HEX for ensemble 1997 Julian Grant
Hex (1997) programme note Hex: a sorceress/shaman – to Hex: bewitch – to put a curse on. The catalyst for this piece came from an unlikely source: a Central Asian rock concert. I had been lured there, like a virgin, intrigued by the promise of hearing “The Madonna of Uzbekistan”. As it happens, she was eclipsed by another act on the bill, a group from Yakutsk, in Siberia. Their lead singer was a shaman, who apparently revived old songs and spells that had been largely stamped out by the Soviet regime. Her vocal style was intriguing, a declamatory and obsessive meandering on a few cracked notes, coloured by the local technique of “Kalykhan”, a sort of fluttery yodel. But it was her presence that was mesmerizing. She was large, with waist length raven tresses; and her imprecating, yowling, baying and pleading cast quite a chill over an audience who I imagined had thought themselves in for a frivolous time. I sat well back in my seat, torn with conflicting emotions as the antics were sometimes risible, sometimes disturbing, wondering if her song was protecting me from evil spirits or conjuring them up. I found myself intrigued by the idea of a song as a charm or spell, and two contrasting examples came to mind: Orpheus wooing Charon to cross the Styx, particularly as realized by Monteverdi, and an obscure Georgian opera I had happened upon, “Abesalom and Eteri” by Paliashvili, in which a song causes the heroine to age prematurely and die. This piece does homage to my Shaman-muse; a double-bass solo imitates her song, and an oscillating figure suggests the “Kalykhan”, but my hex is cast far and wide. This is a transposing score. Duration 11 minutes. © Julian Grant 1997
HEX for ensemble
JULIAN GRANT (1997)
q = 50
Alto Flute
Cor Anglais
ff
Bass Clarinet in Bb Bassoon
Horn in F
ff
ff
Harp
Violin I
fff
q = 50
Contrabass
Vln. II
fff
Vla.
ad. lib.
arco
ppp
sul E
pp
fff fff
sul A pp
fff
pizz arco
p
© JULIAN GRANT 1997. ALL RIGHTS RESERVED
pp
pizz arco
pizz arco
pizz arco
arco pp
Cb.
fff
pizz
8
pizz
Violoncello
fff pizz
Viola
(let vibrate)
Violin II
Vln. I
mf
2
17
Cb.
* pp * fast oscillation of a
p molto espress.
ppp
p
3
5
mf
semitone, played as harmonics.
25
B. Cl.
Bsn.
Hn.
Hp.
Vln. II
Vla.
Vc.
pp
pp
pp
Cb
pp tremolo
ppp
p
Cb.
pp
3
3
30
A. Fl.
pp flutt.
B. Cl.
Bsn.
Hn.
3
pp
3
3
Vc.
Cb.
3
arco
3
3
3
pp
p molto espressivo
3
3
3
3
3
3
pp trem.sul pont.
Vla.
3
Vln. II
3
Hp.
3
3
mf
p molto espressivo *
as at bar 16
4
3
33
A. Fl.
3
C. A.
3
3
3
3
3
3
3
mf
p
B. Cl.
Bsn.
Hn.
3
Hp.
Vln. I
Vln. II
3
3
Vc.
3
p
3
p
f
4
mf trem. sul pont.
mf
fp
E/F/G#/Ab/B/Cb/D
p
3
p
Vla.
Cb.
3
3
5
A. Fl.
C. A.
B. Cl.
Bsn.
Hn.
36
3
5
Vln. II
3
3
Vc.
p
p
mf pizz
mf pizz
3
3
3
3
Vla.
Cb.
Vln. I
3
Hp.
6
38
A. Fl.
Bsn.
pp
arco nat.3 p
Vla.
Vc.
3
3
3
Vln. II
3
Hp.
3
3
pp
B. Cl.
3
3
3
3
3
arco
p
7
A. Fl.
B. Cl.
Bsn.
Hn.
p
Vla.
Vc.
Cb.
3
3
5
3
3
3
3
3
Vln. II
3
3
Hp.
3
3
40
3
mf
arco
8
A. Fl.
3
42
pp
B. Cl.
Bsn.
Hn.
3
Vla.
Vc.
Cb.
p
3
p
3
3
Vln. II
3
Hp.
3
C. A.
3
3
3
3
fp
f
4
3
sul pont.
9
A. Fl.
44 3
C. A.
Bsn.
Hn.
Hp.
Vln. I
Vln. II
Vla.
Vc.
B. Cl.
3
3
3
p
mf
C#
pp
3
3
sempre pp
5
mf
3
mf sul pont.
3
mf pizz
Cb.
pizz pizz mf
10
46
Picc.
p
B. Cl.
Bsn.
Hn.
Vln. I
Vln. II
3
Hp.
