Michael Bakrnčev March 14Th, 2016

MICHAEL

BAKRNČEV

Volume 1 – Chamber works Melbourne Conservatorium of Music Master of Music – Folio of Compositions

ORCID ID: 0000-0002-3130-1362

Submitted in fulfilment of the requirements of the degree of Master of Music

Produced on archival quality paper Student ID: 671255

Submission date: 14-03-2016

DECLARATION OF ORIGINALITY

This is to certify that:

 The folio comprises only my original work towards Masters of Music (composition), except where indicated in the Preface.  Due acknowledgement has been made in the text to all other material used.  The folio is between 50-60 minutes in length, as approved by the Research Higher Degrees Committee.

Michael Bakrnčev March 14th, 2016

ACKNOWLEDGEMENTS

Thank you to my supervisor and teacher, Elliott Gyger, who has taught me much about myself, music and upholding a consistently professional approach in a career in composition. I will be forever grateful.

Thank you to Brenton Broadstock who taught me for a semester, and within that semester was able to help me with my breakthrough regarding the extension of musical ideas.

Thank you also to head of department, Stuart Greenbaum, who has (without fail) responded consistently to my urgent requests and needs and questions – late on weekdays, and even on weekends. You have taught me about not being afraid to go the extra mile, thank you.

Thank you to Benjamin Northey, Julian Yu, the Melbourne Symphony Orchestra, Chamber Music Australia, Trio Adorno, Trio Medici, the Linos Piano Trio, Kupka’s Piano, Cameron Millar & Chris van de Kuilen for performing my music.

Thank you to my fiancé Emily for your support, understanding and patience especially during the last few weeks of my candidature.

Thank you most of all to God, and my beloved family.

vii

TABLE OF CONTENTS

RECORDINGS ...... viii

FOLIO INTRODUCTION ...... ix-xvi

Volume 1

PIANO TRIO NO. 2 - JANINO ...... 1

FORTIFIED ECHOES ...... 45

SAXOPHONE CONCERTO ...... 87

Volume 2

201 DREAMS & THEIR INTERPRETATIONS ...... 1

SKY JAMMER ...... 49

viii RECORDINGS

1. PIANO TRIO NO. 2 11 '20''

Performed by the Linos Piano Trio Live performance recorded at the Elizabeth Murdoch Hall, Melbourne Recital Centre by ABC Classic FM, during the Melbourne International Chamber Music Competition on July 18, 2015

2. FORTIFIED ECHOES 10'30 ''

Performed by Kupka’s Piano Live performance recorded at the Queensland State Library, Brisbane, on May 16, 2015

3. SAXOPHONE CONCERTO 18 '20''

Performance by Cameron Millar (Saxophone) and Chris van De Kuilen (Piano) Live performance at the Vierwindenhuis, Amsterdam, on December 14, 2015

4. 201 DREAMS & THEIR INTERPRETATIONS 13'30 ''

Performed by the Melbourne Symphony Orchestra Recording of a workshop performance at Iwaki Auditorium on October 21, 2014

5. SKY JAMMER 8'30 ''

Performed by the Melbourne Symphony Orchestra, conducted by Benjamin Northey Live performance recorded at Iwaki Auditorium on February 10, 2016 ix FOLIO INTRODUCTION

The purpose of this brief folio introduction is to give the reader a general overview of the works presented within this portfolio, including aesthetic and philosophical issues that helped inform my compositional process throughout my candidature.

Each of the five works contained within this portfolio shall be discussed briefly, in chronological order.

The reader should be made aware at this point that my musical output and thinking thus far in my career has been stimulated heavily by Macedonian folk dance and folk song tradition, which is my heritage.

201 Dreams & Their Interpretations

201 Dreams & Their Interpretations was written for a workshop which was held by the Melbourne Symphony Orchestra. As it was the first piece that I wrote during my candidature (but not the first orchestral piece I had ever written) I went into it with some level of confidence. However, I was certainly aware of my main technical challenge, (later to become my ‘breakthrough’ moment during my candidature), which was being able to extend musical material across larger formal spans.

I decided that this work was to be treated as an advanced exercise in orchestration, rather than have (the preferred) focus on motivic development.

I am naturally drawn to the music of the Divine Liturgy according to St. John of Chrysostom, being of Eastern Orthodox faith. At the beginning of my candidature, I was attending church quite regularly, which included 3 hours of Church every Sunday. I observed Saint’s days, and even participated in fasting for six weeks in the lead up to Christmas and Easter. As a musician and composer, I was particularly intrigued by the frequent occurrences found in the Liturgy of elements from traditional Macedonian folk music – certainly no surprise, yet always fascinating to know.

x One of the musical fragments found at the end of this work, expressed as violin harmonics in a very slow progression and secondly as an oboe solo, is a direct extract from a chant sung during Easter.

Oboe solo (b. 176-179) – Orthodox chant sung during Easter

Another increasingly prominent element of my compositional style is adapting Macedonian folk melodies into my own music. In this case Zaplakala je vdovitsa (A widow shed her bitter tears) was incorporated into the work. This is a rather captivating melody which suited the direction I wished the piece to go at the time, firstly because it is in free meter which meant that I was less restricted with how I could manipulate the rhythms and secondly, because of the smooth contour of the melody, which allowed it to suit the dream-like nature of the piece. I particularly enjoyed retrograding the rhythm and layering the melody in fifths in the next section of the piece (b. 70-80).

One of the strongest features typical to the Orthodox Liturgy and in folk music is a particular cadence, which UCLA Ethnomusicologist, Boris Kremenliev, labels in his book 1Bulgarian-Macedonian Folk Music as typical of the Byzantine church mode “Glás I”. This particular cadence has a specific hold over me in my own music. One can see in the example below an F natural at the top of the scale and an F sharp at the bottom, which gives the minor modality a sudden major lift.

Example of the cadence as stipulated by Kremenliev

1 Kremenliev, B. 1952. Bulgarian-Macedonian Folk Music. Los Angeles, United States: University of California Press. 59 p. xi This cadence is found in countless examples of Macedonian folk music and is reproduced in a variety of different ways. It plays an important role in this work, and is represented multiple times throughout the works contained within this portfolio.

201 Dreams & Their Interpretations: (b. 5) – violin II

201 Dreams & Their Interpretations: (b. 7 & 8) – violin I & II

201 Dreams & Their Interpretations: (b. 43 & 44) – French Horn I

201 Dreams & Their Interpretations: (b. 131 – 134)) – Flute I

xii Piano Trio No. 2 – Janino Another example of the “Glás I” cadence is found in the Macedonian folk dance the Janino Oro. An oro is a dance typically performed at celebratory occasions, such as weddings, christenings and other festivities related to religious events. The Janino Oro is an exciting, fast paced dance in 18/16 meter, consisting of repeating chains of twos and threes, in this instance, 3+2+2+2+2+3+2+2. I became immediately attracted to this oro once I began to teach myself how to play it on the traditional Macedonian wooden end-blown flute, the kaval (which is similar to a Turkish ney).

