cavaleiro for woodwind quintet

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  • 1. (knight)by rafael langoni smith, 2012 forflute, oboe, clarinet, horn and bassoon

2. Program notes Cavaleiro (Knight) is a woodwind quintet written in the first half of 2012specially for the Seasons Wind Quintet. It is the spiritual successor of a verysuccessful 2011 piece for a quartet of clarinets and bass clarinet, TonberryInvisira, that drew upon the same Brazilian influences; as such, Cavaleiro isrepresentative of the composers continued efforts to represent thecontemporary popular music of his country in a concert setting.The alternate ending The full version of Cavaleiro spans a little longer than seven minutesdepending on the amount of time taken in the variable chauffement section(see below). Since this was above the required length of the piece, there is analternate ending marked FINE on the score with which the piece takes about540.The chauffement The chauffement (heating up) is a formal convention of some genres ofAfrican music; at the end of a piece, the master drummer will start playing abusy pattern at a faster speed than the rest of the ensemble; as a consequence,the whole ensemble speeds up for a dramatic finale.The chauffement in Cavaleiro is intended to be fairly chaotic, withinstruments falling out of sync temporarily and only coming back at repeatednotes at the end. Variations can be developed conforming the thought processof the ensemble, but here are the original, specific instructions.K.I: Repeat several times (suggested: 5); with each repetition, flute, oboe andclarinet push the tempo forward.K.II: When speed becomes impractical, instruments transition to K.IIseparatedly, falling out of sync.K.III: When all instruments are in K.II, instruments transition to K.III,where all have repeated notes. Eventually, all play together once again. Thepauses on the final bar are cued. 3. ScoreRafael Langoni Smith # #Challenge and disdain q = 90 3. R J .R J Flute &4 !! !F3 &4 ! # J ! # J!b OboeF3 # n &4 ! # # J !J! Clarinet# F ?3 # # Horn 4! ! !F . . . # # # B 3 # # # j # J J. # # # j J J . Bassoon4 J f demanding33 3 3 3 33 3 3 # . . ! !4 !3!.R J 7 Fl.& 4443 &! !4 !4! # # Ob. # J . . ! !4 !3! j& 44 # b # . .Cl.?! !4 !3! . .b Hn. 44&bn . # B. . ?4 j B 3 # j # . 4 b b # 4 J J # # 3 .Bs. expressivo 3 3 33 33Rafael Langoni Smith, 2012 4. 2 BMockery q = 100 # .. .# " . . .# " . ! " # 4 # . . # J # # R J J J 12& 4. . . 3J 3 Fl.P. . .# " #. . .# " #&! # j 44 J J # # # J .. . 3Ob. . . . 3JP j . . .# " . . .# " ~~~4&! j 4 J J by3 # .. .. . .Cl.P&! j 4 j j j j j j4 ? 3 3 3 33 3 3 3Hn. # # P# # # B J J # j 4 b j j j j j j # 4 ? 33 33 3 3 J3Bs.# 33 3P 3y . . . . . ~~ . . a tempo rit. j #rit."3 16 Fl.