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for violin & piano
S M A L L V I C TO R I E S
[you]
j o.l 9————————————————————————————————— 9—
9
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This score belongs to [
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brusenta.com
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i ——————— published do by dots m u s i c ————— music, art, & words © 2016 Aleksandr G. Brusentsev
—————
score design by Aleksandr G. Brusentsev
—————
ISSUU edition, 2017
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9 Small Victories was written in two stages: In 2011, the (current) second movement was written as a stand-alone piece. In 2013, the outer movements were written to bookend the original when the piece was being prepared as a suite for
Alexandra Wood & Huw Watkins. Revisions took place in 2015. ————— The first performance of the middle movement was given by
Javier Montañana & César Saura in the David Josefowitz Hall, London, UK, on 21 November 2012. The first performance of the complete piece was given by
Alexandra Wood & Huw Watkins in the David Josefowitz Hall, London, UK, on 13 May 2013.
—————————————
4
this suite is dedicated to my mom
iv
Program Note —— ——————————————
4———————————————————[ the listener ] In Short Started for the sake of the music and finished for Alexandra Wood (violin) and Huw Watkins (piano), Small Victories, for violin and piano, is about figuring it out.
Background // how this came to be A lot of the time I write music as an act of searching. It’s rarely good music or something I’d like others to hear; it’s just my way of learning. This piece is one of those acts. But, as luck would have it, this time, I managed to find and cultivate something worth sharing: a set of snapshots capturing nearly everything that I love in music. The middle movement, written in 2011, explores cyclical progress and the possibilities of interconnected, yet independently-developing, threads. The outer movements, written in 2013, focus on more linear structures, chaotic textures, and extreme registers. These musical preoccupations, combined with the ever-present obsession with finding the perfect timbre for each imperfect element, have stayed with me since then.
Music // what you might hear Movement I opens with a restless violin call. Answering, the piano shivers into existence and joins the short-arced journey that ends in a defiant and unsettled manner. Movement II begins in a pensive mood. Essentially a theme and variations, it presents three successively-slower versions of a melody over a cycling harmonic progression with an unchanging pulse. This difference of time strains the musical machinery like mismatched gears, but the rift engenders the resolution: as the melody slows, the harmony is given more time progress and complete its cycle, eventually allowing the two to reconnect. Movement III launches the piano into a dramatic reprise of material from the first movement. When it runs out of steam, the violin saunters in, cheekily plucking out echoes from the second movement. The incongruity is glaring, but the spirit is light. After all, that is the point of the piece: learning is messy – it does not have to be right to be right.
n
v
}
The opening movement consists
The middle movement is a
The closing movement is a
of one chord progression and
modified theme and variations
reprise of the material from the
one melody (played as a canon)
consisting of three sections. In
first movement viewed from a
declared in a single, soaring arc.
the first and final sections, the
different perspective. The pizzi-
Double-stop interjections from
violin carries the theme; in the
cato in the violin is a humorous
the violin (first occurrence in
middle section, it belongs to the
look back to the piano chords of
bar 9) stir up the mix and look
piano. Underneath the theme is
the second movement. Consid-
ahead to the climax of the
a chord progression that unfolds
ered as a whole, this music
central variation of the second
at an unchanging pace despite
about failure and acceptance, a
movement.
the tempo’s section-by-section
point emphasized by the loving,
slow down. As a result, the
yet
sequence
which it concludes.
To Come Into Being
To Learn To Love To Dance
{
‘Small Victories’ is a three-movement work. Though largely straight-forward, I have provided a few notes on the musical material of each movement.
To Find One’s Way
§ § §
Working Parts —— ———————————————————————————————
4————[ the performer ]
I II III goes
further
each
time, allowing for a kind of resolution to occur at the end.
out-of-step
dance
with
§ § § § § §
Handling Instructions ————————————————————————————————————————————————
vi
Before
Notation Quirks
. . . .
This piece may be played a few ways: 1) Whole suite as a duet (i.e. the piece as it is written). 2) Movements I or II as stand-alone duets – but not as a pair. 3) Movement I as a solo violin miniature. 4) Movement III as a solo piano miniature. Octave ( ) and two-octave up ( ) treble, as well as octave-down ( ) bass clefs have been used where octava lines would clutter the score. Arrows (
) suggest a smooth transition between defined states.
Solid slur lines ( ) signify legato and bowing (for violin). Dashed slur lines ( ) function as phrase marks. Note: In some instances, long phrase marks have been written in shorthand, using a starting ( ) and ending ( ) arrow while omitting the middle (first occurrence: Mvt. I, violin, bars 19 – 24).