2Example of the cadence (in bar 2) in the Janino Oro, as notated by Linsey Pollak

The rhythm of the Janino Oro has been used in different ways throughout the work, including elongating and shortening of the melody itself, which is often harmonized in fifths, but also by mimicking the ‘chains of twos and threes’ rhythm by way of accented notes in bars 108 through to 116, for example.

Janino Piano Trio No. 2: (b. 108 & 109) – Violin (accents stated as 3+2+2+2+2+3+2+2 – same as the rhythm of the Janino Oro).

2 Pollak, L. 2005. Macedonian Folk Music. Queensland, Australia: Lerista Editions. 30 p. xiii

Janino Piano Trio No. 2: (b. 168 - 170) – Violin (melody expansion with altered harmonization)

A technique I developed during my candidature was utilizing the circle of fifths, so that my harmonies are constantly evolving (or in a constant loop). An example of this can be found in this work from bar 188 through to bar 193. In bar 188, a septuplet semiquaver pattern is set up with specific notes. Beat four in bar 189 changes: I shifted it up a fifth, and then took it down an octave. In bar 191, beat four remains in its new position, whilst beat three moves up a fifth. In bar 192, beats three and four remain in their new positions, while beat two moves up a fifth. Then, in bar 193, beat one shifts up a fifth, so then by the time we reach bar 194, there is a new sequence of notes, therefore allowing me to change tonality as I please.

Janino Piano Trio No. 2: example of the ‘fifths technique’ right hand piano only (b. 188 - 193)

There were many other pieces I wrote in between 201 Dreams & Their Interpretations and this work, where I was often struggling with the concept of motivic development. I began working on this piece in late 2014 (while I was studying with Brenton Broadstock), and it was while writing it that my ‘breakthrough’ occurred. My ‘breakthrough’ was learning the ability to extend my musical material. At first, I would write perhaps eight bars of music, and would change to a completely different idea (as I didn’t have the tools or technique to be able to extend the material contained in those eight hypothetical bars), but would try and connect the two ideas smoothly, which I found incredibly frustrating. When I began writing my Piano Trio No. 2, I set myself the task of being able to extend my ideas as much as I could, the ‘fifths technique’ described above is one example. xiv Fortified Echoes

This was an exciting piece for me to write as it was the first major piece I started working on after my ‘breakthrough’ occurred. Everything in the piece is an expansion of what I ‘discovered’ in my Piano Trio, which was expanding my musical material relating to rhythm, melody and phrasing. It was the first time I wasn’t afraid to single out an instrument or combination of instruments, rather than using the entire ensemble for the entire duration of the piece. This new sense of freedom was and still is certainly refreshing.

An example of allowing myself the freedom of extending my ideas and singling out a single line as an instrumental feature is a wood block solo in bars 62 through to 65.

Another example of my method of harmony shifts in fifths can be located in the piccolo feature in bars 81-114. This method allows me to stretch out my material, so that it sounds different (and therefore interesting) to the listener, without having to expand on the rhythmic material too often.

The conclusion incorporates fragments of The Last Post, as this piece was written to commemorate the ANZAC centenary.

xv Saxophone Concerto

The kaval is an unusual instrument to play, as the flats of the player’s fingers are what covers the finger holes, rather than the finger tips (as is common practice with playing the clarinet, for example). This allows for subtle alteration of pitch on every note, including finger vibrato. Each note that is played, can sound as if it is being trilled – even when it is not. In very slow music, for example, the kaval’s line can sound as if the fingers are being moved quite fast, when in reality minimal effort is required.

This sound has been very difficult for me to replicate, but after working with my saxophonist who lives in the Netherlands (thanks to modern technology), we were able to create a sound which we agreed sounded similar to the effect which I was chasing.

The starting point was timbral trills. I initially thought that this would be the easiest way to obtain the effect I was after; however, I soon discovered that timbral trills weren’t specific enough, and didn’t allow a fast enough oscillation to obtain the correct sound. I soon realised, however, that the distance between the body of the saxophone and the pad of the low D key was wide enough to allow for a finger vibrato without closing the pad completely. The sound this created was ideal and allowed us to move on further and deeper into the realm of Macedonian folk music adaptation.

The term ‘trill vibrato’ (TV) was coined, and in accordance with traditional kaval performance, nearly every note in the slow movement incorporated this effect. I am now aiming to recreate this sound with other wind instruments that I regularly write for.

The work is being included in the teaching curriculum at the Queensland Conservatorium by Diana Tolmie, who is also interested in having me arrange the accompaniment for full orchestra.

xvi Sky Jammer

This work (in my opinion) best represents my development as a Masters student in composition. I felt confident enough in my new found abilities to extend my musical ideas without being fearful of the final result. Elements of Macedonian folk music are still found throughout: the cadence previously discussed, rhythmic and metrical material reminiscent of oros with a time signature of 9/16 (2+2+2+3), and the folk song, Pazari se Mara na jedna varshachka (Mara obtained work with a threshing machine). The work also incorporates shifting harmonies in fifths, as well as a faux ‘trilled vibrato’ effect by way of molto vib in the brass and winds in some passages.

Conclusion The reader will notice ideas common to all the works presented in this portfolio. I have never worked so objectively to reach certain goals and smash certain targets in my own musical development. It was not done with ease. Completing this portfolio has expanded my musical palette, broadened my musical language, thought and personal philosophy and allowed me access to deeper understanding and clarity in being able to express my musical ideas more coherently. I feel now that I have made a strong start into my professional career as a composer, and am very much looking forward to life outside of university. That being said, I will continue to learn and find new and interesting ways to apply my Macedonian heritage into my own musical language and can already foresee my music changing, adapting and growing as I change, adapt and grow as an individual.

Piano Trio No. 2

Janino

Piano Trio No. 2 Janino

Winner of the 2015 Australian New Works Award, supported by Chamber Music Australia & Julian Burnside AO QC.

Premiered July 18, 2015 Melbourne Recital Centre

Instrumentation

Violin Violoncello Piano

Duration 11'20"

Performance notes

Now that you are about to embark on this musical undertaking, I would like to firstly welcome you to my sound world which I hope you will find engaging, interesting, exotic, enticing and energetic enough to fulfil some form of desire musically from deep within you.

From a practical point of view, I would highly recommend listening/watching to the following clip on YouTube of the folk song which this work is based on, which can be found here: https://www.youtube.com/watch?v=RjuUrF2evq8

Regarding this recording: As it is a folk dance song, this music is often best understood by moving (literally) with it, rather than analysing it. Upon listening to it on numerous occasions, one will be able to ‘feel’ this piece, and therefore be able to make a better correlation between this folk song and my piano trio. If you feel up to it, I would strongly try and emulate the melody and play along with this recording, and try and capture all of the embellishments and even ‘rough intonation. It shouldn’t make a difference if you’re playing it on the violin, cello or piano; it’s more about getting the character of the music and style across.