&4 3fp. . . . y . ~~ ..& # b j # " # # n b 3 4Ob. # 3f p. . . .. . 3& j # #. . # # # # >4 # # >Cl.f >p. . ..b? # # # # b b b>. >. .! 3 J 4>Hn.f. . . . . . ?. J J J J J J J JJ J J 3 4Bs.3f 3 3 3 333 33 33p 5. 3 C. . . "b Engaging q = 105 . ." . . . " . # # 3 . . J b b . . b . . a tempo accel. Fl.&4 ! JJ f. . "b . . .b " b . . . b " b . 3&4 ! b J . . # # b J b J . .Ob. . . f3## # N& 4 # # ~~~ b non stacattoCl. ~~JJ J J~~~ f evocative ~~ . . . . . . . 3 333 # # . . # ?4 3jj # ! # 3 3 3 3Hn.. . . J . . 3 f heavy33?3 j #! j b b j b 33 3 4 . .. . . # b . 3 333 . . . . .. . .Bs. f heavy.. . b # # # . .a tempo. .rit." . . .. " b b " b b J . . . . . J . . J b 26 Fl.& 3 3 3 F . .b " b .. . " b .. . . # # . . " b .b J b b Ob. &. . J . . J . . 3 3 3 Fb b j !# # # ~~~~ 3Cl. & J J J ~~F . .. . . .. . . 3 3 3# j # # # #? j # # # ? 3 3 3 . 3 J . . 3 3. . & . .Hn. 3 3F 3 3. . .?j b b . . . j # b n # 3 33. . . J . . 3 3 33 . . . . .Bs. F 6. 4. b. . .. .. . . . " b. . b . . bJ .. J J J J J J J 31 Fl.&f.. . . .... . " b. .. . bb bb b J . J J J J J JOb. & J ..f# # ~~~ Cl. & ~~~~ J J J JJ J J 3 f 3 3 33 3 3 . . . # #? jb . . j j jj j b J & 3 3 3 33 3. # # 3Hn. . . Jf3333 b . .b b b b n? j # J # JJJ 3 .JJJ . . b 3Bs... . 3 f33 33 3 3 The source of the conict, D . rit. lost to become a memory q = 80.3 3& # !! 4 b b J ! 35 8 3 Fl. . ..F #P p ~~.& . !3 8 ! 3 4b b J! 3 Yb . b Ob. . . PFp ~~ j 3 3 .& y !8 ! 4 b n J!Cl..F #P p 3j?. 3 ! 3 !& 8 4 b 3Hn. .F# P pj b b 3 b b b.? b 3b 4. b J J J 8 3J3 3Bs.J .R 3 F . F3 3p cresc. 3 3 7. 5 . accel. 33 #& ! b J ! 41 Fl. 84 b b # p# . & 3 8 !34 b b J! bbbOb.b b #p# 33.& 8 !4 b n J! # # b Cl. # p# ? 3 !3 ! !! 84 .Hn. #p.? . b b. 3 . b 4 3 . r b b8 . b . b b. . .b b . 3b3 . .Bs.f . . . j a tempo # b !. J . . ! 47Rb Fl.& f pb. & j!# N ! b J . .Ob.fp& N!j! . # j # Cl. N p . .f?!! ! b &b . . Hn. b # ? . J J J J b . 3 B ?3 3 b b .JJ. .Bs. 3 33 3 33 8. 6 E b b # I went to the river for water rit. # # 4 I didnt nd it q = 70& 4 34 4 # 4 Fl.P3 3 # b b #b n 43 4 #Ob. & 4 44 P 3 3 # 3 4 # 4 3 44 4 # j #Cl.#P 3 #& # 4 4 3 4 # 4 4 #Hn.#P#>? !!4! 3 > 4 Bs. 44 4 j& # # j 57 Fl. p cresc. # # & JOb.J p cresc. # j # j # # # j # # # Cl. & # # # # Jp cresc.Hn. & j # # j # # p cresc..j > " . " . > .. Bs.? J # J 3 3 cresc. 9. 7. e ~~~~~~~ a tempo rit.3#& 62 Fl. .4 # Fp. e ~~~~~~~# . ~~~~~~~ 3 # ne#Ob. & 4 F p ~~~~~~# N # # . .3 # e jCl. & 4F p ~~~~~ . 3 # Hn. & # # . 4# y p F " # j? " j. ! B 3 4 # # # . Bs.. . J F3 ~~~~~~ # y 5 . # 3# # n n # # # 8 67 6 Fl.&4dim. y y~~~~~~& ~~~~~ 5 3 8 #. # # 4Ob.dim. ~~~ ~~~~~~~~~~ 5 3& Y Y 8 4# nCl. #.dim. ~~~~~~~~~5 3& 8 4Hn. # Y. #dim.. #B # . . # #.5 8 3 4Bs.33 dim.3 10. 8F#U.Second wind q = 105 3 # . . rit. 33 5 # . . . .