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Biologie Littorale Des Mers Temperã©Es Santa Clara University Scholar Commons Music College of Arts & Sciences 2008 Biologie Littorale des Mers Temperées Bruno Ruviaro Santa Clara University, [email protected] Follow this and additional works at: http://scholarcommons.scu.edu/music Part of the Composition Commons Recommended Citation Ruviaro, Bruno, "Biologie Littorale des Mers Temperées" (2008). Music. Paper 32. http://scholarcommons.scu.edu/music/32 Violoncello solo [ca 6’30”] Premiered by Frank Cox at the Center for Computer Research in Music and Acoustics (CCRMA), May 24, 2009. This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. This Score is brought to you for free and open access by the College of Arts & Sciences at Scholar Commons. It has been accepted for inclusion in Music by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Bruno Ruviaro Biologie littorale des mers temperées (2009) music for violoncello solo Acknowledgements Cello and Orchestra (1976) by Morton Feldman, mm. 1-6; Sonata for Cello (1960) by Bernd-Alois Zimmermann, p. 8, m. 3; Adagissimo (1983) by Brian Ferneyhough, mm. 3-5; Adagissimo (1983) by Brian Ferneyhough, mm. 19-20; Les mots sont alées (1979) by Luciano Berio, half of last line; Cello and Orchestra (1976) by Morton Feldman, mm. 166-169; Cello and Orchestra (1976) by Morton Feldman, m. 73; Kontra-Punkte (1953) by Karlheinz Stockhausen, mm. 52-53; Sonata for Cello (1960) by Bernd-Alois Zimmermann, p. 5, m. 11; Kontra-Punkte (1953) by Karlheinz Stockhausen, mm. 188-190; Adagissimo (1983) by Brian Ferneyhough, m. 12; Kontra-Punkte (1953) by Karlheinz Stockhausen, mm. 88-89; Etwas ruhiger im Ausdruck (1967) by Franco Donatoni, m. 100; Etwas ruhiger im Ausdruck (1967) by Franco Donatoni, m. 101; Etwas ruhiger im Ausdruck (1967) by Franco Donatoni, m. 99; Sonata for Cello (1960) by Bernd-Alois Zimmermann, p. 6, m. 1; Also, thanks to cellist Séverine Ballon for valuable advice in the initial stages of the composition. Performance notes Accidentals apply only to the note before which they are written. Exception: when a note is immediately repeated in the same register, the first alteration is valid for these immediate repetitions (for example, beginning of m. 38). Vibrato may be specified as follows: molto vibrato, poco vibrato, senza vibrato (or abbreviations such as m.vib., poco vibr., etc). Sometimes a bracket is used to clarify beginning and end of the vibrato: the vibrato then applies only to the notes under the bracket. An ascending or descending arrow after a vibrato mark indicates a gradual increase or decrease of the vibrato, within the duration indicated by the bracket (note that these arrows associated to a vibrato mark do not mean any kind of overall glissando). For example, the "molto vibrato" on the first note of m. 55 should quickly decrease to a less intense vibrato, the same action being repeated for the second note. An indication such as "slow and narrow vibrato" (m. 70) specifies both components of a vibrato: speed of vibration and amount of pitch change around the center pitch. A "wiggly line" may appear in conjunction with these vibrato marks simply as a visual aid. "Parenthetical interruptions" should be interpreted in the same way as in written and spoken language: "an amplifying or explanatory word, phrase, or sentence inserted in a passage; a remark or passage that departs from the theme of a discourse." The raw material of the piece is a pool of fragments of sometimes disparate stylistic origin. The tendency for a discontinuous flow is already embedded in the very nature of such material; as a counterbalance, the performer should strive to bring out aspects of continuity in the music (through latent associations, dormant correspondences etc), not only between neighboring fragments but also across larger sections of the piece. These are not quotations: recognizability of any given fragment is not sought nor expected. The work is not exactly a collage, either. The