Legend:

. Grace notes should be played slurred, as quickly and connected as possible, before the beat. . slowly release pedal – pianist is to gradually release foot from sustain pedal so that the sustain weakens gradually; the effect should sound like a diminuendo to silence. . Quarter tones are not to be stressed, they are purely to distort intonation and aren’t designed to have a significant impact harmonically. All quarter tones are notated throughout with the symbols shown below:

= a quarter tone sharp

= a quarter tone flat

Bartok pizzicato – (b. 97) the player is to pinch the string pulling vertically upwards and releasing, creating the snap against the fingerboard.

Droop - (b. 160) is a quick slide down - only slightly, no more than a semitone.

Molto vib. – (b. 169) written above a bracket (as shown) is to signify that the player is to exaggerate a romantic era style vibrato, confined only with the notes within this bracket. (In this example, it would be the Ab and C natural).

Portamento – (b. 174) a line joining to notes together (as shown) is a portamento/glissando.

Ricochet - (b. 204) on designated open string, to any high (unspecified) pitch. Not to be rhythmically precise, purely for effect.

Harmonic glissando – (b. 217) player is to play the harmonic glissando to any high (unspecified) pitch. Duration is approximate.

Cluster chord on piano - (b. 236) white and black notes combined to create as much raw power and shock as possible – preferably with forearm, but if not physically possible, then cluster within span of octave with palm is fine – so long as the intent, and physical dramatic effect occurs.

Program notes

Piano Trio No. 2 – Janino is inspired by a love for Macedonian folk music. The main theme which the work revolves around is the popular Janino (yah-ni-noh) Oro (an oro is the term used for a celebratory – often weddings - or festive dance). The Janino is quite tricky rhythmically, being in a time signature of 18/16, and the work explores the characteristics of the melody in a variety of different ways. The work is in three sections, taking the listener on a journey from rough and spikey beginnings, to drawn out and dream-like orientations, through to an energetic, romantic and heroic realisation of the melody at the end of the work.

Piano Trio No. 2

"Janino"

Michael Bakrnčev With an ancient, raw, folk-like consciousness e = 160 4 Violin 8

f p f 4 Violoncello 8

f p f

4 8 7 7 Piano f mf f mf 4 8

mp mf p

p mp mf

7 7 f mf 7 f mf f mf

11 7

f mf

f 7 mf

7 7 7 f mf f mf f mf

16 7 7 3

p mf mp mf pp 7 3

pp 7 p mf mp mf

7 7 f mf f mf

21 7 7 3 3

3 mp mf pp mf 7 3 7 3 3

pp mp mf mf 7

7 f mf f mf 7

25 7 3 3

7 mf f ff

7 3 7 3 3

3 p f 7 mf ff 7 3

3 f mf p ff 7

mf 7 mf M. Bakrnčev - Piano Trio No. 2 "Janino" 11 7 29 3 7 3 3 8

ff ff 3 3 7 3 7 3 3 8

ff ppp f ff

3 7 7 3 3 3 8 3 ff ppp f ff 3 8

33 7 3 3 3 4 at the heel 8 8 3 mf f ff mp at the heel 7 3 3 3 4 8 8 3 mp mf f ff

3 4 7 3 8 8 3 f ff 3 4 8 8 7 mf

6 12 M. Bakrnčev - Piano Trio No. 2 "Janino"

41 ord. 7

cresc. ff ord.

cresc. 7 ff

45 7 3 3 3

3 mf 3 3 sul C

gliss. 3 7 3 mf

3 3

3 3 mf 3 3

49 3 4 3 4 8 8 8 8

f 3 mp f 3 ord. ord.

sul C . gliss 3 4 gliss. 3 4 8 8 gliss. 8 8 3 3 f mp f

3 4 3 4 8 8 8 8 f mf f 3 4 3 4 8 8 8 8 M. Bakrnčev - Piano Trio No. 2 "Janino" 13

54 4 8

ff dim. mp 4 8

ff dim. mp

4 8

ff mp 4 8

3 7 58 7 3

f p f mp 3 7 3 7

f p f mp

7 3 7

3 f p f mp

3 61 3 3 3 3 3 4 8 8 3 p f p f p f 3 3 3 3 3 3 4 8 8 3 p f p f p f

3 3 3 3 4 8 8 3 3 3 p f p f p f 3 4 8 8 14 M. Bakrnčev - Piano Trio No. 2 "Janino"

64 4 6 8 8 6 6 6 6 mp ff 6 6 6 4 6 8 8 6 mp ff

6 6 6 6 4 6 8 8

mp ff 6 4 6 8 8

molto vibrato 66 ord. 6 4 8 8 f ff molto vibrato 6 ord. 4 8 8

f ff

6 4 8 8 3 3 3 3 3 3 mf ff 6 4 8 8

68 4 8 6 p 6 6 ff p

4 8 6 ff p

4 8 6 f mf pp ff p 4 8 M. Bakrnčev - Piano Trio No. 2 "Janino" 15

ff 6 6 f 6 6 6

ff 6 6 f mf

6 6 5 ff f pp 6

pp f

6 6 f mf 6 f

mp f mp

ff mf 10

mf f 16 M. Bakrnčev - Piano Trio No. 2 "Janino"

p ff f

rall.

84 10

f mf mp 10

mp p

mf mp p

gradually release pedal 10 M. Bakrnčev - Piano Trio No. 2 "Janino" 17 e = 160 88 molto sul pont.

molto sul pont.

ff (non legato)

10 10 10 10

ord. 90 pizz.

f sffz f sffz f ord. pizz.

f sffz f sffz f

6 6 sffz f sffz f 6 6 6 6

mp mf

93 arco

sffz f sffz f arco

sffz f sffz f 10

6 sffz f sffz f 6 6 6 6

mf 18 M. Bakrnčev - Piano Trio No. 2 "Janino"

arco 96 pizz.

mp sffz f sffz 6 6 6

sffz f sffz p 10

mf sffz 6f 6 sffz

99 6

6 6 f mp f pizz.