Dynamics
. .
‘al tallone’ indications apply only to the note(s) directly below and do not carry forward unless extended by a bracket. Hairpins connecting to new dynamics should reach the designated level. Hairpins without a destination show fluctuations within the last dynamic. Note: A ‘molto’ label over a hairpin means ‘to the greatest degree possible’, regardless of previous or upcoming dynamic.
.
Dynamics not preceded by a hairpin, ‘cresc.’, or ‘dim.’ should be regarded as ‘subito’ dynamics, with no implied gradation: iq iq iq should be seen as iq iq iq p
Time & Tempo
.
f
p
f subito
Tempo fluctuations (rit., accel., etc.) connected by a dashed line denote a continuous transition from one to the next until a destination, such as ‘A tempo’ or a new metronome marking, is reached (first occurrence: Mvt. II, bars 12 – 17). Tempo changes that are not connected signal an immediate shift, with no implied gradation (first occurrence: Mvt. II, bar 19). In either case, tempo fluctuations carry until they reach a destination or are negated by another instruction. Note: All metric modulations (Mvt. II, bar 19 and bar 35) should be imperceptible: the pace of the chords in the piano’s bottom staff does not audibly change (except slight tempo fluctuations) though its relationship to the material around it does.
.
Feathered beams demonstrate an accel. ( ) or rit. ( given time, with no changes to the overall tempo.
) within the
§ § §
Techniques
Performance
. . . .
Glissandi should span the full value of the note from which the ‘gliss.’ line extends. Unless otherwise marked, the destination pitch should in no way be emphasized (via articulation, dynamics, etc.). In the piano, hands have been distributed strictly by staves as an integral part of the performance. Pedal markings are meant to be interpreted literally. The box notation used in Movement I implies a continuation of the kind of stuttering texture already established in the piano part using the notes shown (no octave transpositions). This layer of sound should be messy, chaotic, and completely untethered from the beat, speeding up and slowing down at the performer’s discretion – but with the notated nuances (dynamics, articulations, pedaling). Visual alignment should act as a timing guide, but only actions connected by a vertical dashed line specify tight synchronization. Note 1: The violin should lead and cue wherever necessary. Note 2: The bottom stave is not affected by the rules above. It remains in time, as notated.
.
Grace notes should be played before the beat.
a few more
Handling Instructions ———————————————————————————————
vii
o
Duration: ca. 8'15''
————
——————————————
LED 06.03.2017
viii
This score is the result of countless, lovingly-dedicated hours of my life. I am able to share it without paywalls, omissions, or watermarks thanks to the generous support of patrons on Patreon...
ix
shop ...and the revenue from sales made at brusenta.com/shop. I hope you enjoy,
for Alexandra Wood
I. To Come Into Being q = 60, Relentlessly restless
4 & 4
Violin
I
≤ œo ™ –
Aleksandr G. Brusentsev
II III II III II sempre simile (possible)
œ œ œ œ œ œ œ œ œ œ œ œ œ 1
4
1
4
1
œo ™ –
œo
6
molto
[2 [2]
&
œo –
œ œ molto
∑
œo –
6
molto
4 & { 4
Piano
œ œ #œ œ œ œ œ œ œ œ œ
œo ™ –
Ó
#œ œ nœ nœ #œ Œ
U Ó
œœ # œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ # œ œR ≈ ≈ Œ R≈
U Ó
œ
œ molto
œ œ œ #œ œ œ œ
œo ™ –
Œ
œ
6
molto
6
molto
tenuto, sempre
Π{&
3
3
3
3
3
°
5
&
œo ™ –
œ œ œ œ œ œœœœœœœ œ
œo
6
molto
{&
œo ™ – molto
∑
Ó
œ œ œ œ œ œ œ œ#œ œ œ œ 5
6
Œ
(Release gradually.)
© 2016 Aleksandr G. Brusentsev
œo –
œ œ molto
œ
œo –
œ
œo ™ –
molto
œœ # œ œœ œœ œœ # œ œœ œœ Œ R≈ R≈ 3
3
œ molto
2 [7] 7
&
œ œ #œ œ œ œ 6
œo ™ –
molto
œ
#œ œ nœ nœ #œ œ
œ
œ œ #œ
6
molto
œ
nœ œ
¥ staccato
# œœ œœ œœ œœ œ œ * # œœ œœ œœ œœ ≈ 3
≥ # # œœ v'
al tallone
cresc.
(tenuto)
{&
œ
f
≥ # œœ v'
Ó
¥ staccato
tenuto
b œœ œ bœ
3
°
* Please see ‘Handling Instructions’ for information on the desired sound.
