GARETH OLUBUNMI HUGHES - Cardiff Universityorca.cf.ac.uk/87839/1/Gareth Olubunmi Hughes_PhD Volume...

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

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 1 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 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


Human Visions: “Civilisations” for Symphony Orchestra

11

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)


3 Suspended Cymbals (Low/Mid/High)


1 Sizzle Cymbal


1 Chinese Cymbal


1 Field Drum


1 Snare Drum


1 Piccolo Snare Drum


5 Tom-toms (Low—High)


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

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


p


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


pmp3

pizz.

p

pizz.

p


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


6

6

pedal notes

pp mp


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


With harmon mutes

mf

flz. - - - - - - - - - - - -

6


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


“Urban Wilderness” for String Quartet in two movements...

#1: “Apathetic Machines”

#2: “Utopian Mirror”

35

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


8 7 6 5 4

th

3 2 3 4

5 6

7 8


1 2 3

th

4

5

6


8 7 6 5 4

th

3 2 3 4

5 6

7 8


1 2 3

th

4

5

6


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


1 2 3 4

th

5

6

7


9 8

7 6

5 4

th

3 2 3 4

5

6

7

8 9


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


1 2 3

th

4

5

6

7


9 8 7 6 5 4

th

3 2 3 4

5 6

7 8 9


1 2 3

th

4

5

6

7


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


1 2 3 4

th

5

6

7

8


12 11 10 9 8 7 6 5 4

th

3 2 3 4

5 6

7 8 9

10 11 12


1 2 3 4

th

5

6

7

8


3 4

5 6

7 8 9

10 11 12

12 11

10 9 8

7 6

5 4 3

2


1 2 3 4

th

5

6

7

8


12 11 10 9 8 7

th

3 4

5 6

7 8 9

10 11 12

6

5 4 3 2


1 2 3 4

th

5

6

7

8


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.

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


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

nat.

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


3


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


mp

flautando espressivoI gliss. port.

p

sul pont.

p3

mp

sul pont.

port.

sul pont.

p

mp


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


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


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


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)


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


IV

mp e cresc.

6

harm.

9:6q

IV


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.


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

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dim.

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poco dim. pp

7 (nat.) sul pont.6 7 6

95

192

Vln I

Vln II

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195

Vln I

Vln II

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198

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q

IV

pp

harm.

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pp

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(pp)

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(pp)

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(pp)

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5

3 3 3 3

96

202

Vln I

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206

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210

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(pp)

(pp)

3 3

(pp)

3 viola solopizz. 5

3 3 3

(pp)

3

3

arco, sempre flautandoe molto espress.

3 5 6

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(slower gliss.)

poco cresc.

port

.

mp

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3(slower gliss.)

97

212

Vln I

Vln II

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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

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w.

(sp)

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(III)

pp (IV)

(II)

harm.

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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

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IV IIIIV

3

99

“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

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

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pp

3

3

Draw

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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

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ac

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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,



â


î â ŵ â ŵ â

3 3

â

pp e poco a poco cresc.

â

â

â


â

â


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

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f


â

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f

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mf in the foreground - - - - - - - - - - - - - - - - - - - - - - - - - - - -

y fro dded wydd- mae hen freudd wyd- ion-

3 3

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y

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112

28

I

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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 - - - - - - - - - - - - - - - - - - - - - - - - - - -


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

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freudd wyd- - - -

fro dded wydd- mae hen freudd wyd-

3 3

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pp

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- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

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pp

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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

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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

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115

34

I

S

II

I

A

II

I

T

II

I

B

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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

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- - -

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 - - - - - - - - - - - - - - - - - - - - -


3 3

â

p

â

â

p

â

3

3

3

3 3

3

3

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117

38

I

S

II

I

A

II

I

T

II

I

B

II

â

p

Byw

p

Byw

mf


3 3

Byw yn o- byth mae pob hen Byw

mf


3 3 3 3

eith ion- Byw yn o- byth mae pob hen Byw

mf


3 3 3 3

-

Byw

mf in the foreground - - - - - - - - - - - - - - - - - - - - - - - - - -

yn o- byth mae pob hen ob eith- ion,- Byw

mp


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


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


pp3 3

eith ion,- Byw

mf


pp

Yn

mf

o,- mae

33

3

eith ion,- Byw

mf


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

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mf

can- ion;-

3

ŵ uch

mf

el- am can- ion;-

3

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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


3 3 3 3

cyn nydd- uch el- am can- ion;- Yn

mp


3 3 3

uch el- am can- ion;- Yn

mp


33 3

can ion;- Yn

mp


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


p3

3

Yn

f


p3 3

Yn

f


p3 3

Yn

f


mp

â

p3 3

Yn

f


mp

â

p3 3

Yn

f


mp

â

p3 3

Yn

f


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


Ni

mp


Ni ddaw fyth i ddei fio- hon goll i- ffydd,




Ni

p


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


5 5 6



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


33 3 3

ff

Yn

f


33 3 3

ff

Yn

f


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;

-



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


fff

-

Syl

ff


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


p e cresc.

â

â


â

p e cresc.

â


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!-

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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




fe lly.- ŵ

pp pppp

fe lly.- ŵ

pp pppp

fe lly.- ŵ

pp pppp

fe lly.- ŵ

pp pppp

pp pppp

129

GARETH OLUBUNMI HUGHES & T. GWYNN JONES


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


[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


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-




mp

dolciss.

LH

And

dolciss.

sweet its pure, free breeze, and

And

dolciss.


And

dolciss.


And

dolciss.