f mp f 10

f 6 6

102

6 6 6 6 6 mf ff mf

arco

6 6 6 6 6 mf ff mf

6 6 6 6 6 mf ff mf M. Bakrnčev - Piano Trio No. 2 "Janino" 19 3 105

6 5 ff

pizz. pizz. pizz. 108 0 arco 0 arco 0 arco

6 6 ff 6

6 pizz. 6

f 6

6 6 mf 6

arco arco 110 II II pizz. pizz. pizz. arco

6 6 6 6 6 6

arco 6 6 6 pizz. 6 6 arco

6 6 6 6 6 6 20 M. Bakrnčev - Piano Trio No. 2 "Janino"

pizz. pizz. 113 0 arco 0 arco

6 6 6 6 6 6 6 6 6 6

6 6

6 6 6 6 6 6

116

f soaring

6 6 6 6 mf 6 6

119 3 8

3 8

3 8 6 6 6 6 6 6 3 8 M. Bakrnčev - Piano Trio No. 2 "Janino" 21

122 3 3 3 3 3 3 3 8 3 f p sfz f 3 3 3 8

f f sfz 3 8

f sfz 3 8

126 3 3 3 3 3 3 3 4 8

pp sfz f 3 3 3 3 3 3 3 4 8

pp sfz f 4 8

sfz f 4 8

130 3 6 6 6 4 3 6 8

mf 3 6 6 4 3 6 6 8

4 8

ff 7 4 8 22 M. Bakrnčev - Piano Trio No. 2 "Janino"

6 133 6 3 4 8 8

6 6 ff f 7 3 4 8 8 mf

ff 3 4 8 8

7 ff mf 3 4 8 8

136 3 3 3 3

7 ff

7 7 ff

139

p cresc.

mp M. Bakrnčev - Piano Trio No. 2 "Janino" 23 142 7

f 7

3 144 7 3

p f 3 3 7

p f

7 3

3 p f

146 3 3 3 3 8 4 3 3 3 3 p f p f p f 3 3 3 3 3 3 8 4 3 3 p f p f p f

3 3 3 3 3 8 4 3 3 3 p f p f p f 3 3 8 4 24 M. Bakrnčev - Piano Trio No. 2 "Janino"

= 80 149 q 3 2 4 4 4 4 6 6 6 6 6 f 3 2 4 4 4 4 6 6 6 f 6 6

3 2 4 4 4 4 6 6 6 6 6 f 3 2 4 4 4 4

151 4 4 6 6 6 6 f 4 4

4 4 6 6 6 6 f 4 4

152

6 6 6 6

6 6 6 6 M. Bakrnčev - Piano Trio No. 2 "Janino" 25

at the heel 153 7 7 7

7 ff

at the heel 7 7 7

7 ff

7 7 7

7 ff 7 7 7

155 ord. 7 7 7 7

p ord. to molto *This is eﬀectively just a wide vibrato sul pont. molto sul pont. ord. molto sul pont. ord.

7 7 p pp p mf

mf mp mf f f mp

157 molto sul pont. 7 7

p mf

p 7 7

mf mp p f mf mp mf 26 M. Bakrnčev - Piano Trio No. 2 "Janino" ord. 159

f 7 7 pizz. extremely only a slight droop, sim. fast vibrato through to bar 162 no more than a semitone

p 7 7 10

7 7 161

f mp 7 7 f mf

slowly release pedal. 10 f

163 q = 60 poco rall. 7

mf arco, ord.

gliss.

p 10 M. Bakrnčev - Piano Trio No. 2 "Janino" 27

164 10

165 10 2 4

10 10 2 4

2 4 mp 7

2 4 10 p

166 10 2 3 4 4 4 4

ppp 2 3 4 4 4 4 ppp rit ------2 3 4 4 4 4 10 12 pp espress. 7 p f 2 3 4 4 4 4 mp pp 28 M. Bakrnčev - Piano Trio No. 2 "Janino"

168 q = 40 Slowly drawn out melancholia rit. q = 40 molto vib. 4 sul G 4 mf legato, molto espress ﬂautando ord. 4 sul C ord. 4 p delicately pp mf p

4 4

p 4 4

rit. q = 40 ﬂautando non 171 molto vib. molto vib. vib. ord.

p delicately

almost no vibrato

mf legato, molto espress.

174 ord.

ﬂautando

ord. M. Bakrnčev - Piano Trio No. 2 "Janino" 29

177 poco rit. q = 40

mf cantabile broadly

mf cantabile

p broadly

mf cantabile

180 poco accel.

q = 50 Slightly faster q = 54 q = 60 poco accel. 183 poco accel. accel.

f 30 M. Bakrnčev - Piano Trio No. 2 "Janino"

186 3 4 4 4

3 4 4 4

mf 3 4 4 4

188 q = 80 4 4

ff at the heel with some bite 4 4

ff f 7 7 4 7 7 4

f 4 4

189

7 7 7 7 M. Bakrnčev - Piano Trio No. 2 "Janino" 31

190

7 7 7

7 mf

191

7 7 7

192

7 7

7 7 32 M. Bakrnčev - Piano Trio No. 2 "Janino"

193

7 7

poco rit. q = 80 194

3 cantabile, with strength & passion molto vibrato ff with a little less bite

ff mf 7

7 7 ff mp

195

3 3

7 7 7 7 M. Bakrnčev - Piano Trio No. 2 "Janino" 33

poco rit. q = 80 196

f mf

7 mp 7 7

197

3 3

7 7 7 7

198

7 7 7 7 ff 34 M. Bakrnčev - Piano Trio No. 2 "Janino"

199

3 3

7 7 7 7 mp

200 gliss.

7 7 7 7

201

3 3

7 7 7

7 M. Bakrnčev - Piano Trio No. 2 "Janino" 35

202 pizz. arco ricochet, sul G gliss.

10 ff

pizz. arco ricochet, sul C gliss.

10 ff

7 7

7 mf 7

203 pizz.

pizz.

f ff

7 7 7 7

204 arco pizz. ricochet, sul G gliss.

10 arco pizz. ricochet, sul C gliss.

10 f ff

7 7 7 7 36 M. Bakrnčev - Piano Trio No. 2 "Janino"

205 arco pizz. ricochet, sul G gliss.

arco ricochet, sul C gliss.

10 f 7

7 7 7

206

mf 7 7

7 7

207 arco pizz. ricochet, sul G gliss.

pizz. arco ricochet, sul C gliss.

10 mf ff 7 7

7 7 M. Bakrnčev - Piano Trio No. 2 "Janino" 208 37

7 7 7 7

209

210

dim.

211 arco cantabile

p dolce espress.

p very delicately

213 38 M. Bakrnčev - Piano Trio No. 2 "Janino"

215

sfp

217 harmonic gliss, sul G

sfp

harmonic gliss, sul C

sfp

218 A Tempo molto sul pont.

solo, molto espress.

mf cantabile

7 p M. Bakrnčev - Piano Trio No. 2 "Janino" 39

220

7 p

222

223

10 10 10 10 f 40 M. Bakrnčev - Piano Trio No. 2 "Janino" ord. 224

ff p

p ff

10 10 10 3 225 5 4

fp ff 3

5 4

fp ff

5 4

ff 5 4 10 10 10 f poco accel. 226 5 5 4 4 4 3 3 f cantabile, but with strength

5 5 4 4 4 3 3 f cantabile, but with strength 3 5 4 4 4 f 3 10 5 4 4 4

mf M. Bakrnčev - Piano Trio No. 2 "Janino" 41

228

3 3 3 3 3

3 3 3 3

q = 90 With Joy!

