Intoxication for Violin (No. 18a from Paul Klee: Painted Songs)

Intoxication for Violin No. 18a from Paul Klee: Painted Songs

Jonathan Posthuma

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About Paul Klee: Painted Songs Paul Klee: Painted Songs is an ongoing series of instrumental chamber works inspired by the visual art of Paul Klee. The series began in 2011 as a composition assignment from my first composition teacher, Luke Dahn, who asked all of his students to compose a work for clarinet and piano inspired by the iconic "Twittering Machine." Over the years, I have added to the series, continuing to draw on the wealth of inspiration from Klee's images, which are filled with musical references, textures, colors, and symbols that closely link musical concepts with his Klee's philosophy of visual art. To me, these pieces are musical settings of visual poetry, hence "painted songs." What continues to fascinate me about Klee is both the diversity and consistency of his total body of work. Throughout his vast career, certain ideas continue to resurface and find new applications. In this spirit, Paul Klee: Painted Songs continues to expand, ever exploring the poetry of his work through musical interpretation. Performing Paul Klee: Painted Songs Each piece within Paul Klee: Painted Songs can be performed separately and is considered an independent, free-standing musical work. But, performers are encouraged to recontextualize these pieces into "galleries." Like a curator of an art gallery, performers can combine these works in any order or number, interpolate them with other works by other composers, or arrange them for different instrumental forces. Some pieces are more flexible than others, but the full work is designed to be self-referential and open to interpretation. As the series grows larger, I have aided "curators" by arranging and composing my own "galleries," multi-movement works that were conceived together, but even these can be rearranged and will evolve as more "painted songs" are added to the series and developed in collaboration with performers. About "Intoxication" (Im Rausch, 1939) Ambigous sickly-colored shapes surround the disfigured representation of a face amidst a smoky grey background. As the title suggests, this intoxicated figure sways unsteadily, lurching from contentment to disgust in an instant, sometimes lost in the haze and sometimes finding clarity. Note: No. 18a "Intoxication" appears as Mvt. VIII in Gallery II and Mvt. II in Gallery IV. No. 18b and 18c are transposed versions that can be played by solo viola or solo violoncello respectively.

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Intoxication (Im Rausch, 1939)

No. 18a from Paul Klee: Painted Songs Oddly Calm; q = 90

3 5 3 œ3 œ ‰ ‰ U Œ &8 3 œ œ harmonics, ad lib.

Violin

ppp sub.

Jonathan Posthuma (b. 1989)

U 2 arco 3 œ3 œ3 3 U 3 b œ e U 3 j ‰ Œ 4 ‰ n3 œ œ 3 ‰ 4 4 J ‰ Œ e 3 œ œ 3 bœ œ œ harmonics, ad lib.

2

Sul G pizz.

3

4

mp

ppp sub.

mp

rit.

accel.

e e e e e pizz. sim. 4 4 ‚ ‚œ ‰œ ‚ ‚œ ‰œ b‚œ œ J J œ J J+ + p pp f

n œ3 3 3 œ3 3 3 œ œ œ3 3 Œ & ‰ œ œ3 3 3 œ3 œ œœ œ

arco

harmonics, ad lib.

5

6

arco

Vln.

ppp sub.

7

Rubato e Stringendo (q = 70 > 90) poco sul ponticello

pp

Intensely, Building; q = 90

f

4 æ æ æ æ & 8 #œœ nœœ œœ bœœ æ æ æ æ

10

Sul A

pp

p

b œæ œæ b œæ œæ bœæ œæ >œ œœœ 6 œ œ œ nœ œ œ 7 ‰ #œ œ œ œ ‰ 43 œ 8æ æ æ æ æ æ 8 J œœœœ nœ œ nœ œ Sul E

11

12

ne be ne e G b œœ œ Sul 3œ 3 3 3 3 arco œ b œ pizz. U arco be ‰ Œ 5 œœ bœ ‰ nœ ‰ 3 ‰ 3 œ 3 3œ3œ œ œ3 3 3œ3œ ‰ ‰ ™ j ≈bœKr 4 4 & 4 œ 3 3œ J J j J b œ œ œ3 œ3œ n œ b œ ne œœ pp

mf

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harmonics, ad lib.

13

Vln.

p

9

pp

Vln.

e be be ‚œ ‰œ bb‚œ b ‚œ b‰œ 5 J J 4 J J + +

sfz Sul D bœ œ œnœnœ 5 + quasi gliss., sim. 5 œ œnœ œ#œ œnœ n œ 5≈ 7 æ nœæ bœæ æ æ æ 48 bœnœbœbœ œbœ b œ 8 &4 J œ n œ bœ bœn œ # œ n œ n œ # œ n œ œ œ n 5 5 5 æ æ æ æœ æœ æœ "gritty" (overpressure)

8

Vln.

Sul A pizz.

