Ingvar Lidholm: Poesis

Ingvar LIdhoLm POESIS pe r or ch e stra PartItu r / S c o r e

IngvarIngvar LIdhoLm LIdhoLm POESIS POES pe r or ch epe stra r or PartItu ch e stra r / S PartItu core r / Score

1963/2011

Commissioned by and dedicated to the Stockholm Philharmonic Orchestra in connection with its 50th anniversary in 1964.

In this new edition I add a dedication to Herbert Blomstedt who conducted the first performance, and many performances after that – the latest in November 2011 with the Oslo Philharmonic Orchestra.

A great conductor and a wonderful friend. – Ingvar Lidholm, December 2011

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All instruments, with the exception of the piccolo flutes and double basses which are notated in the usual octave transposition, sounds as written.

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All harmonics sounds as written (including those of the double basses).

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The accidentals refer only to the note which they immediately preceed.

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∑ 44 : ¼-tone higher ∑

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4 : ¾-tone ∑ ∑ higher ∑ ∑ ∑ ∑

∑? 44 4 ∑ 44 ?4

∑ ∑ : highest note or highest ∑ register

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∑ :∑ lowest note or lowest ∑register

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∑ tremolo or∑ Flatterzunge : very fast ∑ ∑ ∑  ?4 ∑ ∑ ∑ 4 ∑ ∑ : stroke (fregare)  ? ? ∑∑ ∑ ∑ ∑ ∑ ∑∑  ∑ : pizz. ∑ “alla Bartók” ∑ ∑ 

∑ ∑∑  U : short fermata ? œU ∑ : long fermata ∑ J ?

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? œJ

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∑ 44 ∑∑ ∑ ∑ ∑ ∑∑ ∑ ∑∑ ∑    ∑    ? œJ  4 ∑ ∑  ∑∑∑ ∑  ∑   ∑ ∑ successive individual entries. In these structures unisono  4 ? œJ Denotes z ~      œ  ∑ ∑ 44 ∑∑ playing ∑? J? ?œ 44 œ œ œ ∑œ œ œ œ∑ œ ∑  ∑ etc. ∑  ∑ is not allowed. The position of the numerals does not ?∑ 244 ­signify ∑the exact entry, but rather the different intervals between the ∑ ∑ ∑3∑ ∑ 1 5 ∑ ∑ 4 ∑ ∑ ~ ∑ z ? 44 entries. The tempo should also be individual and differentiated. ∑ ∑œ ∑ ∑ ∑ œ  ?z œ U œ  ∑ ∑ ∑∑ ∑ œ œ~ œ œ œ∑ ∑ ∑ ∑ ∑ b >œ ∑b œ ∑>œ œ b œ >œ b œ œ b œ  ∑ ? œz 44 œ œ~∑ œ œ œ ∑ œ∑ œ  ∑ ∑ ∑ ∑∑ œ  ∑ ∑ ∑∑ œ ∑ œ ∑? œ ∑∑ ∑ ∑ ∑  ∑ ∑ ∑ œ œ œ œ∑ , œ ∑ b >œb#œ >œ # œ b œ >œ b œ œœ b œ    # . ∑ The recapitulation are to be repeated incessantly and are to end ∑ ∑ ?.. . ∑ ∑ ∑ ∑ ∑ ∑ exactly at the horizontal bar (possibly in the middle of a phrase). ? ∑ ∑ ∑ ∑ ∑∑ ∑ ∑ ∑b >œ b œ >œ ∑∑œ b œ >œ b œ∑ ∑œ∑ b œ ∑ ∑ ∑∑ ∑ ∑ ∑∑ ∑ ∑ ∑ ∑ ∑ b >œ b œ >œ œ b œ >œ b œ œ bœ  ∑ ∑  ∑ ? œ“Op ∑  ∑   l ” nota   ti∑ ca ∑ ∑ tion ∑∑ J       ? œJ  ∑ 4444 ∑ ∑ ∑ ∑ ∑ ∑ ∑∑     ∑ ?œ  ∑ : long notes; the horizontal bars denote the duration of the notes or ∑ J ∑ reverberations ∑∑ ∑ ∑ ∑ ∑∑ ∑ ∑ ∑ 4646 ∑ ∑ ∑ ~ ∑ z ~ ∑ ∑ ∑ ∑ ∑ œ ∑ ? z ∑ ∑œ ~ œ ∑∑ ∑ œ œ œ œœ œ œ œ œ œ œ œ ∑ œ œ : short notes or beats; staccato z ∑∑ ∑ ?4646 œ ∑~ ∑ œ œ œ œ œ ∑∑œ œ œ ? œ ∑ ∑ ∑ ∑ œ œ œ œœ œ œ œ  œ  œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ ∑ ∑ ∑ œœ  ∑ ∑∑ : relatively ∑rapid succession of notes ∑ ∑ ∑ ∑ ∑ > >œ œ b œ >œ b œ œ b œ > > ∑b œ b œ œ œ b œ œ b œ œ b œ ∑ ∑ ∑∑ b >œ b œ >œ œ b œ >œ b œ œ∑ b œ ∑∑ of notes ∑ : ∑very rapid succession b >œ b œ >œ œ b œ >œ b œ œ b œ ∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑ ∑ ∑