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,




f

A

f

va- - - lon- it self- e mer- ges.-

A

f


A

f

va- - - lon- it self- e mer- ges.-3

A

f


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


3 3

soothe the fears of end less- a ges;-

p


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


3 3

There,

p


3

3

There,

mf


33

mp6 6 6 6 6 6

7 7 7

Ne

mp

ver- da maged,- ne ver- touched by faith less- ness,-

Ne

mp


Ne

mp


Ne

mp


7 7 7 7 7 7 7

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)







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 -




fff

ter

fff

nal- foun da- tions- for last ing- hopes;

ter

fff


ter

fff


ter

fff


ff

3

Where

mf

age ing- does not ex ist- one's

mf

Where age ing- does not ex ist- one's

Where

mf


Where

mf


mf

mf

140

36

S.

A.

T.

B.

Pfte.

38 q = c.80

q = c.80

Mysterious, Dreamlike


S.

A.

T.

B.

Pfte.

wor

ff

thy- peers And life long- breath of the

wor

ff


wor

ff


wor

ff


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 fa3

ded.- - -


ppp

9:8

9:8

144

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



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


mp

Draw

p


mp

148

5

S.

A.

T.

B.

Pfte.

7

S.

A.

T.

B.

Pfte.





mp

dolciss.

LH

A

dolciss.

ddêl i'w phur, rydd aw el,- a

A

dolciss.


A

dolciss.


A

dolciss.


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,




f

Yn

f


Yn

f


Yn

f

ys- A fa- llon- ei hun sy fe lly.-3

Yn

f


150

16 Bright

Bright

S.

A.

T.

B.

Pfte.

19

S.

A.

T.

B.

Pfte.

Yn

mf


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


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


3 3

Yn

p


3 3

Yn

p


3 3

Yn

mf


33

mp6 6 6 6 6 6

7 7 7

Ni

mp


Ni

mp


Ni

mp


Ni

mp


7 7 7 7 7 7 7

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.- -








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,-




fff

Syl

fff

faen- yw byth i'r sawl fynn ob eith- io;-

Syl

fff


Syl

fff


Syl

fff


ff

3

Ni

mf

hen eidd- iwn- tra'n no ddo- mae

Ni

mf


Ni

mf


Ni

mf


mf

mf

154

36

S.

A.

T.

B.

Pfte.

38Mysterious, Dreamlike


q = c.80

q = c.80

S.

A.

T.

B.

Pfte.

gwiw

ff

foes Ag an a- dl- ein ioes- y

gwiw

ff


gwiw

ff


gwiw

ff


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.


Yn

ppnat.


Yn

ppnat.


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


“Cwyn y Gwynt” (“The Wind’s Lament”) for Flute & Harp

inspired by Sir John Morris-Jones’s lyrical Welsh-language poem


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:


2. Galargan: “Dagrau ddaw...” (Elegy: “Tears Come...”)


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


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


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


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


“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


“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


1. Wilderness (Abstract)

2. Elegy

3. Dream (Abstract)

201

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:


2. Galargan


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



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


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


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


“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

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


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!



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


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


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

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

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

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


gliss.

6

eː

(mp)

tɛk jeː leɪ ʃɛn

6 3


gliss.

6

iː

(mp)

tɪk jiː

6


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-


sffz

- u- la

sffz

- tion-

6 6 6

liː ʃiː ŋ

3

ar

f

tic- u- la- tion-


sffz

- u- la

sffz

- tion-

6 66

ʃuː ɲ

3

ar

f

tic- u- la- tion-


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


gliss.

6

de railed

ff

-

6mp

gliss.

6

ar

f


gliss.

6

de railed

ff

-

6mp

gliss.

6

ar

f


gliss.

6

de railed

ff

-

6mp

gliss.

6

pppp

pppp

How

mp

to set e motion- iː m əʊ

3

e motion

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 motion

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


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


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- nation-

(No pause, count exactly five beats) mɪ

mp


(No pause, count exactly five beats) luː

mp


(No pause, count exactly five beats) neɪ

mp


(mp)

neɪ ʃən Il lu- mi- nation- ɪ

(mp)

mɪ ʃən Il lu- mi- -

(mp)

luː ʃən Il lu- mi- nation- ɪ

p

l uː eː iː

3 3

(mp)

mɪ ʃən Il lu- mi- nation- ɪ

p

l uː eː iː

3 3

ɪ

(mp)

ʃən

gliss.

Il lu- mi- nation-

(mp)

luː neɪ ʃən Il lu- mi- -

na tion- luː

(mp)

neɪ ʃən

(nat.)

Il lu- mi- nation-

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.)

- nation-

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


f

uː

p

ɪ

p


f

ʃ

f

n

p

ɪ

p


f

iː

pp

simultaneous pitch gliss. &vowel/consonant mutations

uː mɪn eː iː ʃən

mf

gliss.

ɪ

mf

ɛ

mp

a ɛ

iː

pp



mf

gliss.

l

mf

ʎ

mp

ɪ

iː


pp


mf

gliss.

uː

mf

ʊ

mp

iː

pp



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)


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)


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


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)


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)


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


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

How

p

was it

you?

v

pp

ɔː !

p

it

for

inhale &speak

you?

exhale &speak

How

pp

was it for

gliss.

you?

for you? !

(p)

! !

pp

for you? How

ppwas

for

you?

h How

pp

was it for

gliss.

you?

289


“Eternal Owl Call”

for Kingma System Bass Flute & Electronics

291

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


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


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

GARETH OLUBUNMI HUGHES - Cardiff Universityorca.cf.ac.uk/87839/1/Gareth Olubunmi Hughes_PhD Volume...

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