Appo181029stemmat Score

32 874

Jukka Tiensuu

Appo

Concerto for recorder and orchestra

2017

No part of this publication may be copied or reproduced in any form or by any means without the prior permission of the composer

Distribution: Music Finland Music Library th Urho Kekkosen katu 2 C, 6 floor FI-00100 Helsinki Finland [email protected] www.musicfinland.fi

Helsinki, 2018 $SSR

for

Recorder and Orchestra

-XNND7LHQVXX Jukka Tiensuu: $SSR a concerto for Recorder and Orchestra ,QVWUXPHQWDWLRQ Recorder soloist 2 flutes (1st also piccolo, 2nd also bass flute and piccolo) 2 clarinets (2nd also bass clarinet) 2 bassoons horn in F trumpet in C percussion (vibraphone, frame drum, bass drum, duck call) strings 3HUIRUPDQFHQRWH 1RWDWLRQ traditional staccato, relative to the note length and to the musical character staccatissimo, always very short regardless of the written note length ņ tenuto, play the note to the full written length (only, no accent is intended).

o al niente, let the sound die away completely. The glissandi are played continuously during the indicated time (not portamento). Note-stems without head in the middle of a glissando are for orientation only, they are not to be articulated. For non-slurred glissandi, make a slight articulation on the (normal-sized) end note (preferably without changing the bow direction). Small gliss. end notes (in parentheses) are approximations. If combined with a dim., simply let the sound "disappear" around that note. $OODFFLGHQWDOVapply to the remainder of the measure, but are sometimes repeated to facilitate reading. x z A quarter-tone sharp and flat, respectively. t For a single note: a sixth-tone flat (relating to the 6th over-tone, the "pure" minor seventh). t u For a multiphonic: direction of deviation. N.B. all multiphonic notations are only approximations to the actual sound. tr All trills start on the main note. They continue till the end of the note even when this is tied over for several bars. Exaggerately wide, slow vibrato. a (loud) kiss, no voice added, just a quick sucking before separating the lips. The brass players could also perform this by a quick sucking of air through the instrument. The woodwinds may find an articulation to imitate the kissing sound. Highest / lowest pitch you can play "properly" (considering the given dynamics). recorder: sputato, flute: tongue ram, clarinet: slap tongue, bassoon: pizz. strings: Spazzolato, "brushing": Keeping the bow on two adjacent strings move it rhytmically along the length of the strings going from ponticello to tasto and back again (with no sideways pull). Keep the bow on string as long as the spazzolato continues. An accented staccato note indicates a sudden stop, which can be emphasized by making a cresc. on the preceding "glissando". strings: Excessive bow pressure.

strings: Accents on harmonics should be produced by faster bow, not by adding bow pressure. 6SHFLILF DOOZLQG For the production of multiphonics and other extended wind instrument sounds, refer to the books by e.g. Mikko Raasakka (clarinet), Pascal Gallois (bassoon), Douglas Hill (horn) - or simply ask the composer. EDVVRRQ: The bassoonists might find an extra reed handy for the "reed only" -sounds. Bassoon multiphonics are only two per player, so they can easily be learned by heart, and thus their suggested fingerings are only given in the perfomance notes in the bassoon part. KRUQ: "bird call": extremely high squeak; "sucked (kissing) sound": play sucking using the horn as amplifier (indefinite pitch). SHUFXVVLRQ In the beginning of the piece the percussionist plays a relatively low sounding hand held frame drum and dances around the forward marching soloist - both players naturally adapting their movements to the beat and the character of the music. 6RORLVW: Choice of instruments is left to the player's discretion as long as the written pitches (octave ranges) are respected. bars 33-47: turning should be a full body turn, not just an upper body "twist". &DGHQ]D: Should be relatively short - not longer than a minute - improvised "beatboxing" starting (on tenor recorder) from the sputato bar model, showing hopefully a plethora of possibilities of the recorder on the way and developing it to a seamless connection with the bar right after the cadenza (on alto recorder). E.g. start inserting little by little some quick trills and high tone repetitions when approaching the end of your cadenza. Keep the pulse steady throughout. Appo was commissioned by Eero Saunamäki $SSR for Recorder and Orchestra

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