231

3 3 3 3 ff

233

3 3 3

3 3 3 42 M. Bakrnčev - Piano Trio No. 2 "Janino"

e = 150-170 Wildly THRASH! 10 235 10 4 8

fff 10 4 10 8

fff 4 8

sfffz f sfffz 4 8

10 10 237 10 10

10 10 10 10

f sfffz f sfffz

10 10 239 10 10

10 10 10 10

sfffz sfffz f f M. Bakrnčev - Piano Trio No. 2 "Janino" 43

10 241 10 e = 160

10 10

243

molto rall. 245 5

5 ff 5

ff 5 5

Fortified Echoes

for Piccolo (Alto Flute), Percussion & Piano

Fortified Echoes

Premiered by Kupka’s Piano at the Queensland State Library, Brisbane May 16, 2015

Instrumentation Piccolo (Alto Flute) Piano Percussion (glockenspiel, vibraphone, wood blocks, floor toms)

Please note that this is a transposed score

Duration 10'30"

Performance notes

Legend:

. Piccolo will sound one octave higher than written . Grace notes should be played slurred, (apart from instances where the grace note is the same as the following note), as quickly and connected as possible, played before the beat. . Pedal markings – all (for piano and vibraphone) are to be strictly adhered to. . Flutter technique on piccolo is required in this piece as indicated by tremolo dashes written through the stem.

Cluster chord - (b. 88) on piano - white or black notes to create as much raw power and shock as possible – preferably with forearm, but if not physically possible, then cluster within span of octave with palm is fine – so long as the intent, and physical dramatic effect occurs. Note that a ‘natural’ sign written either above or below the note indicates that the cluster chord should be played with the white keys only, and that a ‘sharp’ sign written either above or below the cluster chord indicates that the notes played should be the black keys only.

Program notes

Composed for the 2015 centenary of the ANZACs, Fortified Echoes reflects an imagined sound world of gunfire, ricocheting bullets, panting, running through sand & the sensation of the sun burning the skin of Australian and New Zealand soldiers upon landing at Gallipoli during World War 1. The spirit of the ANZACs is fortified, in that they are able to withstand force, pressure or wear. This work is for the echoes that remain.

Fortiﬁed Echoes

Michael Bakrnčev Adrenalin fueled = 80 4 q 3 Piccolo/Alto Flute 4 4

Glockenspiel 4 always let ring 3 Percussion 4 4 7 7 ppp f pp ppp f pp mf

4 3 4 4 7 7 Piano ppp f pp ppp f pp mf 4 3 4 4

5 3 3 4 3 Glock. 4 4 4 7 7 7 f f p f p p

3 3 4 3 4 4 4 f p Pno. f p f p f p 3 4 3 4 4 4

7 7 3 3 4 Glock. 4 4 7 f p f p

3 4 4 4 3 Pno. p 3 4 f f p f p 4 4

9 7

Glock. 7 f p f p

Pno. f pp f p

7 10 7

Glock.

7 7 f p f p f p f p

Pno. f pp f p

7 11 7

Glock. 7 f sempre 7

Pno. f sempre

Glock. 7 7 7 7

Pno. M. Bakrnčev - Fortiﬁed Echoes 53

13 7 7

Glock.

7 7

Pno.

14 7 7 7 7 7 Glock.

Pno.

16 3 4 Glock. 4 4

7 7 3 4 4 4 7 Pno. 7 3 4 4 4

18 4 Glock. 4

4 4 7 Pno. 7 7 7 4 4 M. Bakrnčev - Fortiﬁed Echoes 54

Glock.

7 Pno. 7 7

Glock.

p f

7 7 7 7 7 7 Pno. p f

23 7

Glock.

p f p f 7

Pno. 7 7 p f p f

7 26 7 rall. 3to Vibraphone Glock. 4

3 4 Pno. 3 4 M. Bakrnčev - Fortiﬁed Echoes 55 Suspended q = 50 28 very expressive

Pno. p

30 q = 68 4 Vibraphone, motor oﬀ throughout Vib. 4

7 4 4

Pno. p f 4 4

7 7 33 7 3 Vib. 4

p f p p f f

3 4

Pno. p f p p f f 3 4

7 7 36 7 3 4 Vib. 4 4

p f p f p f

3 4 4 4

Pno. p f p f 3 4 4 4 M. Bakrnčev - Fortiﬁed Echoes 56

7 7 39

Vib. 7 7 p f p f p f p f

Pno. p f p f

Vib.

7 7 7 7 p f p f p f p f

Pno. p f p f p

7 7 41

Vib. 7 7 p f p f p f p f

Pno. p f f p f M. Bakrnčev - Fortiﬁed Echoes 57 7 7 42

Vib. 7 7 p f p f p f p f

Pno. p f p f

7 43 7

Vib.

7 7 p f p f p f p f

Pno. p f p f

Picc.

7 7 to W.B. Vib.

p f p f

rubato

Pno. p f p f p f p f p f M. Bakrnčev - Fortiﬁed Echoes 58 7

Picc. ff 5 5 ffpp f Wood Blocks

Vib.

Pno. ff

Picc.

W.B.

Pno.

5 49

Picc.

W.B.

p p f p f 7

Pno. p f

7 M. Bakrnčev - Fortiﬁed Echoes 59

Picc. 5

W.B.

p f p f

p Pno. 7

p f

5 51

Picc.

W.B.

p f p f p f p f p

Pno. f p f 7

5 5 5 5 53

Picc.

W.B.

p f p p f p f

7 7

p f Pno. 7 p

7 M. Bakrnčev - Fortiﬁed Echoes 60 55 5 5

Picc.

W.B.

f p f p f p f

Pno. f p f

57 5 5

Picc.

W.B.

p f p f

Pno.

5 58 5

Picc.

W.B.

p p f p f

Pno. p f M. Bakrnčev - Fortiﬁed Echoes 61 ﬂutter 59

Picc.

5 5 p f

W.B.

p f p p f p f f 7

Pno. p f

5 5 61

Picc.

W.B.

f p f p 7

Pno. p f

W.B.

f p f p p f p f p

W.B.

f p f p f p f p M. Bakrnčev - Fortiﬁed Echoes 62

Picc.