step of devalorization (negation of the value of prior organization of expression) is here followed by a step of revalorization of these fragments into newly organized and meaningful connections. It is perhaps a way of creatively examining the potential malleability (or resistance) of different musical materials when subjected to higher temperatures. Bruno Ruviaro 2009-02-14 minor revisions on 2009-09-09 Biologie littorale des mers temperées I. A little after before Bruno Ruviaro, 2009 = 56 q senza con sordina sord. Violoncello solo ! , ,! #+-! ! , +, $/- , ! ,! +, $ ,! ) " ( " $ " . $ " $ . " pp extremely quiet 3 molto arco sul pont. q = 90 vibrato poco vibr. 3 7 5 pizz. 5 3 5 * 1 4 2 , 11! 64 , 1- , ) ) " 0 . +1 0 ( , +1 , 071 0 ! " " 3 ! +- ! ord., % 1III+IV1! /1 mf I II II pp I II vibr. p II sul tasto e = 44 con calore 12 (vibr.) 6 1 6 ) " 1! +1 1 "1 # 1 "1 "1 +1 1 1!! & # % % 8! 8 71 #1 % 1 8!! % 3 3 7:4 ppp pp pp mf 3 mp pp animato 3:2x 5:4y 5:4x 16 3:2e 5 6 3 3 6 716 1 1 /1 /1 ) # # /1 9 11 1 ' % #1 1 1 /1 1 più calmo " ;6: /1 1 +1 pp mf p sf poco p mp in mp q = 68 q = 56 18 5 arco 1 1 1 1 <1 = = = = = = /= = /= = ) ' 71 71 71 71 71 0 71 !+1 1 +1 1 #+1 1 + 1 1 + 1 1 ! " /1 3 % " % 1 p very quiet mf6 ppp 21 pizz. = = = = = ) ! 1 +1= 1 +/1= 1 $ 1 +1= 1 +/1= ! ) # % " ( %71 71 1 /1 1 % mp6 6 6 6 6 e = 136 q = 90 pizz. 24 4 5 4 5 4 7 arco +1 1 715! 716: 716: 716: 716: 71? 1 71 1 1+1 1! ) # . 8! 1! " 8 > 8 8 8 8 /1 +1 # % 1 " espressivo molto % 71 /1klingend f +p1 pp pp fp pp mf 2 = 44 e = 120 e 29 pizz. arco arco /1 1! 1 /1 : legato +1 3 ; +1 +1 ? * /1 /1 71 ) 1+1 +1 +1 +1 ( ) /1 @ 0! 1 1 9 8 > ;+1+1 1 8 9 sfz +1 # p61! ppp p f 5 3 poco p mp f e = 120 33 pizz. pizz. pizz. pizz. pizz. arco ? pizz. pizz. pizz. pizz. ? 71 ?A ; ; ? +1 ; ) @A /1 1 B> @ +1 A +1 ) 9 9 ( B> B> 9 9 9 /1 9 1 8 @ 8 B> 9 > 8 1 1 sfp sfz sfz 1 mf mfB B> f; f f sfz f arco h = 60 legno battuto 35 : 33 : : : 71 : /1 1 71 /1 +1: : : /1 C /1: C /1 /1: /1 ) " 0 +1: 0 0 /1 0 0 0 0 0 0 0 /1 0 0 0 3 0 0 0 0 0 $ 3 : C ppp /1: arco ord. sul tasto (non vibr.!) 36 15 /1 71 71 /1 ) /1 C /1 3 /1 /1 C /1 /1 3 0 /1 0 3 0 3 0 /1 0 3 0 0 0 3 0 3 0 /1 0 3 0 C 0 0 C 0 pppp 3 3 /1 3 /1 legno sul pont. 37 33 /1: : : : /1: : +1: +1: : /1 : +1 : 3 : 71 ) /1 0 0 0 0 0 0 : 0 1 C +1 0 C 3 0 +1: /1 0 0 0 0 0 0 0 71 0 $! 1 +1 /1 &' pppp : : arco spiccato e = 134 legno 38 pizz. legno D : legno battuto batt. batt. 2 @ 3 4 5 4 @ 5: : : : : : : : 1: :/1 1 D#pp1 D 1 1 1:71 7171 1 D ) $! 9+19#1"1 89 1 71 71/1 1118# +1 " +1 /1 # " # # # &' 3 +III1# :# : " p @A " 11 III Spitze: : : : : : pp pp /1 Spitze "1 1 : "1 1 pp 3 #1 /1 pp: : : : mf pp : p p pp f attacca II. Just after 3 q = 140 rall. arco poco s.p. sul tasto 39 pizz. pizz. 3 5 3 1 1 1 1 1 $A ) ) # . 8! @ 0 . ( 8+1! 0 1 8 +1! 1! ( 1 +1 " 1 3 71 ! " 1 3 /1 /11 1! 1! "+, % f f ; mp ; 5 q = 80 poco accel. q = 90 pizz. II 3 43 molto 3 senza vib. 5 ; ; ; ; vib. C /1 1! 1 +1!! +1 ! ) # /1 1!71 +11 +1 1 $ 1! 1 ' (% . 8 1 0 8 %%% 1 " " 9 " 1 %%%%%%% 1 sfz p mf 1 3 5 mf f in mp & 3 f mf f f ' f affretando arco legno 46 col legno legno batt. sul pont. con sordina flautando, legato 5:6 5 7171 ) ' . " E . 0 +1 1 "1 /, 1 ! " , +, "/1 1: +1: 1: 3 " pppp p: 1 mf (relatively inaudible, but : action should be visible) q = 116 q = 88 sul tasto 51 ord. senza poco vib. pizz. sord. +1 ? ) ! 1 1 1 1 (1! # 1 "/1 9 9 1 9 9(1 9 ( " " 1 1" (1 8 " . 0 1 1 1 , 1 11!80 ! (1 " 1 " 7 "1 * 1 1 ! sfp ( "1 7 sfp* mf; pp p * sfz espressivo molto f * q = 58 arco ord., legato m.vib. m.vib. e = 116 55 pizz. pizz. arco ; ! ; ! 3 vib. +1) 1 1!) +1 1 ! +;1 ? ? ? ? ; ) > /1/1 0 . 0 # 9 9 A A9 A99 @A9 8 A8/19"18#1$ 5 * % B> @ @ @ @ > > > % 7 1 *3 +1 f /1 1 B B B mp 5 * p6!) (1 1 (1 sfz (1 (1 mf mf f poco p sfp sfz f; f; sfz f = 116 h = 78 e jeté jeté 59 col legno arco ord. (non vibr.!) legno pont. sul tasto ;: gliss. ; 1 : :71 : : 71 1/1 1 1 /1 1 ) $ 971 /1 9 " " # # +1(1 "1 "1 "1/1 " $ F : ( &# % $ #1 (1 % 1 F % sfz ppp 15:16 sfz pp in p 4 e = 180 (cæsura) 62 arco ord.
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