& 4 ## # 8 # # # 724 3 Fl. # J# f33 3U # 3 j b 8 # n 53 # J j 3Ob. & 4 #4 JJ ## f 3 33U.# 3 53 # . . # 3&4 843 # #. .. .# n#Cl. #.#f3 3 53 U&4 84 # ?3 33Hn. n . #n n. . . . . .#f.B 3 # # 5 3 # # #U # # J jBs. 4 n #. 84 n JJ## 3 333 3 ~~~~#~ . Y . . . . . # . . ~~~ #~ Y ># ~~~~ # ~~~~ 76& ~~~~~ Fl. #~~ p 3 3 3. . # #J J j& # #3 33 b Ob.Y > . . . . . ~~ 3 3 ~~~~~~ honk to your souls content 3 ~ .Y 3. . . # . .~~#& # ~~~ . # . #~~~ ~~~~ ~~~Cl. #~~ 3 3 ~~~~ ~~ p . . .# 3 ~~ ~ .yy? ~~~ & # ? ~~# 3 ~ ~J . 3 3 3Hn. . . . . . .. . . 3B # . . # #J J j j b b 3 # ? . . .3 N . ..Bs.f 3 3 3 3 11. 9# y ~~ . # b n b 2 3 3poco rit.a temp ! 803& # # 4 4 b 3 Fl. # . ..Jf3p33& !j 333 2 43 b 4 n b b nOb.b b b.. . . . .# y ~~ . # b n b 2 33 ! 3& # # 4 4 b 3Cl. . .J .pf . . . . 3 3 3 . . # # . # . . J 3? # # 2 3 3 .4 . 3 3Hn. . J . . . . . J . . 4. . 3 3 3?jbj2 3 j b b 4 3 . b 4 33 . . . . .33 3 3 . ..b . .b . . . . . . . . . .Bs.. . . . b # # 2 3 . . rit.& !! 854. 4 . . Fl.f 3 3& b 2 !34 3 433 3 3 b b b b bOb.. . . .. . . . .. .. . .b .dim. getting exhausted... # # 2 . .3 # # #& # # non stacatto4.4 ~~~ . .Cl. f 3 ~~~3dim. getting exhausted.... . . .. . . .? # # 3# # 2 . .. # 4 4 # 3!!33Hn. . J . .3. J. . 3 J J. J. . 3 &? b 3 b 2 j j 4 3 b b 3 !! 333J . b . J . b . 4 . J . .3Bs.. . .. . . . . . . .. . 12. 10 GPlans for afterlife? q = 80 j& b b jjb 3j33 bb Fl.Jp j 3 & j j3 3jb b b b jOb. b b n p# # ~& # ~~~ ~~~~ b b b j 3Cl.J J J J J JJP3 33 3333& n b b b b b b bHn.#p # n b? bb b bb bBs.p y . ~~ b J rit. a tempo 2 !3 j 97 Fl.& b 44 Fp~~ . 3 23 b J&b b 4 4 3 jOb. b b . . F p3 . . . . !n n 2 3 # ~~~ # # JCl. &4 4~f! 2 !3 & 44 & 3 J b Hn.F# f p b? n! 2 !3 J b b 44 b 3Bs.Fpf 13. 11 H . . . . . Cumulative revelations q = 105. . . b b. . b . b . ... j J J J J J J. J J J J J J& 3..3 Fl...f . . . . .3. . . b b b b . .b b .b b. ... jJ J J J J J J J J J& J . J b 3 3Ob. .. ..f 3 b J J Jb b . J J JCl. &J J JJ J J J 333 3 3 33 3 333 3 3 b b b b j b b b .J J 3Hn. & J J J J J JJJ J J 3 b b b b b n 33b b b b n b 333 3 3333 3.?J J JJ J J 3 J J JJ J JJ b . .Bs. 3 3 3333 3 3 333 3 3 b b b ~~~~. . b b j" RJ J JJ J& 109.3. . Fl. 3 33 33 3 b b b b . ~~~ b b b b j ~~~~ J J J J J& b b b " R 3Ob.. . J. 3 33 33 3 ~~~b & J J# 3 33 # Cl. 3F & b b . ? b 3 3J & b bHn. 3F 3? b b b b . .. . j j 3 . j J JJ J 33Bs. . . 3 . 3 3 33 3 14. 12 ~~~~~~~~~~~~~~ b b b . b.y b b b n b J JJ J J J JJ 113 Fl.&3 333 3 33 33cresc..b b b b &J J J J n J J JJ J J JOb.J Jyb ~~~ 3 33 3 3 3 3 b # n 33 3cresc. . b & j # j. J J J J J JJ ~~~~~~Cl.J J 3 33 3 33 33 33 ~~~cresc. .b j ? & jj jb b # n33 3 33 3&J ~~~~ . . . . . . . . . . . b bHn.cresc. ..? b j . . j b b b b b b . . n b 33 3 3 33 J b Jb J. . . . . . . . .JJ J .Bs. 33 33333 3

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