5 5

W.B.

p f f

7 7 Pno. p f p f

7 7

68 5 Picc. 4 7 7 p f p f

5 W.B. 4

p f p f

5 4

7 7 Pno. p f p f 7 5 4

7 M. Bakrnčev - Fortiﬁed Echoes 63

70 3 5 5 5 3 4 Picc. 4 4 7 p f

5 4 W.B. 4 4

p f p 5 4 4 4

Pno. 3 7 5 p f 4 4 4

71 7 4 Picc. 4

p f

4 W.B. 4

f p f p f p f

7 4 4

Pno. p f 4 4

72 7 3 3 Picc.

p f

W.B.

p f p

Pno. p f M. Bakrnčev - Fortiﬁed Echoes 64

73 5 5 5 5 7

Picc.

W.B. 7 f p f p f

Pno. p f

Picc.

p p f f

7 3 7 W.B.

p f p f

7 7 Pno. p f p f

Picc.

p f 7

W.B.

p f

7 Pno. p f M. Bakrnčev - Fortiﬁed Echoes 65

Picc.

p f 7 W.B.

7 Pno. 3 p f

78 3 Picc.

p f p f

To Tom-t.

W.B.

Pno. 3 3

5 80 5 3 7 Picc.

5 Pno. ff pp ff M. Bakrnčev - Fortiﬁed Echoes 66

5 Building = 72 5 81 q 7 3

Picc.

Pno. f mf

83 3 5 5 5 3 3

Picc.

p 3 Pno.

Picc.

3 ff 3 3

Pno. 5

Picc.

5 5 3 5 5

Pno.

p f M. Bakrnčev - Fortiﬁed Echoes 67

Picc.

5 3 3 3

Pno.

p f f mf

Picc.

5 5 7

Pno. 3

Picc.

Pno.

5 89 3 5 3

Picc.

3 Pno. p 3 f

p f M. Bakrnčev - Fortiﬁed Echoes 68

90 5 5 5 3

Picc. 3

Pno.

ppp f

91 5 5 3 7 Picc.

p Pno.

92 7

Picc.

3 Pno. p f

Picc.

3 5 5

Pno. M. Bakrnčev - Fortiﬁed Echoes 69

Picc. 3 5 5 5 3 3

Pno. p f ff p f

Picc.

3 5 5

Pno. p f

Picc.

7 7

Pno. p f mp

97 3 5 5

Picc.

Pno. p f M. Bakrnčev - Fortiﬁed Echoes 70

98 3 5 5

Picc.

Pno.

3 99 5 3 3

Picc.

Pno.

100 5 5 7 7

Picc.

Pno.

p f

101 3

Picc.

7 3 Pno. M. Bakrnčev - Fortiﬁed Echoes 71

102 5 5

Picc.

5 5 3

Pno. f

103 3

Picc.

5 3 3

Tom-toms

Tom-t.

p f

Pno.

104 5 5 7

Picc.

Pno. p f

105 7

Picc.

Tom-t.

p f

Pno. f M. Bakrnčev - Fortiﬁed Echoes 72

106

Picc.

3 5 5 3

Tom-t.

3 Pno. 3 p mf

107 5 5

Picc.

5 3 3

Pno.

7 108 3 5 5

Picc.

Tom-t.

p f

Pno. p p f M. Bakrnčev - Fortiﬁed Echoes 73

109 7

Picc.

Tom-t.

p f

Pno. f

110

Picc.

3 5 5

Tom-t.

Pno. mp

p f

3 111 5 5 5 3

Picc.

Tom-t.

p f

Pno. f ff mp M. Bakrnčev - Fortiﬁed Echoes 74

5 5 112 3

Picc.

Tom-t.

3 Pno. p mf

fff

7 113 7

Picc.

Tom-t. p

Pno.

114 Bursting q = 80 Picc.

6 6 6 ff

Tom-t.

fff

never hold back on the rage 7

7 Pno. ff M. Bakrnčev - Fortiﬁed Echoes 75

115

Picc. 3

7 7

Tom-t.

7 Pno. p f 7

116

Picc. 3 3 6 6

5 5 3

Tom-t.

7 Pno.

117

Picc. 6 6 3 6 6

7 To W.B. Tom-t.

Pno. M. Bakrnčev - Fortiﬁed Echoes 76

118

Picc. 3 3

To T. toms 5 5 5 3 3 Wood Blocks 3 W.B.

7 5

Pno. f 3

5 5 119 Tom-toms 3

Tom-t.

Pno. 7

5 5 120 3 7

Tom-t.

Pno. 5 3 M. Bakrnčev - Fortiﬁed Echoes 77

121

Picc. 5 5 6 6 7

Tom-t.

Pno.

122

Picc.

5 5 7

Tom-t.

Pno.

6 6 123

Picc.

5 5 5 Wood Blocks 3 Tom-t. 5

Pno. 7 M. Bakrnčev - Fortiﬁed Echoes 78

124

Picc.

Tom-toms 3

W.B.

Pno. 7

125

Picc.

Tom-t.

p ff p ff

Pno. 7

126

Picc. 3

Tom-t.

p ff 7

7 Pno. ff 7 M. Bakrnčev - Fortiﬁed Echoes 79

127

Picc. 3 3 5 5

Tom-t.

p ff

Pno. p f

128

Picc. 3 3 5 5

Wood Blocks Tom-t. 3 fff

7 Pno.

129

Picc. 3 3

Tom-toms Tom-toms 5 5 5 Wood 5 Blocks Tom-t. 3

7 5

Pno. f 3 M. Bakrnčev - Fortiﬁed Echoes 80

130

Picc. 5 6 6

Wood Blocks 5 5 Tom-toms 7

Tom-t.

Pno. 7

131

Picc. 5 5 6 6 6

Wood Blocks 7 Tom-toms W.B.

Pno. 5 3

132 To A. Fl. Picc.

Tom-toms Wood Blocks Wood Blocks5 5 Tom-toms W.B. 3 7

Pno. M. Bakrnčev - Fortiﬁed Echoes 81

133 Wood Blocks 5 5 3 Tom-toms Tom-t.

Pno.

134 5 5 Wood Blocks 5 3 3 W.B.

Pno. 7

135 Tom-toms 7 Wood Blocks

W.B.

Pno. 7

Tom-toms Tom-toms Wood Blocks 5 5 136 3

W.B.

Pno. 7 M. Bakrnčev - Fortiﬁed Echoes 82

137 rit. Picc.

7 7 To Vib.

Tom-t.

7 Pno. 7

139 Reﬂectively q = 50 Alto Flute 7 Picc.

Pno. p p f mp

142 6 A. Fl.

Vibraphone Tom-t.

Pno. f

mf M. Bakrnčev - Fortiﬁed Echoes 83

7 145 6

A. Fl.

7 Vib.

Pno. mf

7 7

147

A. Fl.

7 7 Vib.

f p f p

Pno. f p mf espress.

149

A. Fl.

Vib.

7 f p f p

f p 7 Pno. f p M. Bakrnčev - Fortiﬁed Echoes 84 150 7 7 Vib.

f p f p

Pno.

