the lingering effects (2006) sonatine for piano and violin
george lam
MANCHESTER
li gh th ouse
The Lingering Effects (2006) is a short movement for violin and piano. This piece combines the sounds of the two instruments by using the piano’s upper register throughout, where the notes quickly fade into the sound of the violin, sustaining the piano’s pitches and colors through longer notes and harmonics. The Lingering Effects was jointly commissioned by and dedicated to The Nietzsche Ensemble and violinist Lydia Miller.
George Lam (b. 1981) is an active composer based in Durham, North Carolina, and is currently a Ph.D. student in music composition at Duke University. Recent works include Homecoming… for orchestra and The Fair Youth of The Sonnets, a chamber opera in one act. Lam holds degrees from the Peabody Conservatory of Music and the Boston University School of Music, and has studied composition with Christopher Theofanidis, Nicholas Maw, Charles Fussell, and Stephen Jaffe. For more information, or to listen to excerpts of his works, please visit http://www.gtlam.com, or send an e-mail to georgelam@gmail.com Score and parts are available from the composer.
Performance Notes •
Performers are encouraged to experiment with using full-stick or half-stick for the piano, in order to maximize the piano’s resonance.
•
Grace notes in the violin part should come slightly before the beat.
•
Both artificial and natural harmonics are used. These are the actual sounding pitches of the natural harmonics that are used in this piece:
• •
II.
I.
I.
I.
III.
means decrescendo al niente.
The violinist should use very little or no vibrato for the entire piece, unless stated otherwise.
Performance Time: approximately 3 1/2 to 4 minutes.
Commissioned by and dedicated to The Nietzsche Ensemble and Lydia Miller
THE LINGERING EFFECTS sonatine for piano and violin
GEORGE LAM (2006)
q = 144 Feel in 2
(non vibr. *)
Violin
p
q = 144 Feel in 2
Piano
f
7
mf
ff
III.
14
III.
p
* sempre non vibrato for the entire piece, unless stated otherwise.
3
p
pp
f
pp
II.
f
p
p
mp
f
I.
f sub. p
p
f
p
20
pp
27
pp
33
p
p
f
I. p
pp
mp
mf
f
vib.) (poco
p
mp
3
f
f
mf
(non vib.)
mf
loco
p
I.
f
arco
p
(non harm., non vib.)
ff
ff
p
p
pizz.
3
p
4
p
mp
p
mf
p
f
3
mf
I.
f
ff
p
f
f
f
47
54
arco
f
p
pizz.
mf
3
fp
f
mf
3
p
mf
f
p
arco I.
pizz.
40
(poco vib.)
pp
f
5
64
p
I.
p
pp
p
mp
p
p
f
ff
f
sub. p (gently)
p
f
ff
p
(poco vib.)
p
70
mp
f
f
p
(non vib.)
gliss.
I.
f
59
III.
f
I. mp
6
poco rall. 76
q = c.120
p
mp
poco rall.
f
pp
(poco vib.)
Tempo I (q = 144) 83
3
90
pp
(poco vib.)
3
mp
p
(non vib.) I.
f
p
Tempo I (q = 144)
f
ppp
ff
f
p
3
3
mf
III.
pp whisper-like
p
f
p
3
3
q = c.120
ff
96
q = 96
3
ff
fff
3
f
f
fff appassionato
103
ff
f
ff
3
let ring.
(long)
f
f
mf
3
7
molto rit.
p
ff appassionato
f
(molto vib.)
q = 96
3
mp
100
p
(più vib.)
molto rit.
p freely
(long)
8
108
p
pp
114
p
mp
f
(harm.) I.
p
pp
119
(till end)
3
3
p
rit.
3
rit.
pp fleeting
pp
p
(non harm.)
p
pp
February 12, 2006 Durham, North Carolina