 78 b n b b bb ~~ b n # n # n n b b b b b # # b # b l 81 b # n # # # n n # # # b 1/2 Ped, molto legato b n b b b b n # b # n # # # n n n b b b n b b b 11

15 l 8 b b b b b # # # # # # # b # b b # ## b b b l 8 b b # # t b n n b b n b b b # b n # b # n # # # b n n b # n # b b b n b b # b n 12 b n # # b [#-G] Ÿ~~~~ [C-D] # Ÿ~ Ÿ i [Ab-Bb] ~~~~ [D-E] Ÿ~ b Ÿi ~~~~ Ÿ~ b ~~~~ # ŸI [#-G#] Ÿ~~ [Gb-Ab] [C-D] [C-D] b b # Ÿ i [G-Ab] ~~~~~~ [#-G] # Ÿ~~~~~~

16 l 90 b b b n # b b # b b # n n n b b b l 9 b b n b b b b n b bb b # R # b b # 1

17 l 97 b b b b n # # # # b # n # # b # n # b # n b 1/2 Ped, molto legato b n # b # n # b # # b # # b b # simile l 99 b # b # b b # n # # # b n b n b b b # b b n # n # b n # # bn # b n n b # bn b Ȯ 1

18 l 102 Ȯ # Ÿ~~~~~~ Ÿ~~~~~~ # 7 b b b # b TOM-TOMS # b # b $ izz secco (no edal) # BASS DRUM b b b l 10 b # b b b # b b # b # n # # b n b b n b b b # ($) # # b # b 1 # # # # # b b b b b b n # b b b #

19 l 108 b # b # # # b t b b n n BASS DRUM TOM-TOMS b # ($) b $ b # b b non vibr # molto vibr non vibr n # b l 11 # # b # b # # # # n # # # n n # # b ($) b # n # b # # # b b b n b # b b b b # 1

20 l 11 b t SUSP CYMB # # # b # # # scratch n b n # n # # gliss on the strings # # # b b n n b b # $ # b n TOM-TOMS b n n b secco (no edal) # l 118 b b b BASS DRUM TOM-TOMS b b n n b b b # b scratch SUSP CYMB ($) b b n # # b b # b b n # b n b # b b # n b 17

21 l 121 b TOM-TOMS b # b b b [#-G] Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~ # # b gliss on the strings b b n b $ $ ~~~~~ # b n b Ÿi [Gb-Ab] n bb n n b # # eté n b # # # b b # b # # b b b R n secco (no edal) l 12 # b ($) b TOM-TOMS BASS DRUM b b b # # b # n b # b U U U U U U U 18 b n b b b BASS DRUM W BLOCKS b # izz gliss # b secco (no edal)

22 l 127 # b b W BLOCKS b b R b b BASS DRUM b b b # b l b 10 b b # # b b # b n b b b # # b b # b n b 2 2 # # b 19 # b izz b b # # n n b b n # b b b b b n # R b # b ord b b b n eté # b # b n

23 l n b b b n 1 n b n # # n # b n b # b # n # # n l ord # b b arco 18 # # b arco # n r # R # b r# # n n n # # # # # VIBES # # # 20

24 l 12 # # [C-D] Ÿ~~~~~~~~~~~~~~~~~~~~~ # l 1 t t b # 21 # [G#-A] Ÿ~~~~~~~~~~~~~~~~~ # # # # #

25 l 10 b [#-G] Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ # b b b # # # l 1 b b # # # b # b [C-D] Ÿ~~~~~~~~ Ÿ~~~~~~~~~~~~ # 22

26 l 18 ~~~~~~~~~~ # # # [B-C] Ÿ~~~~~~~~ [B-C] # Ÿ~~~~~~~~~~~~ Ȯ O O O l 12 b b b b b b b b # b n b # # # # b 2 b

27 l l b 17 b # n n b b b b # b # n n b b n b b b b # # b # # b n # n b b # # # # # b # # # b # b b # # b # b 2 b b b # b b b b b

28 l 17 b # b b b # b # b b b b b b # b # # # b # b b # # # # b l 179 b b b n # b # # # # n 9 b b b n b b n b b n b b 2 # # # # # b b b b b # # t t

29 l 182 l # # # 2 # 18 # b b # # b # b # b b # b # b # # # b b b b # 2 n # # # # b b n b n b b b b # b # # # # b

30 l l 189 b b b # 19 b # # # b # b b # # b # b # # b b # b n n b b # # b b b b b b b b b b b 27

31 l 200 b luck string BOWED SUSP CYMB l b O 207 unison/color trill O b bo O b Ȯ b bo b b VIBES b BOWED SUSP CYMB O O b O O O b bȯ b O O O Ȯ 28

32 l 21 b b b O O b O O l 221 b bo O Ȯ b bo U b U U U U b O O b O O b O U O O O O b bȯ O O UO 29