Lansing D. McLoskey. CATHERINE'S WHEEL for marimba & violin

Transcription

1 Lansing D. McLoskey CATHERINE'S WHEEL or marimba violin

2 Lansing D. McLoskey or Eduardo Leandro and Yeon-Su Kim CATHERINE'S WHEEL OR MARIMBA VIOLIN E R O R M A N C E N O T E S : Accidentals aly to the octave in hich they aear and hold throughout the measure, though in highly chromatic assages courtesy accidentals are given. q = q at all meter changes. = senza misura, or ithout measure. = subtone ( "grind tone"). By ressing the bo very hard and at an increased angle against the string, the resulting sound is extremely harsh and distorted, ith more noise than actual itch content. Aroximate duration: 1-1 minutes 2007 Odhecaton Z Music (BMI)

3 "...a sort o huge screaming uet rithing in rivulets o blood, a uet ith our tentacles, like a sea monster, o ra, slimy and shaeless lesh mixed u ith slinters o smashed bones." rom "Trelicher Bericht eynes scrocklichen Kindermords beym Hexensabath," Hamburg, 12th une 1607, describing a erson being executed on the heel. Though her existence is no considered aocryhal, St. Catherine as one o the most oular saints in the Middle Ages, and as counted among the ourteen most helul saints in heaven. She as a avorite subect o ainters, oets, reachers, and musicians, ell into the 20 th century. Legend has it that Catherine (aka "Katherine") as born in Alexandria o a noble amily during the reign o Maxentius (c Oct. 12). Converted to Christianity through a vision, she denounced Maxentius or ersecuting Christians. ity o her converts ere then burned to death by Maxentius. Smitten by the Catherine's beauty, Maxentius oered Catherine a royal marriage i she ould deny the aith. Her reusal landed her in rison. While in rison Catherine converted Maxentius' ie and to hundred o his soldiers. urious, he had them all ut to death. Catherine as likeise condemned to death. She as ordered to be "broken on the heel", a shockingly vicious and gruesome method o execution that as second only to hanging as the most idely used method o torture and execution across Euroe into the 17 th century. Hoever, hen the execution as to begin the heel broke, and lying ieces killed several o the executioners, soldiers, and bystanders. She as consequently beheaded, and instead o blood milk loed rom her neck. Her body as transorted by angels to Mount Sinai, here a church and monastery ere built in her honor. St. Catherine is venerated as the atroness o hilosohers, reachers, heelrights and mechanics. St. Catherine's as one o the voices heard by St. oan o Arc. Catherine's Wheel quotes several ieces o music about St. Catherine, including sniets o sixteen Gregorian chant melodies, the 19 th century hymn "aith o Our athers" (aka "St. Catherine's Tune"), and Gaude Virgo Katherina by the 1 th century English comoser ohn Dunstable.

4 Violin Temo animato # n alla guitarra» CATHERINE'S WHEEL izz. # arcon # n # n # # n # # n l n l n l l # l n l l Lansing D. McLoskey l # l n l # l Marimba # # n # n # # n # # n n n n b b b n # # 6 # n # n b b 6 b n n # n n # n b b b 6 b # Ï senza vibr. π A S M A S M S M π ( ) no cresc. c. 1"* c. 10" * The indicated second durations are only aroximations. layers may shorten or lengthen durations slightly as they eel. Changes beteen notes/chords in the violin should be as smooth as ossible. Odhecaton Z Music (BMI)

5 8 10" 8" 8" 10" 12" # # 8 π no cresc. B 1 B 1 Temo rimo Temo rimo n b» # # n» #. # b b a n # n Ÿ~~~~ # izz. # arco # n # n # # n o the string n n n # # n # U U Wait or violin to inish run, then roceed in temo

6 16 # n 16 # alla guitarra C S M C S M S M π π 10" 8" 7" 8" 6" 10" # # a # a 2 9" 6" 6" 8" 12" # # π b b» n n # # # n n # n n 2 # π n no cresc. - -

7 29 29 # ildly! n # # n (Notes do not have to be exactly even: ust lay the assages as ast as ossible.) b n # # # # n # b n # n n n # b # n # # Í D 6" 6" 6" # D # " ea. " ea. " 6" b b n n ẇ N b n b b n # # # # # n - -

8 6" 6" E» # Temo rimo sub. # # n # n 6 n # n # n # # E» Temo rimo # n # b # n # # n n n b b b 7 # n n 7 # n b n # b 6 # # n # n. #. n # n Í b b b n n.. b. b. b b b n b n b b n b b n n. b n b n # #. n b - -

9 1 # n n # 1 b # n # n n b n. b b # n # n. # 6 n # n # n # n # Ÿ~~~~~~ b n b n b b n b b. b 6 n n b b n b n - b - b - b b n b b b n b b b n n b ~~~~~~~~~~~~~ Glissando b b b - 6 -

10 9 # # # n n # n 9 n b b b b n n b n b b b Í b n b b n b n b b n b n Í b b 6 6 n # # n b n sub. b n b b n b b U # S U # n n # # n b # b b a n n b n b # n # m b b n izz. #. b # n arco # b # # # n b - 7 -

11 67 n # n. #. n # b n b b b # n. # n n n # # n # 67 Í b b n b n b n b b n b b b. b b b n G 71 G Lightly, dancelike n 71 # b # b n n b b b b b A b A n n n b b n n b b b sub. sub. b b n b b b b b - 8 -

12 7 7 n b b n n b b b b b b n b n # # #. 6 H. 79 Larghetto tranquillo» H 79 Larghetto tranquillo no cresc..» (very evenly)

13 88 88 ( ) b

14 100 π # # n no cresc. n b b n b n b ( ) accel. 100 accel. (no cresc.) 10 I 10 I π Start utting very slight accents on the octaves and octave dislaced notes. b b n n b n b b n n b n b b n izz. arco r Î

15 109» sub.. rit.» rit. sub.. r 109 π b n b (.) # # n n b b n b n b izz... arco ord. R Glissando K (sul G gliss, sul D remains on d) K» rit. sub. λ rit. sub.. r b izz... r

16 117 b n arco # # n π n b b n b n b. b b n b r. r L 121 L» rit. sub. λ 121 rit. sub. izz.... r.. r - 1 -

17 12. U arco π 12 U U. r.. r. M 129 M 129» sub.. λ sub. rit. rit. sub. b b n Ï Î r. sul ont b n. π b - 1 -

18 1 izz. N Tranquillo arco lautando. no cresc. #. # #. 1 semre N Tranquillo 17 # # # # # # # # # 17 b - 1 -

19 11. b 11 1 b #. # # # # # 1 b

20 19 # # # a n # O oco a oco accel. 19 O b oco a oco accel.. π oco a oco cresc. r. r 1 (» ) oco a oco accel. 1 oco a oco cresc. (» ) oco a oco accel.. R b b oco a oco cresc

21 17 17 S M (»ª ) * * oco a oco cresc.. oco a oco accel. to as ast as ossible b * At reh., violin lays at ithout any meter, hile marimba continues accelerando in. oco a oco cresc. 161 Marimba cue violin 1 # # n n b b n b n b Ï

22 16 ( ) # # n * * U U c.8" 7" U U DEO GRA- TIAS * As the violin and marimba are in dierent temi and do not align exactly during the last section, they ill not arrive at this cademce together. When both layers have arrived at the inal note, hold it or aroximately 8". The violin then dros out, leaving the marimba or aroximately 7 seconds