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Partitur Del 1 EN Joakim Sandgren Sinfonietta for Chamber orchestra Instruments and mutes Flute Oboe (cloth) B-flat clarinet, also Bass clarinet (cloth) Bassoon (cloth) F horn C trumpet (straight, cup, harmon) Trombone (straight, cup) 1 Percussionist * Piano Violin 1 (practice mute) Violin 2 (practice mute) Viola (mute) Cello (mute) Double bass Duration 13 minutes Score in C * Percussion and mallets 2 snare drums without snares (nails, rod sticks) Vibraphone (elastic, medium hard mallets) 1 large muted bass drum (small drumstick, gope mallets) 1 small muted bass drum (small drumstick, gope mallets) 1 large tam-tam** (heavy soft mallets) 1 small tam-tam** (heavy soft mallets) 4 wood drums (heavy soft mallets) ** the large and small tam-tam should lie on thick blanket covering a table Joakim Sandgren h = 80 Sinfonietta 1997 - 1999 A molto legato, vibrato e dolcissimo ∞ ` ~~~~~~~~~ 1 with a cloth ` ~~~~~~~~~ ∞ I b œ . 4 ˙ b œ b œ ` ~~~~~~~~~ 2 œ b œ œ ˙ œ Œ b œ œ ‰ b œ œ b œ ≈ Œ œ œ œ ˙ œ Ó Ob l & 2 l b ˙ l ˙ n œ l l l π F π π l F π % F cold, stiff, and non vibrato molto l straight mute half valve II ¶ norm. valve, d.t. 1) £ l 2 half valve Œ . Œ ‰ –j ≠ ‰ Œ Ó Œ – ≠ Trp & 2 # ≠ – – – æ # – – – l - - - l -˙ #_ œj - l - – l –j - l - l π> > > > > >- > > l poco l F poco π l l l l molto legato, vibrato e dolcissimo (valve) l l l ~~ l l (valve) l cup mute ` (valve) 2) £ ` £ £ ` ~~~~ l _œ _œ_ œ ~~~~~ l l b_ ˙ l _œ _œ l _œ _œ l I2 b œ œ b ˙ œ b œ b œ œ œ Trb l B 2 Œ l Ó l Ó l Œ l Œ Ó l π π π π l F l F l l % F l l molto across the drum, up to down (from rim to rim) l 2 snare dr. without snares tips of index fingers 3) 2 œ ∑ -------------------------->˙ œ Œ ∑ ∑ ∑ Perc l / 2 [ œ ] l æ æ l l l l l cold, stiff, and non vibrato F marcato ∞ l the slurs are phrase markings only ∞ ∞ £ II marcato,>- but not short >- >- on- the bridge >- >O- O >- l 2 ˙O œO . œO œK O ‰ . ˙ Ó Oj O ˙O œJ ˙ ‰ Œ ‰ œJ O Ó O O Vl 1 & 2 l œj œ l ˙ l l # œ ˙ l l >- >- poco F π l π cold, stiff, and non vibrato l poco l l l l l the slurs are phrase markings£ only l l £ l l l II marcato, but not short £ ∞ l 2 Œ l on the bridge marcato l l l O l Vl 2 2 Oj O O # w l & _O _O _O _O _O l ˙ _ _ _O l_O _O _O œ l ˙ ˙ _j O l - l _˙ _œ _œ _œ _œ - _ _œ _œ _˙ _œ _œ - _œ > l pocoπ >- >- >- l j - l >- > l >- l l F π> l molto legato, vibrato e dolcissimo l poco l l l l molto sul tasto ¶ £ ~~ l £ ` £~~ l l` ~~ l l ` £ l I œ b œ b ˙ œJ n œ n œ œ b œ 2 b œ ˙ œ b œ Ó Œ b œ ‰ Œ b ˙ # œj œ b œ Ó b œ ˙ œ b œ Ó Ó Vla l B 2 l l l l l l π F l π F l π l % π F l l molto l II cold, stiff, and non vibrato l l l l l secco bowings, do not mute with the£ left hand, £ l am2 frosch, marcato 4) l l l l l 2 Ó Œ ‰ Œ Ó Ó Ó Œ Œ Ó Vlc l ? _–j l _≠ l_≠ _– l _– l _– l π - - - poco > > > 1) Well-articulated double tongue on the consonants t and k as fast as 3) Singel-beat tremolo with tips of index fingers, pressed hard into the membrane while moving the tremolo across the drum, (from rim to rim) up to down. (perc) possible (like a tremolo). (trp) 4) The bow should be on the string (whole bow hair and with pressure) before and after the tone, but the string should not be muted by the left hand. 2) Trill on a quarter-valve, should result in a kind of bisbligiando trill. (tbn) The cello should continue to resonate after the end of the tone. Together with am frosch, bowing at a point near the bridge (only to make the string stiff; it should not sound sul h ponticello) and non vibrato, the result should be a clear, metallic tone, with an audible click at the beginning and end of the note (but the cello can resonate afterwards). (vlc) = 88 rit... (to 80) ∞ `dolciss. ~~~~~~ h = 80 6 ∞ ` I espr. b ˙ ˙ n œ 4 œ ~~~~ Ó ˙ œ b œ . ‰ b ˙ œ œ ≈ Œ œ b œ œ ˙ œ Ó Ob l & l l π l l l l π F % π