10
&
œo ™ –
œ œ œ œ œ œœœœ≈≈ 6
molto
{&
al tallone
≥ œ #œ v'
≥ #œ œ v'
# œ œ # œ' œ' # œ œ. # œ. œ ' ' f
f
5
{
&
œ œ œ
5 6
œ œ œ œ œ œ œ #œ œ œ œ
¥ staccatissimo
& 5
œ
nœ
5
œ 5
œn œ
œ œœ
œ œ n -Oœ
œœ œœ
tenuto, sempre
°
13
n Oœ
∑
œ
œ -O≤ œ
Oœ
“ œo
f
˙o
˙-
©
loco al tallone
‰
≤r ^Æ œ ≈ œ b œœ ' f
¥ tenuto, sempre œ # œœ œ
œ œœ œ
poco
poco
Ó
Œ
œ
œ sempre
œ
˙
f
16
{ {
&
“ w-
˙
˙-
˙3
f
& 5
w
&
w
°
20
{
© # w-
5
œ œ œ. œ œ œ . ' '
loco
≈ ≈ œ#œ
˙
n˙
-œ
-œ ™
-œ
œ
˙
˙
<“> ˙
Ϫ
-œ - »˙œ
œ œœ œ & 5
#w
>
° -œ J
“ -œ
œ
-œ
*
3
œ
(½)
˙ œ œ ø ø ø
œ
œ ø
©
“© n -œ ™
loco al tallone
≥^ # œœÆ
≥^ Æ œ #œ
-œ œ J
loco
tenuto, sempre
#œ œœ œ
˙
œ nœ
œ
ø
ø
œ w
p sempre
°
ÛÓ œ™ ø
j œ ø
pesante
* Cut off just before the 3rd beat.
-œ
>. œœ f
# œœ œ nœ
- sempre
œ
œ
ø
½
˙-
3
œœ œœ
°
&
6
f
5 œ
23
5 œ œ œ œnœ œ œ#œ œ œ œ
œœ n n œœ <
&
3
- cresc.
¥ staccatissimo, sempre #œ #n œœ œ
˙
-œ >œ. – n -œ œ œ J ‰
œ -O œ
5
3
¥
˙
>œ. -. œ ≈≈ ‰ ≈ œR Œ p
¥
œ
œ
4 27
{
&
œ œ #œ œ œ œ œ œ œ œ œ
6
5
&
œo –
œ
œ
3
œo ™ –
≥^ œ # œœÆ
al tallone
molto
≥^ n# œœÆ
≥^ Æ n n œœ
Û
œ œ œ œ œ œ œ œ œ œ œ œ 6
f
3
3
»
w
œo ™ –
œ œ œR ≈ ≈ œ Ó R R
w-
œ œ œ œ œ œ œ œ œ œ œ œ œ
œo
>o. – œ
6
molto
“ œœ œœ ≈ œ œœR ≈ ‰ R & 5
molto
w
w
œœ œœ œœ œœ œœ œœ œœ œœ œœ ¥ staccato, œ œœ sempre 3 œ œœ œ œœ œ œœ œœ œœ ≈ ≈ ≈ ≈ & R
&
œ œ
nœ œœ œ
molto
5
œo –
6
molto
&
31
{
œ œ œ œ œ œ œ œ œ œ œ œ œ
œo ™ –
œo
molto
29
{
œo ™ –
w °
Œ
√ Ó
(lunga)
molto
©
œœ ≈ ‰ R
Œ
Ó Ó
√ Ó
(lunga)
√ Ó
œo
5
for Javier Montañana and César Saura
II. To Find One‘s Way
Violin
Piano
{
{
6
&
{
-œ b œ
q = 84, Pensive
4 & 4
∑
4 &4
˙
œ bœ
?4 Ó 4
Œ
Œ
≥ œ ‰ J
?
œ bœ
≈ œ œ Ó
Ó
bb≈œœ œœ ˙˙
˙˙
3
b ˙˙
b b˙˙˙˙ ø
Œ
œ≤ ‰ J
Œ
Œ bœ œ œ
œ œ Ó
b ˙˙
œ
˙˙˙
˙˙
11
&
Ó
bœ ≤ œ bœ œ œ ‰ J
bœ nœ Œ & ˙ ? ˙
b b b˙˙˙˙ ø
œ
˙
œ b >œ b œ J J
œ nœ bœ œ ˙ b˙
b b ˙˙
œ bœ ™ J
bœ ™
œ 3
bœ œ œ Œ
˙˙
˙ b ˙˙
b ˙˙
˙
œ bœ œ œ
˙˙
‰ Œ
ø
≥ œ ‰ J
b ˙˙
˙˙˙
b ˙˙˙ ø
œ b >œ œ œ ™
3
œ bœ œ œ
œ œ œ œ
b ˙˙
¥ norm. > œ œ ™ œ œ ™ œ b˙ 3
nœ bœ Œ b ˙˙˙
b˙
bœ œ œ Œ
poco rit.