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b >œ b∑œ >œ œ b œ >œ b œ œ b œ ∑

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O r che s tra 4 Flauti piccoli (anche 4 Flauti grande) 4 Oboi 1 Clarinetto piccolo 3 Clarinetti 4 Trombe 4 Corni 4 Tromboni Pianoforte (senza coperchio); e’ desiderabile che il pianista soni dalla partitura 4 Percussioni 8 Violini I 8 Violini II 8 Violini III 6 Viole I 6 Viole II 4 Violoncelli I 4 Violoncelli II 3 Contrabassi I 3 Contrabassi II

44 44 44 œ œ 44œ œ œ œœ

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œ œ œ œ∑ œ∑ œ∑ œ∑ œ∑ œ∑

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44 44 44 œ œ œ œ œ œ

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œ œ œ œ œ∑ œ∑ œ∑ œ∑ œ∑ ∑ œ œ œ

œ œ∑ œ∑ œ∑ œ œ

44 44 4 4 œ œ œ œ œ œ

44 44

œ œ œ

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∑ ∑ ∑ ∑ ∑∑ ∑ ∑∑ ∑∑ ∑ ∑∑ ∑∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑ ∑ ∑ IV ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑4 Timbales ∑∑ ∑ ∑∑ (tmb) ∑∑ ∑∑ ∑∑ ∑ ∑∑ ∑∑∑Piatto∑∑sosp. ∑ ∑ ∑grande∑ ∑ (pto) ∑ ∑

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œ œ œ œ œ∑ œ œ ∑ œ œ œ∑ œ œ∑ œ œ ∑ ∑ ∑ œ∑ ∑ œ∑ ∑ ∑ ∑ ∑ ∑ œ ∑ œ ∑ ∑ 44 œ ∑ œ ∑ œ œ∑ ∑œ œ

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∑ ∑∑ ∑ ∑ ∑ ∑∑ ∑ ∑ ∑ ∑∑ ∑ ∑ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pe r c ussi oni œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ ∑∑ ∑ ∑ ∑ ∑ ∑∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ I III ∑ II ∑ ∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑ œ œ ∑ ∑ ∑ ∑∑ ∑∑ ∑∑ ∑4 ∑∑ œœ œ rul. ∑ Tamb.∑ mil. ∑ ∑ ∑∑ ∑Tamb. ∑∑ ∑4 ∑∑ 4 Bongos (bg) œ œ œ ∑(con corda) ∑ ∑ ∑ ∑ (senza∑ corda)∑ œ œ ∑ ∑∑ ∑ ∑ ∑ ∑∑ ∑∑ ∑ ∑ œœ ∑ œœ∑ ∑4 ∑ ∑∑ ∑ ∑ œ œ œ ∑4œ ∑∑ ∑∑ ∑ ∑sosp. ∑∑∑ œ œ ∑œ œ œ ∑∑Piatto∑ sosp. ∑ ∑ œ∑ ∑ ∑ ∑ ∑Piatto ∑ ∑∑ ∑∑ ∑ Reco-reco œ œ picc. (pto) ∑medio ∑(pto) ∑ œ ∑ ∑ ∑ ∑ œ ∑ ∑ ∑ ∑ ∑ ∑ œ ∑ œ ∑∑∑ ∑Tam-tam ∑ ∑ ∑ ∑ œœ∑ œ ∑œ œ∑ ∑ ∑∑ ∑ ∑∑ ∑∑∑ ∑∑ ∑ ∑∑ ∑∑ œ ∑∑44 ∑∑ ∑ ∑ ∑∑ ∑ œ œ∑ ∑œ ∑ ∑Tam-tam ∑∑Tam-tam Claves œ picc. (tamt) medio (tamt) grande (tamt) ∑∑ ∑∑ ∑∑ œ ∑ ∑∑ ∑∑ ∑ ∑ œ ∑ ∑∑ ∑∑ ∑∑ œ ∑ ∑ œ ∑ ∑ ∑ œ ∑ ∑∑ ∑∑ ∑∑ œ ∑ ∑ ∑ Tamb. de ∑∑ ∑ ∑ ∑∑ œ œ ∑œ ∑∑ œ ∑4 Cow-bells ∑ ∑ œ œ ∑œ œ ∑ Sand ∑block ∑ ∑3∑ Temple∑∑ ∑ basque blocks (tp-bl) œ ∑∑(cow-b)∑∑ ∑∑ œ ∑∑ ∑∑ ∑ ∑∑ ∑ ∑∑ ∑ ∑∑ ∑ ∑∑ ∑ ∑∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ∑∑ ∑∑ ∑∑ œ ∑ ∑ ∑ œ ∑ ∑∑ ∑∑ ∑∑ œ ∑ ∑∑ ∑ ∑ ∑ ∑ ∑ œ ∑ œ ∑ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑∑ ∑∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ Marimba (marb) Frusta ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ∑ ∑ ∑ ∑ ∑ ∑ œ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑ ∑∑ ∑ ∑∑ ∑∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑œ ∑ ∑∑ ∑∑ ∑ œ ∑ ∑ ∑ œœœ ∑ ∑ ∑∑ ∑ ∑∑ ∑ ∑∑ ∑ ∑∑ ∑ ∑∑ ∑ ∑∑ ∑ ∑∑ ∑ ∑ ∑ ∑ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ metallo∑ spazzola morbide Bacchette : ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑dure ∑ ∑ legno ∑ ∑ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ∑ ∑∑ ∑ ∑∑ ∑ ∑∑ ∑ ∑∑ œ ∑ ∑ ∑ œ ∑∑ ∑ ∑ ∑∑ ∑∑ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ∑ ∑ ∑ ∑ ∑ Soloinstru∑ ∑ ∑ ∑ ∑like a∑ t­raditional ∑ ∑ ∑ Der∑ Flügel ∑ soll The piano should ∑be placed, wie ein traditionelles œ ∑ front ∑ ∑on ∑ the ∑ ∑ ∑ It is ∑∑ ∑ stage. ∑ ∑ ∑ ∑ ment ∑∑ vorne ∑ werden. ∑ solo instrument, œ up ∑ ∑ ∑ ∑ ∑œ ∑ ∑∑ ∑∑ ∑ ∑ auf∑ der ∑Bühne∑ platziert ∑ œ desirable that the percussion instruments in ­ Wünschenswert wäre es, wenn die Schlaginstru∑ ∑ œ ∑ ∑ ∑ ∑ ∑ ∑ I in unmittelbarer Nähe des Group I be placed in close proximity to the piamente aus Gruppe œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Pianisten ∑ ∑und des Dirigenten platziert würden. ∑ ∑ ∑ ∑ nist and the conductor. ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑œ ∑ ∑ ∑ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑

“a Durata: 17–19 min. (time indications/seconds in the score ∑ ∑ piacere”) ∑ ∑ œ ∑ ∑ ∑ ∑ ∑ The score is a reproduction of the author’s handwritten manuscript.

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POESIS per orchestra

Copyright © Nordiska Musikförlaget/ 2007 Gehrmans Musikförlag AB, Stockholm

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Ingvar Lidholm, 1963/2011

Kopiering förbjuden enligt lag!

Copying prohibited by law!

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Dear Pianist

Lieber Pianist

Perhaps you feel that this CADENZA from the year 1963 with its “instrumental theatre” is a little passé.

I have an alternative – see pages 18 and 19.

Vielleicht haben Sie das Gefühl, diese CADENZA aus dem Jahr 1963 mit ihrem „instrumentalen Theater” sei schon etwas passé. Es gibt eine Alternative – s. S. 18 und 19.

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The Cadenza from the year 1963 was written in cooperation with my friend Karl-Erik Welin. It allows the pianist ample freedom to create an eccentric theatrical scene. Now, in the year 2011, I am of a different mind –

Die Kadenz von 1963 entstand in Zusammenarbeit mit meinem Freund Karl-Erik Welin. Sie räumt dem Pianisten große Freiheiten ein, eine exzentrische, theatralische Szene zu schaffen. Heute, im Jahr 2011, denke ich anders darüber –

Within the intense orchestral development the ­cadenza becomes a tranquil island of sound – a

In dem großen orchestralen Geschehen bildet die Kadenz eine stille klangliche Insel – ein

NOTTURNO (2-3 min.)

NOTTURNO (2-3 Min.)

an improvisation – within the sound sphere of ­Poesis but coloured and formed by the personality of the interpreter.

eine Improvisation – innerhalb der klanglichen Sphäre von „Poesis“, sie wird jedoch durch die Persönlichkeit des Interpreten gefärbt und geformt.

...STILLNESS

...STILLE

...DREAM

...TRAUM

...but

...aber

it could preferably have some bizarre elements.

And somewhere fragments of my choral work Laudi (1947) are to be heard.

gerne darf sie einige bizarre Elemente beinhalten.

Und irgendwo sind Fragmente aus meinem Chorwerk „Laudi“ (1947) zu hören.

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∑ 4 ∑ ∑ ∑ &4 ∑ œ  && œ œ  & œ œ œ œ œœ œ œ  œ  œ œ œ œ œ œ ∑ & œ œ   œ œ œ œ œ && œœ ∑ œœ œ œ b & œ # œ # œ b œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ ∑ & ∑ œ œ œ b  œ #œœ #œœ œ ∑ ∑ & & œ œ œ∑ œ ∑œ ∑ œ & œ œ œ œ ∑ ∑∑ ∑ œ œ & œ œ & œ & œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ  &œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ & œ œ œ œ œ œ œ œ œ œ œ œ# œ œ# œ œ œ œ œ œ∑ œ œ œ œ &4 œ œ 4 œ ∑  ∑ ∑

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ISMN 979-0-070-12044-9 Score: GE 12044; Study score: GE 12046; Parts available on hire Cover layout by Tomas Einarsson Photo of “Natten/The Night” by Martin Möller Copyright © Nordiska Musikförlaget/2007 Gehrmans Musikförlag AB, Stockholm Printed in Sweden by Responstryck, Borås 2012 MM

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