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Contemporary Music Score Collection UCLA Contemporary Music Score Collection Title La Fleur Du Ciel Permalink https://escholarship.org/uc/item/3s31v9qb Author Dietz, Christopher Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California CHRISTOPHER DIETZ LA FLEUR DU CIEL for string trio LA FLEUR DU CIEL for string trio: violin, viola, cello Approximate duration: 8 minutes Performance notes Scordatura tunings: Violin Viola Cello G-D-G#-E C-F#-D-A C-G-C#-A • Pitches played on the scordatura strings of each instrument are indicated with the following symbol: + • These scordatura pitches are notated as if the string on which it is being played is still in standard tuning. • To clarify any misunderstanding in relation to scordatura or harmonic notation, a score containing sounding pitches is supplied above the instructional notation. Notation: • Accidentals carry throughout the measure in the register in which they appear. • The notation utilized instructs the player as to both which open string to use as well as where to finger on that string: La fleur du ciel was composed for the East Coast Contemporary Ensemble and premiered at Le Moulin à Nef in Auvillar, France in July 2010. CHRISTOPHER DIETZ LA FLEUR DU CIEL for string trio (2010) The trio is a reflection on the passage from Camus posted below. “At the time, I often thought that if I had to live in the trunk of a dead tree, with nothing to do but look up at the sky flowering overhead, little by little I would have got used to it. I would have waited for birds to fly by or clouds to mingle, just as here I waited to see my lawyer’s ties and just as, in another world, I used to wait patiently until Saturday to hold Marie’s body in my arms.” Camus, Albert. The Stranger. Reissue ed. New York: Vintage, 1989. p.77. "J’ai souvent pensé alors que si l’on m’avait fait vivre dans un tronc d’arbre sec, sans autre occupation que de regarder la fleur du ciel audessus de ma tête, je m’y serais peu à peu habitué. J’aurais attendu des passages d’oiseaux ou des rencontres de nuages comme j'attendais ici les curieuses cravates de mon avotcat et comme, dans un autre monde, je patientais jusqu'au samedi pour étreindre le corps de Marie." Camus, Albert. L'Etranger (Collection Folio, 2). New ed. PARIS: Editions Gallimard, 1942. p.118. La fleur du ciel Part I Larghetto = 60 Christopher Dietz q ˙. œ œ œ œ œ Vln. 3 4 . œ œ . œ œ . 2 . 4 R . œ œ. œ œ. 2 & 4 4 R ‰ Œ R ‰ Ó R ‰ 4 R ‰ 4 ‰ J " Ó J " 4 P (sounding œ œ Vla. 3 4 R . œ œ. j œ œ. 2 #œ 4 œ œ. œ œ. 2 pitches) & 4 ! 4 ‰ J " œ œ . " J " 4 Œ 4 J " Ó J " Ó 4 P Vc. 3 4 œ œ œ œ œ œ 2 j 4 œ œ œ œ 2 & 4 ! 4 œ R ‰. œ R ‰. 4 œ œ . " 4 Œ œ œ œ 4 Part I P Larghetto = 60 Violin q r r r j j (G-D-G#-E) 3 4 r‰. Œ O O ‰. Ó O O ‰. 2 r‰. 4 O O ‰. O O . " Ó O O . " 2 & 4 O. 4 O œ œ œ œ 4 O O 4 œ œ œ œ . œ œ . 4 ˙* œ* œ œ . ** P O O 0 Viola œ œ œ œ. + (C-F#-D-A) B 3 ! 4 R ‰. j " J " j " 2 Œ O 4 j " Ó j " Ó 2 4 4 ** O O . O O . 4 œ 4 O O . O O . 