151 7

7 f p Pno. f p

152 5 A. Fl.

mf 7

Vib.

f p

7 7 Pno. f p f p

154

A. Fl.

f mf

Vib.

mf dim.

Pno. mf

dim. M. Bakrnčev - Fortiﬁed Echoes 85 157

A. Fl.

Vib.

Pno. p mp

160

A. Fl.

mp f mp

Vib.

Pno.

163 rall.

A. Fl.

Vib. p

Pno. p

Saxophone Concerto

for Alto Saxophone & Piano

Saxophone Concerto

Premiered by Cameron Millar and Chris van De Kuilen at the Vierwindenhuis Amsterdam, NL December 14, 2015

Instrumentation Alto Saxophone Piano Please note that this is a transposed score

Duration 18'20"

Performance notes

Legend:

. Grace notes should be played slurred, as quickly and connected as possible, before the beat . Quarter tones - are to be as precise as possible

= a quarter tone sharp

= a quarter tone flat

. Slap tongue – are notated as ‘x’ noteheads. . Knock on wood of piano – literally knock on a convenient section of the piano to create a percussive effect, sympathetic to the slap tongue effect being produced simultaneously by the saxophone, and are shown as ‘x’ noteheads. . Key trill – (as found in bar 268 for example) is a trill between two notes of the same pitch. It is purely to colour the main note. It should be noted here that a key trill is different by nature to the trill vibrato. . TV (trill vibrato), when specified, is to emulate a kaval (predominantly Balkan wooden end- blown flute). It is highly recommended to search for examples of kaval performance. Specificities of the trill vibrato technique is outlined below.

Further explanation of Trill Vibrato (TV) When one slightly depresses the low D key of the saxophone, one will note that the distance between the naturally open position to that of the actual body of the instrument is quite a large gap. When one rapidly depresses the D key, but does not press it down completely, there is a slight wavering of pitch, giving it a vibrato styled effect, by way of producing what is effectively a trilled note. This effect of a trilled vibrato or fingered vibrato is common practice in Macedonian kaval tradition (a kaval is a wooden end-blown flute played with the flats of the fingers). One should note that when played with the pianist (who is playing mallets inside the piano), the player might 92 automatically try to match their trilled vibrato to that of the rhythm of the unmeasured tremolo of the piano.

Below is a complete list of all occurrences of the trilled vibrato technique found in order from the beginning through to the end of the work. Please note that many of the trilled vibrato notes are repeated, thus they aren’t all listed. (All trilled vibrato notes are notated in the score for reference). b. 18 TV (B) +TA b. 20 TV (F#) + low Eb b. 22 TV (Fnat) + low Eb b. 23 TV (C#) +TC b. 180 TV (A) +G# | TV (E) + low Eb & C together | TV (D) + low C# & low B together b. 181 TV (C & B) +TA b. 190 TV (C#) +TC b. 191 TV (D#) + low C# & low B together b. 202 TV (sextuplet) +TA

Pitch bend – (b. 248) the saxophonist is to play the sequence of notes while simultaneously bending the pitch downward by way lipping down and back up again.

Knee bend – (b. 250) an example of a knee bend. The saxophonist is to place the bell into inner thigh whilst playing the sequence which bends the pitch lower.

Trilled gliss – (b. 258) an example of trilled glissando. The saxophonist is to trill the specified note, whilst performing a glissando (either fingered or lipped – it is dependent on the player’s ability and comfort).

Key trill – gliss lip up – (b. 269) the saxophonist is to perform a key trill (as described above) whilst producing a simultaneous gliss, which is preferred to be lipped upwards. Program notes This Saxophone Concerto is in three contrasting movements. Typically a concerto is for orchestra and soloist, originally this was titled as a sonata, however the nature of this work’s structure isn’t in strict sonata form so was changed to a concerto. The first movement, titled Gutter Stomp, was influenced by death metal rock group Children of Bodom, reflecting a fascination with such band’s technical prowess on their instruments, and the often gruesome nature of the titles that their songs reflect. The second movement, Melody, is a dream-like adaptation of the traditional Macedonian folk dance Mashko (mahsh-koh) Oro (the men’s dance). It features the Trill Vibrato technique developed specifically for this piece, which is played sympathetically with the pianist, who is playing the inside of the piano with soft mallets. The third and final movement is a quirky Scherzo, which requires both pianist and saxophonist to play extremely rapid gestures together, pushing the players’ limits, both mentally and physically.

Saxophone Concerto

I: Gutter Stomp Michael Bakrnčev Moderately q = 80 4 5 4 5 4 Alto Saxophone 4 4 4 4 4

4 5 4 5 4 4 4 4 4 4 Piano 4 5 4 5 4 4 4 4 4 4

f p f p

5 4 5 4 3 4 4 4 4 4 4

4 5 4 3 4 4 4 4 4 4

f p 4 5 4 3 4 4 4 4 4 4

9 rall. q = 80 4 2 4 5 4 5 4 4 4 4 4 4

4 2 4 5 4 5 4 4 4 4 4 4 ppp f p f 4 3 2 4 5 4 5 4 4 4 4 4 4

14 5 4 5 4 4 4 4 4

5 4 5 4 4 4 4 4

f p 5 4 5 4 4 4 4 4

TV (B) TV (F#) 18 (+TA) (+low Eb) 3 4 3 4

pp f 4 4 4 4

21 TV (F) TV (C#)) 3 (+TC) 3 3 3 (+low Eb) 4 4

4 4 4 4

25 4 3 4 2 4 4 4 4

p pp 4 3 4 2 4 4 4 4

pp 4 3 4 3 2 4 4 4 4

29 Brutally, no excuses q = 100

ff ff

mf ff mf ff M. Bakrnčev - Saxophone Concerto 97

mf ff mf ff mf ff mf ff mf ff mf ff

mf ff mf ff mf ff mf ff mf

ff mf ff mf ff 98 M. Bakrnčev - Saxophone Concerto

3 40

3 3

3 f

mf ff mf ff mf ff mf ff

mf ffmf ff mf ff mf ff mf ff mf ff mf ff M. Bakrnčev - Saxophone Concerto 99

mf ff mf ff mf ff mf ff mf ff mf ff mf ff

mf ff mf ff mf ff mf ff mf ff mf

ff mf ff mf ff mf 100 M. Bakrnčev - Saxophone Concerto

p f

p f p f

p f p f M. Bakrnčev - Saxophone Concerto 101

p f p f

p f p f mf

72 102 M. Bakrnčev - Saxophone Concerto

p mf p f

p mf p f mp

rall. 78

80 q = 75 accel.