3
3
3 3 3
3
3
3
Vc.
Cb.
3 3
3
3
3
mf
pizz
3 3
3
3
3
3
3
3
pizz
3
p
arco
3
p
mf
3
arco nat.
3
p non arpegg.
p
Vla.
3
3
3
3
mf
11
49
Picc.
Vln. I
Vln. II
3
3
3
Vla.
Vc.
3
3
3
3
3
pizz
3
3
3 3
3
3
3
3
p
3
3 3
3
3
3
3
3
Cb.
B. Cl.
Hp.
C. A.
Bsn.
p
3
3
3
3
3
3
p
3
3
3 3
3
3
12
52
Picc.
C. A.
B. Cl.
Hn.
p
Vln. II
Vla.
Vc.
Cb.
3
3
3
3
3
3
pizz
3
3
3
3
3
3
3
3
p
3
5
mf
f
Vln. I
3
3
fp
Hp.
mf
Bsn.
3
3
3
mf
mf
54
Picc.
p
B. Cl.
Hn.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Cb.
3
3
3
5
5
mf
3
f
Bsn.
take ALTO FLUTE
p
f
C. A.
13
3
3
3
3
3
3
3
3 3
3
trem.
3
3
p
3
mf
pp (sempre pizz)
3
pp (sempre pizz)
pp (sempre pizz)
4
f
arco
p
f
14
58
C. A.
p
Hn.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Cb.
pp
5
p
p
3
3
p
f
p
f
5
p
15
64
A. Fl.
Cl.
pp
Bsn.
Hn.
Hp.
Vln. II
Vla.
Vc.
Cb.
f
5
5
3
p
4
f molto espress.
3
mf
pp
pp
mf
p
Vln. I
3
arco
16
69
A. Fl.
Cl.
Vln. II
Vla.
Vc.
pp
pp
pp
p
p
p
Vln. I
3
Hp.
Ob.
Bsn.
p pizz
3
p arco
3 3
p arco
17
75
A. Fl.
5
Ob.
p
Bsn.
Hn.
p
p
p
3
f
f
Vla.
mf
3
3
5 5
pp
p
mf
3 3
f
f
3
3
f
3
3
mf
f
3
Vln. II
Vln. I
Hp.
Cl.
p
18
78
A. Fl.
Ob.
Cl.
Hn.
Hp.
Vln. I
3
3
3
f
3
3
3
3
f
f
Vc.
3
Vla.
3
3
4
Vln. II
3
Bsn.
19
80
A. Fl.
Ob.
Cl.
Bsn.
ff
Vln. I
Vla.
Vc.
Vln. II
Vln. II
Vla.
Vc.
mf
ff
ff
ff
pp non vib.
f 5
5
f arco
pizz p
mf
mf
p
pp
non vib.
87
Vln. I
f
A. Fl.
ff
p flutt.
f
Hn.
pp
non vib.
20
5
91
A. Fl.
Ob.
Hp.
Vln. I
p
p
p
vibrato
p vibrato
Vla.
5
5
5
Vln. II
Vc.
5
p vibrato
3
94
A. Fl.
Ob.
Bsn.
Hn.
Hp.
Vln. I
Vln. II
Vla.
Vc.
5
mf
3
3
3
3
3
mf
3
3
5 5
f
mf
3
mf
take PICCOLO
5
mf
3
98
Ob.
Cl.
Bsn.
Hn.
Hp.
Vln. I
Vln. II
Vla.
Vc.
3
3
3
3
3
3
f
3
3
3
3
5
f
p
3
21
mf
mf
mf
arco
mf
22
Ob.
101
3
3
f
Cl.
6
6
3
3
f
Bsn.
Hn.
Hp.
Vln. I
Vln. II
Vla.
5
f
f
f
f
f
f
Vc.
f
f
f
f
p
p
p
f
p
105
Ob.
Cl.
Bsn.
Hn.
Hp.
3
3
Vln. II
Vla.
Vc.
Vln. I
3
3
3
23
3
p
3
p
3
3
f
f
f
f
24
108
Ob.
Hn.
Vln. II
Vla.
Vc.
ff
6
ff wild
mf
sfz
f
Vln. I
Hp.
ff
Cl.
Bsn.
3
ff
ff
ff
5
ff
25
111
Ob.
Cl.
Hn.
f
Hp.
7
3
nat.
f
Vln. I
Vln. II
Vla.
f
5
5
f
arco
arco
pizz
Cb.
f
f
Vc.
f
26
114
Ob.
Cl.
Hn.
Vln. I
5
Vla.
Vc.
Vln. II
Cb.
5
ff
ff
ff pizz
117
Ob.
Cl.
Bsn.
Hn.
ff
Vla.
