Donald Man-Ching Yu
Oneness
for alto flute and piano
Program Notes Oneness is a theological concept implicating that God is the only single entity in the universe, being without any parts. Yet, the concept of oneness is full of divine simplicity which traverses through time and space infinitely. The piece begins with tone D and ends in tone A and for most of the time, various consonant intervallic materials are superimposed with each other throughout the whole piece. Most importantly, ostinato figures most often juxtapose with static consonant tones for generating substantial tone colors in different registers during the course of the piece. Generally speaking, minimalistic techniques are employed in the piece for expressing the concept of oneness. 「単一性（Oneness）」は、神が宇宙の唯一の存在であり、いかなる部分もないことを暗示する神学的概念です。 しかし、単一性の概念は、時間と空間を無限に横断する神の単純さに満ちています。 この作品は D の音で始まり、A の音で終わり、ほとんどの時間、様々な協和音間材料が、作品全体にわたって互いに重ね合わされます。 最も重要なことに、オスティナートは、最も頻繁に静的協和音と並置され、作品の過程で異なる音域に大きな音色を生成します。 一般的に言えば、単一性の概念を表現するために、ミニマルの技法が作品に採用されています。
Duration: ca’ 6’
Oneness Man-Ching Donald Yu
w = 25-30 Dreamy
Alto Flute
4 & 4 *
Piano
4 4
**
***
Alto Flute
&œ œ œœ π sempre legato
11
Pno.
sempre con Ped. * Throughout the whole piece, each whole note should be executed evenly without any accent. Pedal should be used most of the time for generating the organic echo effects. ** The sound of the notes are indicated by lines, and should be try to sustain in accordance to the position where the lines end. All sustained effects are achieved by means of sustantial pedal. *** Each note of the repetitive figures in the alto flute part should be played as even as possible without any uneven accents. Also, pianist should give signal to the flute player to join in at any entrance spots throughout the piece.
18
A.Fl.
*
&
œœœ
cresc. poco a poco
Pno. cresc. poco a poco
& œœœ
24
A.Fl.
œœœ p
œœœœ
Pno.
* Between different groups of the repetitive figure (e.g. between m. 20 and 24, and so on), tiny amount of breaks are essential for breathing, however, continuity needs to be ensured throughout the section.
2
œœœ
& œœœœ
32
A.Fl.
œœœœ
œœœœ
P
dim. poco a poco
Pno. dim. poco a poco
40
A.Fl.
&
œœœ 3
- - -̇ -̇ œ- œ œ- œ œ- œ -̇
œ œ
3
3
-̇
-̇
-̇
3
?
Pno.
3
-̇
˙
-̇
50
A.Fl.
&
w
π
w-
w-
w-
w-
w-
w-
w
w∏
w
Pno. dolce e molto tranquillo
Pno.
A. Fl.
&
w-
sempre
64
π
w-
w-
Pno.
4
w-
w
w-
w-
w-
& w-
78
A.Fl.
w-
w
w-
w-
w-
w-
w
w-
π
w-
w-
w
w-
w-
w
wπ
Pno.
& w
92
A.Fl.
w-
Pno.
5
morendo
w
w∏
w
w-
w-
106
3
3
Pno.
sempre legato
A.Fl. 109
& œœ œ œ π
œ œ œ œ
sempre legato
Pno. 6
6
6
113
A.Fl.
&
œ œ œ
œ œ œ œ
cresc. poco a poco
113
Pno.
6
6
cresc. poco a poco
117
A.Fl.
&
Pno. 6
7
œ bœ œ œ
120
A.Fl.
& œ œ œ œ
Pno.
6
& bœ œ œ œ
123
A.Fl.
6
bœ bœ œ œ
P
Pno. 6
8
bœ bœ & bœ
bœ bœ
126
A.Fl.
œ
f
Pno. 6
6
129
A.Fl.
&
dim. poco a poco
dim. poco a poco
Pno. 6
6
9
œ
œ œ œ & #œ F
132
A.Fl.
Pno. 6
& #œ
135
A.Fl.
œ3
6
œ-
œ-
# œ-
p
œ-
œ-
Pno. 6
10
œ
œ-
œ-
œ-
˙
-̇
-̇
138
A.Fl.
&
-̇
˙
-̇
-̇
-̇
wπ
Pno. 6
142
A.Fl.
& w -
6
w-
w
w
5
ϸ
œ-
niente
niente
Pno. 3
3
3
11
3