F half valve l II ¶ norm. valve, d.t. molto Œ . æ Œ ‰ j ‰ Œ Ó Œ Trp l & ≠ # – – ˙ # œj – ≠ – – – –j >- - -– l - >- l >- >- l l -– ≠ l l > > l F π l l l > l poco dolciss. espr., (do not vibrate with the slide) ~ £ l l l ` £ (valve) l l ` (valve)~~ l £ _œ _œ b_ œ _œ _œ _œ I b ˙ ˙ œ œ # ˙ b œ b œ l B Ó l l Ó l Œ l Œ Ó l Trb l π l l π l π l l l F % F across the drum, up to down molto l ∑tips of index fingers ----------------------------------------->˙ œ Œ ∑ ∑ ∑ Perc l / l æ æ l l l l l marcato £ > ∞ ∞ ∞ > l II >- >- O- on the bridge -O O O O . O œK ‰ . Ó Oj O O Oj O ‰ Ó Ó œ ˙ Vl 1 l ˙ œ . œ ˙ # œj # œ ˙ # ˙ œ ˙ & l - >- l - - l l l l £ l F π l > > l l l II £ poco £ l O ‰ Œ l on the bridge marcato O l O O O l l l Vl 2 & ˙ O O œO # -œ ˙ # -œ œ wO l _œ _œ - l _˙ _ _ > l > _Oj l _O l - l l - - > l - j œ l -œ l w l > l > > F π > l l poco l l ¶ £ l ` ~~ l espr. dolciss. £ I ˙ œ b œ ` ~~ b ˙ œ b œ n œ œ b œ l Ó l b œ œ b ˙ l œJ œ ‰ Œ l b œ œ b œ Ó b œ ˙ l œ b œ Ó Ó l Vla l B l l l l &l π F π % π F l l l molto l l l secco bowings, do not mute with the left l l s.p., punta d'arco 5) l l l l II £ £ hand, am frosch, marcato £ £ l Ó ‰ ‰ Œ l ‰ Œ Œ l Ó Ó l Ó Ó l ∑ l Vlc æ l ? _–j l _˙æ j # œj l _– l _– l l >- F - >- To the conductor: π vi) The difference between dolcissimo and espressivo is that there is more of a "nucleus" to the i) The roman numerals I and II (also III and IV later on) have nothing to do with the second Vienna School's haupt- and nebenstimme, poco espressivo tone, and more vibrato wich increases with the crescendo to form a forward-leaning but are there simply to make it easier for the conductor to identify the musical groups/layers in the score. character. Dolcissimo ha more of a "misty" character, with less vibrato and a laid back ii) The percussion should blend into, and color group II:s "explosions", (everthing played in mf). expressivity, even in sƒz. iii) All glissandi should start immediately, but slowly, only to glide progressively faster towards the final tone. vii) sƒz is a soft, slow and drawn-out accent that goes only a shade above mƒ. iv) All instruments that have vibrato in their character should play with vibrato, even instruments that normally do not play vibrato, such as viii) All grace notes are to be played as short as possible and are always before or after the beat. the clarinet, trumpet och trombone. Espressivo has a greater vibrato than dolcissimo does. ix) Trills start and end on the main note, and should not be too fast. v) All phrases that have the character cold, stiff and non vibrato, and that have both accents and tenuto markings, shall be played marcato but not with short tones. x) Poco pp means less quiet than pp. The nuance should be soft, but must project into the room, The articulation can be seen as an extremely hard tongued legato (winds) where one presses throughout. One technique that can be helpful in playing the phrases outside of the instrument. This applies especially to the double bass at letters B, D, och F. is to make a somewhat less hard accent on the shorter notes. This is only to ensure that they are not too short. There should never be any short tones. 5) The entire bowhair should be on the string. The bow should not be played with too much pressure. This should result in a airy (much bowhair) sound with a clear ponticello character. Copyright © 2004 by Edition Suecia, Stockholm, Sweden SUE 523 The glissando should start immediately, but slowly, only to glide progressively faster towards the final tone. (vlc) 2 h = 72 acc... (to 80) h h dolciss.` ~~~~~ = 80 = 88 11 I espr. ∞ ∞ ` ~~~~ ∞ œ. ‰ b ˙ n œ ≈ Œ b œj n œ œ ˙ b œ ∑ Ó œ . Ob l & ˙ œ b œj l b œ œ b œ œ b ˙ ˙ œ l œ œ l œ l l œ b œj 4 l l π F π % π F π F ¶ molto l half valve norm.
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