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2008 Biologie Littorale des Mers Temperées Bruno Ruviaro Santa Clara University, [email protected]

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Recommended Citation Ruviaro, Bruno, "Biologie Littorale des Mers Temperées" (2008). Music. Paper 32. http://scholarcommons.scu.edu/music/32

Violoncello [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 , 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 , half of last line; Cello and Orchestra (1976) by Morton Feldman, mm. 166-169; Cello and Orchestra (1976) by Morton Feldman, m. 73; Kontra- (1953) by , 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 , 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. 1 1 +1/1 /;1: 71 171 171 171 1711711711711 * C 71/1 71 /1 ; ; &# 8 8 8 89 8 1: +1: 8 ) " ( % 71* " / 1 3 3 mp f mf quasi f molto

q = 140 poco rall. q = 130 (senza vib.) 63 pizz. 5 3 (gliss) 3 5 * 4 +1! 1! ;1: ; /1 1 1 1 ; 1 1 ;: : ! ! ) 1 ) " ( 8 /1 1 C 8 0 . 71 1 0 " 71 71 1! p 3 ff expansive ; mp

III I poco rit. 5 66 arco 1 3 ,4 +1 /1 71 71 5 ! /1 ) ( = 7= = =! 0 7= = 7= /1: = +1 / , , 1! 7 , , /= 7 ,! f; sub. pp p

q = 70 slow and narrow vibrato poco s.p. poco s.p. molto s.p. (...) 3 70 ord.! " ! " ! " ! 3 3 7 +, 1 - , +1 1 - , ) 71 # 11 71 " ,!! * *3 G # ( . " 71 371 1 ./1 ,! " * *3 * * .! " pp pp * * * * mf pp mp ppp* extremely* quiet

q = 85 ord. 5 spiccato 76 3 : 6: : : /1 /1 +1 71 : 1: +1 : G # /1 1 71 /1 71: : ) 1 71 1: 1 8 8 8 8 8 8 8 8 8 8 meno "1: "1: 61 1 1: "1: "1: ; f f;somewhat aggressive; ; ; meno; f; f q = 80 (mm. 86-90: parenthetical interruption) legno batt. ("x" notehead: dampen strings with left hand 86 to produce an unpitched legno batt. attack) sul pont. : : : : : : : : : :C : : : : C C ) 0 C 0 /1 0 C 0 C C 0 0 C (1 . . 71 0 . /1 0 "171 :C 0 # +1 (1 "1 /1 "1 "1 "1 % ppp I "1 I I I 0 I 0 0 I I 0 0 0 I I I I I 0 I I I 0 I 0 0 /01 I 0 0 0 0 3

q = 82 arco 91 sul tasto ) # # /1 #1 71 #71 #71 /1 "1 +1 1 1 1 1 (1 " % E " #1 1 ( " ( " " ppp molto flautando "

q = 154 q = 106 97 ord. ; ; 71 /1 1 71/1 1 1 71 1 ;1 /;1 1 1 ) "+1 10 ! 1 1 9 1 1 8+ 1 1 ( # 8 8 " 1! " 1 1 1 1 agitato +1 1 1 1 3 3 f f cresc. poco rall. 99 ;6 ;6 ;6 6 1 71 1/1 1: 1: ;16: 1: ;16: 1: 16: 1: 16: 1: 1: 1: 1: 1: 1: 1: 1: : : : : : H ) && ( 0 8 /1 171 1 1 0 % % f 3 ff suddenly retreating

III. A different before q = 56 legno q = 70 sul tasto con sordina (practice mute) 102 jeté 13:12x sul tasto : : : : : 71 /1 , +- /1 /1 ,71 , : , : , , ! ! ) && " : 8 8 /1 8 /1: /1 8 ! # ) ! % E " . . . . . +1 > " $ " 1 (short fermatas) pp extremely quiet mp