Vc.
Cb.
3
3
3
3
3
3
3 3 3 3
ff
3
3
fff
ff brassy
ff
* ff
* ff
3
3
3
*
3
3
3
ff arco * short and rhythmic glissando upwards
3
sim
3
3
3
3
3
3
3
sim 3
3
sim
3
3
27
3
120
Ob.
Cl.
Bsn.
Hn.
Vln. I
3
Vln. I
Vln. II
Vla.
Vc.
Cb.
3
3
3
3
3
3
3
fff
Cl.
Hn.
3 3 3 3 3
122
Bsn.
3
Vc.
Ob.
3
Vla.
3
Vln. II
Cb.
3
3
3
3
3
3
3
ff
3
ff
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3
quasi glissando
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
28
3
3
3
124
Ob.
3
3
Bsn.
Hn.
Vln. I
Vln. II
Vla.
Vc.
3
3
3
3
3
3
3
3
f
3
3
3
Cb.
3
3
3
Cl.
3
3
3
3
3
3
3
3
3
3
3
29
126
Ob.
Cl.
ff
ff
Bsn.
Hn.
Vln. I
ff
*
sim.
sempre sul G
* Vln. II
Vla.
sim.
sempre sul G
sempre sul D
Vc.
sempre sul D
Cb.
* short and rhythmic glissando upwards
30
12
128
Ob.
12
12
Cl.
12
Bsn.
Hn.
12
12
12
12
12
Vln. II
Vla.
Vln. I
Vc.
Cb.
31
129
Ob.
12
12
Cl.
12
Bsn.
Hn.
12
12
12
12
12
12
Vln. II
Vla.
Vln. I
Vc.
Cb.
32
130
Picc.
ff
12
Ob.
12
Cl.
Bsn.
Hn.
Vln. I
Vln. II
Vla.
Vc.
Cb.
12
12
12
12
12
12
12
4
33
131
Picc.
12
Ob.
12
Cl.
12
Bsn.
Hn.
ff
Vln. I
fff
fff
fff p.d.l.t. C major
3
3
3
molto marcato
3 3 3 3
3
fff
molto marcato
3 3 3 3
3
3
3
Hp.
fff
molto marcato
3 3 3 3 3 fff
molto marcato
pizz
fff
pizz Vln. II
fff
Vla.
pizz
ff
Vc.
pizz
ff
fff
fff pizz
Cb.
fff
34
Picc.
3
3
3
3
3
3
3
3
Ob.
3
Hn.
Hp.
Vln. I
3 3
3
3
3
3
Vln. II
Vla.
Vc.
Cb.
3
3
3 3 3 3 3
3
3 3 3 3 3 3
3
3
3
3 3 3 3 3 3
3
3
3
Bsn.
3
3
Cl.
3
133
35
3
Picc.
3
3
3
Ob.
Bsn.
Hn.
Hp.
Vla.
Vc.
Cb.
3
3
3
3
3
3
3
3
3
3
ff
ff
ff
3
3
3
3
3 3 3
3
3
f
3
3 3 3 3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
Cl.
3
135
f
f
f
3 3
3
3
mf
36
3
137
Picc.
3
3
3
3
3
3
3
p
3
3
3
3
Cl.
3
3
Vla.
Vc.
Cb.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
p
mf
Hp.
3
3
3
Ob.
Bsn.
3
mf
3
3
3
3
3
p
mf
3
3
3
3
3
p
mf
3
p
mf
mf
mf
37
3 3 3
6
139
Picc.
3
pp
pp
take COR ANGLAIS
3
Ob.
6
3
3
3
3
pp
3
Cl.
take BASS CLARINET
pp
3
3
Bsn.
Hp.
pp
Vln. I
Vln. II
Vla.
p
arco
pp
pp
arco
pp
pp
pp
p
Cb.
p
Vc.
38
6
143
Picc.
6
6
pp
B. Cl.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Cb.
B. Cl.
Hn.
Hp.
Vln. I
Vln. II
Vla.
Vc.
3 3
4
arco
3 ppp 3
4
pp
pp molto espressivo
pp pp
pp
6
6
p
pizz
Cb.
arco
pp vib.
pp
150
Picc.
pp
6
arco
39
157
Picc.
C. A.
Hn.
Hp.
Vln. I
5
pp
arco
pp
5
6
p
pp
pizz
5
arco
pizz
Cb.
p
Vc.
p
ad. lib.
Vla.
Vln. II
pp
6
162
Picc.
C. A.
Hp.
Vln. I
Vla.
Vc.
3
p
Vln. II
3
6
6
pp
pp
© JULIAN GRANT 1997. ALL RIGHTS RESERVED
5
FINE: Hong Kong 14 April 1997