mf M. Bakrnčev - Saxophone Concerto 103

82 q = 100

p f mf

p mf

p mf p f

p mf p f mf

p f mp 104 M. Bakrnčev - Saxophone Concerto

97 M. Bakrnčev - Saxophone Concerto 105

101

104

mp f

106

p f p f

p p

ff ff 106 M. Bakrnčev - Saxophone Concerto

108

p f p f

p p

ff ff

110

p f

= 54 111 rall. q (very sea-sick in 112-115) rit.

mp f Cantabile

q = 54 accel. rit. q = 48 accel. 113 accel. M. Bakrnčev - Saxophone Concerto 107 q = 54 rit. q = 60 accel. 115

mp f

117 q = 100

f ff

mf ff mf ff mf ff mf ff mf ff mf ff mf ff mf

121

ff p p ff p ff ff p

ff mf mf ff mf ff mf ff mf ff

124

ff p ff p ff p ff

mf ff mf ff mf ff mf ff mf ff 108 M. Bakrnčev - Saxophone Concerto

127

mf ff mf ff mf ff mf ff mf ff mf

3 130

132

3 3

134

3 f

mf ff mf ff mf ff mf ff M. Bakrnčev - Saxophone Concerto 109

137 3 3

mf ff mf ff mf ff mf ff mf ff mf ff mf ff

141

mf ff mf ff mf ff mf ff mf ff mf ff

144

mf ff mf ff mf ff mf ff mf 110 M. Bakrnčev - Saxophone Concerto

147

ff mf ff mf ff mf ff mf ff mf

150 play x 3

151 rall. M. Bakrnčev - Saxophone Concerto 152 q = 70 111

Brutal, heavy death metal style

154

156

158 Shred!

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 pp legato f pp f

mf 112 M. Bakrnčev - Saxophone Concerto

159

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 pp f pp f

160

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 pp f pp f

161 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3 f M. Bakrnčev - Saxophone Concerto 113

162

164 q = 80 2 4 5 4 4 4

ffff f p 2 4 5 4 4 4

168 5 4 5 4 4 4 4 4 ppp f 5 4 5 4 4 4 4 4

171 4 5 4 4 4 4 p f 4 5 4 4 4 4

174 rall. q = 70 rall. 4 3 4 3 4 4 4 4 pp p 4 3 4 3 3 4 4 4 4 114 M. Bakrnčev - Saxophone Concerto

II: Melody

TV (E) TV (D) TV (D) 178 TV (A) (+Low C# & Low B TV (C & B) TV (A) = 33 (+G#) (+Low Eb & C together) (sim.) (+TA) (sim.) 12 q. together) 8 sempre contabile played inside piano mp with mallets 12 8

ppp 12 8

TV (G) 182 TV (sim.)

2 2 2

185 rit. q. = 33 TV cont.

2 2 2

188 TV (C#) (+TC)

mp mf p 2

(mallets) 2 M. Bakrnčev - Saxophone Concerto 115

TV (D#) 191 (+Low C# & Low B together)

2 2 mf 2 2 2

2 2 2

195 rit.rit.rit.

mf 2 2 2 2 2 2 2

2 2 2 2 2 2

No vibrato trills in 203-206 198 q. = 40 Maintain a steady, moving tempo

mf f mf 2

2 2

TV 202 (+TA) 6 accel. rall. q. = 40 rall.

2 2 2 2 2 2

2 2 2 2 2 2 116 M. Bakrnčev - Saxophone Concerto

206 q. = 40 rall. q. = 33 TV cont. rit.rit.rit.

mp 2 2 2 2 2 2

2 2 2 2 2 2 2 2 2 2 2

209 q. = 33 rall. q. = 40 rall.

2 2 2 2 2 2

2 2 2 2 2

212 q. = 40 rall.

2 2

2 2 2 2 2 2 2 2 2 2

214 q. = 33 rit.rit.rit. q. = 33 q = 50 4 3 2 4 4 4 4 4 mp 2 4 3 2 4 4 4 4 4 2 2 2 2 4 3 2 4 4 4 4 4 2 M. Bakrnčev - Saxophone Concerto 117 III: Scherzo q = 70 220 4 5 4 4 4 4

ppp ff ppp p 4 5 4 4 4 4

223 4 5 4 4 4 4

mf p ppp ff 4 5 4 4 4 4

226 4 5 4 4 ppp p ppp p ppp f p

3 3 4 5 4 4 3 mf 4 5 4 4

229 5 4 4 4 ppp f p 5 4 4 4 3 ppp ff 5 4 4 4 118 M. Bakrnčev - Saxophone Concerto

232 5 4 5 4 4 4

5 4 5 4 4 4

ppp p ppp ff mf 5 4 5 4 4 4 ppp p

236 5 4 5 4 4 ff 5 3 3

3 5 4 4 4

5 3 5 p ff 5 4 3 5 4 4 5 3

240

3 ppp f 5

ppp f p ppp f p M. Bakrnčev - Saxophone Concerto 119

243 3

3 slap tongue sim. ppp f 5

knock on wood of piano mf ppp f p ppp

245 3

3 3 ppp f 5 slap tongue sim. sim.

ppp f f p mf mf

247

ppp f ppp f 5

ppp ppp f mf f

249

p f ppp 120 M. Bakrnčev - Saxophone Concerto

250 knee bend place bell into inner thigh to bend pitch lower

slap tongue mf

f ff p f p f mp

252

sim. ppp f

fff ppp f fff p

254

p f p ff M. Bakrnčev - Saxophone Concerto 121

255

p f p ff p

256

p f p ff p

257

p ff p

gliss. gliss. 258

5 5 ff

p f p ff p 122 M. Bakrnčev - Saxophone Concerto

259 5

p ff p f

260 5 5

p f p

261

f ff p

262 5

p f

pp M. Bakrnčev - Saxophone Concerto 123

gliss. gliss. 263

5 5 p f

264

6 6 p mp mf f ff mp

mf p mp mf f ff

266

ff f

267 124 M. Bakrnčev - Saxophone Concerto

268 key trill

269 gliss. gliss.

key trill - gliss: lip up

270 gliss. gliss.

key trill - gliss: lip up

271

mf fff mf mf fff mf fff M. Bakrnčev - Saxophone Concerto 125

273 3 3 3 3

3 3 3 3 p f

f p

274

mf fff mf fff

275

mf fff mf fff 126 M. Bakrnčev - Saxophone Concerto

276 3 3

3 3 3 3 3 p cresc. 3

p cresc.

277

ff f

key trill

278 2 4

5 2 4 p 2 4

280 5 poco rit. 2 4 5 4 4 4 4 4 5 3 3 ff fff 3 3 2 4 5 4 4 4 4 4

5 5 ff fff 2 4 3 5 5 4 4 4 4 4 5 3

Minerva Access is the Institutional Repository of The University of Melbourne

Author/s: Bakrnchev, Michael Arthur

Title: Folio of Compositions

Date: 2016

Persistent Link: http://hdl.handle.net/11343/112319

File Description: Folio of Compositions