106 3 , +, /- ) ! . $ , ! ,! $ # " $ " +, $ - $ 6 A tempo q = 90 arco sul pont. q = 90 poco rit. poco vibr. 110 molto vibrato senza sord. legato 3 3 5 +1 (...) 3 +1 /1 " !! * 4 5 ) # 1 1 3 /1 ))" +1 $ /1 1 . 0 " . 3 0 ( /1 +1 +-, 1 3 # 1III+IV! , /1 II 5:4e 3:2e ! I , , p l.h.; action only; I ! poco (r.h. removes p f p sordina at the same time)

ord. con calore (vibr.) 114 3 slow, narrow vibrato 3:2q 5 ! " ! " ! " (...) " 3:2q 7 4 , - ) 1 1 1 1 16 ) +1 "1 "1 " +1 J 0 #/1 !! @ ( , 3 " 71 #1 , 7,, I+II 6 mf pp

pizz. e = 136 q = 90 118 7 64: 65: 64: 65: ?4 71 1! 71 71 71 71 71 1 1 +1 ) @ 1! 1 " > +1 1 1 1! 71 " 8 8 8 8 8 /1 +1 1 espressivo molto /1 klingend f +p1 poco fp pp mf pp

e = 44 e = 120 3:2e arco pizz. 3:2x 122 (pizz.) /1 1! 1 +1/1 71: ? (pizz.) 6 arco ;1 * 71 1 /1/1 ) 1+1 # " /1 9 0 # 8 # /1 9 3 1 % " %animato 1 1 /1 1 /1 # 31 5 3 6: p sfz ; poco mp mf p sfz in mp in mp

5:4y 5:4x q = 68 (very long fermata: 126 6 at least 4-5 seconds) 5 ) 1 1 1 ' C 0 / ! più calmo " 1 1 1 1 1 % /1 1 +1 1 +1 +1 +1 +1 +1 p mp senza decresc. mp .

q = 56 128 poco sul pont. sul tasto saltato ) ! # ! C C ! C : : : : ) # % 1! 1 " ,! % 1 1! 1 % 1 1 1 1 1 % 1 1 +1 1 +1 1 +1 1 +1 1 1 +1 1 +1 1 31 +1 #1 +1 #1 ppp extremely quiet, legatissimo pp: : : : 7 e = 120 pizz. 132 pizz. arco arco ord. ? 5 ? 71 @A /;1 ; ? +1 /;1 ) # 9 @A 9 /1 9 9 B> 9 9 9 /1 8 @A 8 1 9 > 8 ) > " % 1 ( B> /1 +1 > B B $ sfz sfz ; sfz B mp fp +61: mp sub. mp f;

h = 60 legno sul pont. 134 : 15 = 71: : /1: 71 /1: /1: : ) " 1: /1 /1 /1: /1 /1 /1: $ : : /1 p /1: :

arco sul tast. 135 33 (legno s.p.) spiccato /1: : : : /1: : C+1: : ) /1: 0 0 0 0 0 0+1 : 0+1 1 C +1 0 0+1: /1 0 0 0 0 0 3 0 0 0 $! /1 1 +1 /1: 3 &' pp: : 71: /1:

= 134 e arco arco 136 jeté D 6: pizz. legno ord. 2 @ 3 batt. @ D 1 D 5: : : : : : : ) $! +1: 1: 1: #1+1/1 "1+1 #pp 1#1"171#7171#1 # &' 9 9# " 8 9+1#1 1"1118 /1 9 " 1 mp3 mp: : . . . .: : : : pp p pp /1 Spitze attacca pp"1 "1 p 3 #1! p p pp

IV. After all,

q = 80 q = 60 molto 137 arco pizz. sul pont. sul tasto arco 71 6: 1 1 1 * ** * * ) # 1 6: +1 6 1 1 " ,! 1!! 1 1 1 ) * * ** * * " 8 ( 8 8 . 18 89 1!0 * " * 71 1! +1#1* 1 11 1 1 1 * * very * 1 3 ! ppp * * * * * * * +1 f; mp sub. 9 pp quiet * * * mp più calmo

poco rit. A tempo (ma sempre agitato) legno legno arco D sul tasto sul pont. ord. 141 arco pizz. 2 pizz. * /1! arco /1: < 15 1 1 = = = = : 71 ; /1: 71: ) 71 1 1!+1 1 1 1 1 9 9 +1 +1 1 /1 : /1 / 1 71: ! 1 1 /!1 : : : > 1 p 71 7171 71 + 1 1! : /1 1 1"1 ! mp6: 6: 6: 6: mf; ;: ;: ;: * f mf p sfp ff * somewhat mf aggressive

ca. 6'30'' Paris, 2009-02-10