¥
˙
œ bœ
p semplice, ma espressivo
sempre a galla
œ -œ -œ
b˙
˙
(corta)
°
œ bœ œ œ & ˙˙˙
≤ bœ
Œ
˙˙
˙˙
≈ gliss. œ œ b -œ ™ b -œJ (corta)
poco sul tasto fino a m. 14
Ó
Aleksandr G. Brusentsev
# #n ˙˙˙ ø
œ
œ bœ ˙˙ # # ˙
œ nœ ˙ # ˙˙ ø
6
poco accel.
{
&
{
n ˙ ? b b ˙˙
œ œ œ œ J
3
œ bœ œ
3
b ww bw
n bn˙˙˙ ø
&
O˙
# ˙ &
Œ
≤ gliss. #œ # œ
3 ≤ œ #˙ # œ
sempre pesante
œ nœ #œ #˙
˙˙
˙˙
ø
Œ
≥ #œ œ
˙ # œ #œ œ
≤ gliss. Ÿ~~~~~~~~~~~~~~~~ ≈ j # œ ™ nœ œ #œ #œ
gliss.
#œ #œ
ø
3
3
&
Œ
‰ œJ
Œ
? # # #www 3
n ˙˙˙ ø
Œ # ˙˙ 3
˙˙˙
œ # œ #œ 3
# # # ˙˙˙ ˙˙ #˙˙˙ ˙ ø
3
al tallone
≤
#œ œ ' '
p
˙ n # # ˙˙˙
˙
œ Œ Œ ‰J
≤ Ÿ~~~~~~~~~~~~~~~~ ≥ gliss. œ nœ œ #œ œ > molto
p
#œ
j‰ Œ #œ #œ œ
œ #œ œ
3
œ
b œ ≈œbœ œ
gliss.
˙˙ ˙˙ # # ˙ # #˙ ˙ ˙
# # #˙˙˙ # #˙˙˙ ˙ ˙
ø
3
≥ #œ
œ b œ œ ≈œ-
p
nœ # n ##œœœœ # œ ø
Œ
b≈Oœ
œ
Ϫ
3
# # ˙˙ # # ˙˙ # ˙˙ ˙
»b ˙
˙
œ # œ #œ
#˙
œ #œ
semplice, ma espressivo, sempre
? # n# ˙˙˙ # n# ˙˙˙ ˙˙
&
Œ
< h = [ hp >
˙
œ
q = 56, Increasingly tense
24
{
dim.
Ϫ
- b œ -œ œ œ R
3
œ bœ œ œ
&
19
>œ ™™
œ b >œ ™ œ J
b œ >œ ™ J
15
A tempo (q = 84)
# ˙ ‰ # œJ ˙˙ ˙ ø
‰
≥
‰
œ œ ' '
agitato, con fuoco
œ n n ˙˙˙ 3
œ#œ #œ # ˙˙ ˙ ø
3
. . . # œ. œ. # œ. # œ œ # œ
col legno 27
{
pizz.
& # œû œ> û
quasi gliss.
Œ
®
?
#œ J
‰ 3
® #œ œ.
≥ # # œœ.
sempre pesante
≥ + ≤ » Œ # œ. œ œ. œ
≤ #œ #œ
≥ # œœ .
arco
p
˙˙ ˙
n ˙˙˙
n ˙˙ #˙ ø
{
&
&
{
(norm.)
#œ
œ. # œ. œ
cresc.
œ #œ ™
-œ ™ # œ
&
&
œ #œ ™ J
≥
œ J
≥
# œ #œ # œ ≈ œ #œ œ #œ
3
ø
7
œœ
3
œ
œœ
j œœ ™™ ≈ œ #œ
f
f
#œ # œ # œ # œ R 3
˙˙˙ ø
3
#˙˙˙ ˙
œ ˙
#Ϫ dim.
#˙ # ˙˙
Ó
Œ
œ#œ #œ #œ » ˙ J
Ó
˙
gliss.
3
# ˙˙˙ n n ˙˙˙˙ 3
ø
œ
< [ hp = q >
¥ poco vib.
senza vib.