4 P* œ œ . œ œ . œ œ . œ œ . O O O O O O O O O. O O O O O O Cello œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ (C-G-C#-A) ? 3 ! 4 ‰. ‰. 2 J " 4 Œ 2 4 4 ** R œO R 4 4 œO 4 * Unless otherwise indicated,P the notes in Part I are played without accent and sustain for the given duration without decay. ** A dynamic is generally maintained throughout Part I, although the highest voice in the texture should come out. P poco rit. molto rit. 7 a tempo œ œ œ œ. œ œ œ 2 . 4 œ œ . j œ œ. œ œ . 2 4 j œ œ . œ œ . 3 . 4 & 4 R ‰ 4 R ‰ œ œ . " J " R ‰ 4 J " 4 œ œ . " Ó R ‰ R ‰ 4 R ‰ 4 2 œ œ. " 4 Œ œ œ ‰. œ œ œ ‰. œ 2 œ ‰. Œ 4 œ œ œ œ ‰. œ j " 3 Œ #œ œ ‰. 4 & 4 J 4 R #œ R 4 R 4 #œ R #œ œ . 4 R 4 r 2 œ ‰. œ 4 j " ‰. Ó j " 2 œ 4 œ ‰. Œ j " j " Œ œ 3 œ œ. " 4 & 4 R 4 œ œ . œ œ œ œ . 4 œ 4 R œ œ . œ œ . 4 #œ J 4 a tempo 7 poco rit. molto rit. r j r r r 2 r‰. 4 O O ‰. j " O O . " O O ‰. 2 " 4 j "Ó O O ‰. O O ‰. 3 r‰. 4 & 4 4 œ œ O O . œ œ œ œ 4 j 4 O O . œ œ œ œ 4 4 œO œO œ œ . œO œO . œ œ . œO œO œO + O + + + r 2 j 4 r O r 2 4 œ O r O O. 3 4 B 4 . " 4 Œ ‰. œ ‰. 4 r‰. Œ 4 œ ‰. œ œ. " 4 Œ œO œO ‰. 4 œO œO . œO œO œO œO œO œO œO œO œO œO œO J O O O O. O O O O O O O. O + ? 2 œ œ 4 œ œ. œ œ 2 œ œ 4 œ œ œ. œ 3 O j 4 4 R ‰. 4 J " R ‰. Ó j " 4 4 R‰. Œ J " j " Œ 4 œ O O . " 4 œO œO . œO œO . œ œ ©2010 Christopher Dietz. All Rights Reserved. 2 molto rit. a tempo a tempo 14 œ œ œ œ œ. œ œ œ œ œ. œ œ œ œ 4 R . 2 œ 5 R . 4 œ œ . J 2 . 4 R . œ œ . 5 & 4 ‰ R ‰ 4 Œ 8 ‰ 4 Ó R ‰ " 4 R ‰ 4 ‰ R ‰ 8 œ 4 œ œ. 2 œ œ . 5 œ. œ. 4 j ˙ ˙. œ. 2 #œ 4 œ œ. œ 5 & 4 J " Œ 4 R ‰ 8 J " 4 œ œ . " J " 4 Œ 4 J " Œ 8 4 Œ œ œ œ. " 2 j " 5 Œ. œ 4 œ œ œ ‰. œ œ ‰. Œ Œ œ 2 j " 4 Œ œ œ œ. " 5 & 4 J 4 œ œ . 8 4 R R 4 œ œ . 4 J 8 14 a tempo molto rit. a tempo r r r 4 ‰. r‰. 2 Œ O 5 ‰. 4 Ó O O ‰. " 2 r‰. 4 ‰. O O ‰. 5 & 4 r 4 œ 8 r 4 œ œ œO j 4 4 œO œO œ œ 8 œO œO œO œO œO. œO œO œO œO . œO œO O 0 + 4 œ 2 5 4 œ œ. 2 4 5 B 4 j " Œ 4 r‰. 8 j " 4 J " j " 4 Œ œO 4 j " Œ 8 œO œO . œO œO œO. œO . ˙O ˙O. œO . œO œO . œO O O O. O O O O O O O O. O ? 4 œ j 2 œ œ. 5 . œ 4 œ œ . œ œ . œ 2 œ œ. 4 œ j 5 4 Œ œO œO . " 4 J " 8 Œ 4 œO R ‰ R ‰ Œ Œ 4 J " 4 Œ œO œO . " 8 molto rit. a tempo 21 œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ. œ 5 J 2 4 œ œ . R . R . R . 2 . 5 R . 4 & 8 " 4 ! 4 R ‰ ‰ ‰ ‰ 4 R ‰ Œ 8 ‰ 4 œ œ œ œ 5 œ. #œ 2 j 4 œ œ. R . #œ œ . R . 2 #œ nœ 5 œ. œ. 4 & 8 4 œ œ . " 4 J " Ó ‰ Œ R ‰ ‰ Œ 4 8 J " 4 5 ! 2 œ œ 4 œ ‰. œ œ œ. " #˙. œ. " œ œ. " j " 2 #œ œ 5 œ ‰. ‰ œ 4 & 8 4 4 R J J J œ œ . 4 8 R 4 molto rit. a tempo 21 r O O O 5 j 2 4 O O œ r œ œ 2 5 4 & 8 O. O . " 4 ! 4 ‰. r‰. O O ‰. R ‰. 4 r‰. Œ 8 r‰. 4 œ. œ . œ œ O O O œ œ O O O O. O 0 œ œ œ œ œ œ œ. œ + + + 5 2 œ œ. 4 O O r O O 2 5 4 B 8 œO 4 J " 4 j " Ó œ œ ‰. Œ œO œO ‰. œ œ ‰. Œ 4 œO 8 j " 4 œO. œO œO . R R œO œO. œO . O O. O O O + . + O O O ? 5 ! 2 œ 4 œ ‰. œ j " ˙O. œO. " j " œ œ " 2 œO œ 5 œ ‰. ‰ œ 4 8 4 œO 4 R œO œO . J œO œO . J 4 8 R 4 3 28 œ œ œ œ œ œ œ œ œ œ œ. œ 4 œ œ . œ œ . R . 5 R . 4 œ œ . & 4 Ó R ‰ R ‰ R ‰ ‰ Ó Œ R ‰ Œ 8 ‰ 4 Ó R ‰ œ ˙.
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