œ
˙˙
# # ˙˙
A tempo (q = 56)
# -œ ™™
? # # ##˙˙˙˙
œ # -œ ™ J
#œ ™
# # ˙˙ ˙
rit. 5
ø
3
≥ #œ 5 5 r r 5 r # œ ≈ œ œ ≈ œ œ œ ≈ ≈ ≈ ≈ œ œ ≈ # # œœ œœ #œ œ #œ œ œ œ œ ' ' ' '
# #˙˙˙
3
# ˙˙ #˙
5
≥ œ # œ.
cresc.
? # ww w
32
≥ #œ œ.
al tallone
# œ œ œ' œ' ' '
œ #œ œ œ ™ ˙˙˙
poco accel. 30
arco al tallone
f
3
# ˙˙˙
pizz. pizz. arco
# œ -œ # œ œ œ ™ J J J
˙
# ˙˙ ˙
# ˙˙˙ # ˙˙ # ˙ ø
≥ # œœ.
al tallone
¥ -œ # œ # œ #œ
(Fall off notes indiscriminately.)
& Ó
¥ arco norm.
7
poco rit.
&
n ww
3
quasi gliss.
®
# ˙˙
. . . # œ. # œ. œ. # œ. # œ œ # œ
8
q = 42, Blooming, freely 35
{
nœ
5
5
6
nœ
#œ œ œ nœ œ nœ œ œ nœ œ œ
n œ œ nO œ-
nœ
œ
œ œ œ œ œ
5
Ϫ & Ϫ
leggiero, dolce, ma non troppo
œ œ J
p affettuoso, ma non troppo
œœ
# œœœ & œ ø
œ
œ œ
œœœ
œ œ
œ
œ
œ n Oœ
5
una corda fino a m. 43
&
œ
-O œ
5
œ œ œ -Oœ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ
œ œ
5
&
˙ ˙
œ œœ
#œ & œœœ ø
37
{
œ
&
36
{
¥
-ϲ
&
-O≥ œ J
≈
simile œ≤ œ # œ œ œ œ œœ 6
œ œ
œ
# œœœ & œ ø
œœ
&
6
œ œ
‰
®
œœœ 5
˙ ˙ œœ
-O # ® œJ
3
œœ
5
œœ
®
#œ #œ
#œ œ ® ®
œ
œ
-O œ J
œ
œœœœ 6
-O »-Oœ ® œ
‰
œ Ÿ~~~ œ œ œ # œ j ® œ œ‰ œ œ
œ œ
œ œ œ
œ
œœœœ ø
Œ
# œœ
¥ œ≤ J
œ ‰ œJ œœ œ
39
{
&
&
œ
5
œ bœ œ
˙ ˙
5
® œ œ œ. œ. œ. œ.
œ #œ
nœ
gliss.
3
#œ #œ
œœ b œœœ. & œ
œ
œ œ nœ œ œ ‰ nœ J
ø
ø
ø
3
poco accel.
{
˙
42
&
œ™ œ™ & ‰
œ œ œ» , œ ‰
&
&
œ J
Œ
Ϫ
œ
œ œ
œ
œ œ œœœœ # œ œœœ œ œ œ & ø
nœ ø
molto
œ O OJ p
œ œ molto
e e
œ. œ
œ ≈ R
œ œ™
‰
‰
œ ‰ J
Œ
œ. # œ. œ œ#œ œ
œ
œœ
œ
Ϫ
œ
Ϫ Ϫ
Ϫ
brillante
œœ. œ œ œ œœ
œ J
œ œ J . œœœ
Ϫ
œ J
nœ J
œœœ
œ -œ J œ
˙ ˙ # œœ. œœœ ø
3
œ œ J
brillante
p
# œœ œ n œ œ
# œœ
¥
˙
œ J
norm.
n œ. œ. n œ. œ. Œ
ø
3
tre corde
œ -œ œ œ ™ œ œ œ œ™
cresc. poco a poco a m. 49
3
Ϫ
3
œ
cresc. poco a poco a m. 49
≤ Ÿ~~~~~~~~~~~~~~
œ nœ , œ n œ nœ Ó nœ
bœ œ œ œ œ & b b œœœœœ œ. œ . ø
45
{
œ
Ϫ
œ ‰ œ J
Œ
col legno.
b œ œ œ n œœ. b œ œ œœ œœ œ b œœ n œœœ n œ.
œ nœ œ œ œ bœ
œœ.
Ϫ
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11
for Huw Watkins
III. To Learn To Love To Dance
{
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3
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25
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34
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Turn around point
.
i do dots music