14

ppp sub.

sfz

Sul A pizz.

mp

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16

15

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+ > œ + arco œ 5 b œJ Kr j ® Kr darkly 8 œ ‰ #œ. - ‰ ≈ R ‰ arco 4 ™ # œ ≈ ‰ ‰ ≈ ‰ j 8 4 & œ™ bœ œ™ œ œ™bœ œ™ œ# œ r J 8 J J œJ n œ 3 >œ 19

18

17

Vln.

with a jazzy lilt

p

sfz

p

20

sfz p

mp

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4

nœ œ œ 4 2 4 œ œ œ œ 4 & 4 j ‰ ‰ bœj œ œ œ œ ™™ œ 4 œ œ œ œ œ # œ œ bœ - œ œ

21

Vln.

22

fervently, dark

p

f

Rubato e Ritardando (q = 90 > 70)

Intensely, Building; q = 90

24

bœ nœ n œ n œ œ œ 5 bœnœnœ#œ#œ 4 3 R ≈ ‰ ‰ 6 ord. 7 n œ n œ œ œ 8 8 # œæ œæ œæ #œæ œæ #œæ 8 & 4 # œ #œ œ#œ œ 5 5 5 >œ æœ æœ æœ æœ æœ æœ poco sul ponticello

23

Vln.

"gritty"

25

ff

pp

27

pp

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28

pp

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>œ+ arcoj 3 n j j 5 ‰ ≈ R ‰ œ 8 #œ ‰ 8 œ nœ 8 œ bœ

sfz

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+ œj -œ ‰ ≈ r ‰ nœœ œ. # œ J >œ mp

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e arco b‚ 2 œ &4

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Sul E

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n e Rubato e Stringendo (q = 70 > 90) poco sul pont. ord. Sul D œ ‚ œ œ œ # œ n œ œ b œ "gritty" Sul A nœ gliss., sim. œœbœœ#œœ 5 #œænœæ æ æ æ 6 quasi J ‰ 43 ≈ 8 œ œ œœbœœnœœ 8 j nbœæ j œæœbœæ œæ j œæœ j bœæœ     5 5 œ œ œ æ œ œ n œ œ œ æ 5 æ æ æ ææ æ æ æ f niente pp 35

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b œæ n œæ b œæ & œj æœ æœ æœ

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2 4

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nœæ bœæ œ j nœ œ æ æ

œæ œ æ ff

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7 œæ bnœæ 8æ æ

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æ æ nœœ bœœ æ æ

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pizz. -œ œ. œ œ œ œ œ œ œ œ 8 4 # œ # œ ‰ b œ œ œ œ œ œ œ œ 4 & 8 nœ # œ œ J - œ #œ . œ œ#œ œ œœ œœ œœ œ - œ- . œ nœ

40

Vln.

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fervently, dark U œœœ œœ#œ 10 bnœœ ‰ ‰ nœj œ œ œ œ ™™ 4 œnœœœ # œ Œ œ & 8 J b œ œ #œœ œ œ œœ œ ™™œ 4 œ œ œ œ œ n œ œœ -- -nœ œ#œ œ

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darker than before

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7 & 8 œ™bœ œ™bœ œ™bœ# œj ‰ #œ œ

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harmonics, ad lib. j æ æ#œæn œæ b œ n 3 33 33 æ æ æ œ æ æ œ # œ æ æ æ œ æ 7 œæ#œ œ œ#œ œ#œ 6 j nœ œ œ œ œ œ 4 œ ‰ œ œ3 3 3œ3œ œ œ3 3 3œ3œ œ œ3 3 ≈ ™ Kr 7 & 8 j nœ œ œ œ œ œ œ 8 nœ æ æ æ æ æ æ 4 œj æJ bœ 8 œ 3 3œ œ 3 3œ œ 3  nœ æ æ æ æ æ æ æ nœ œ œœ œ

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Rubato e stringendo (q = 70 > 90)

"gritty" + > . arco bœb œ b œ œ # œ n œ n œ nœ n œ. n œ ord. # œ j8 U j‰ 5 œ œ œ -œ œ b œ 1 3 2 # œ R œ J # œ ‰4 ≈ nœ 4 Œ#nœœ 8 œ ≈ ‰nœ 8 & n-œ œ # œ. #œ. . 4 5 5 nœ bœ 5 œJ sul ponticello

42

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43

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-j + œ b œj j j j œ nœ œ œ 8 & 8 #œœ ‰ œœ. # -œœœ‰ ≈ r ‰ nœœ ‰ nœœ ‰ ‰nbœœ œœÓ #œœ œœ - nœ J œJ J >œ

47

Vln.

44

ff

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nœœ ™™ œœ # œ œ ™ bœ- œ œ œn œ- œ > >

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œœ œœ ® Kr œ- œ œœ œ > œ> fff

+ 3 j > œ + n jœ j j œ nœ 5 bnœœ j 5 8 ‰ œ ‰ ≈ & œ™bœ œ™ œ œ™ œ œ™ œ# œj œ ‰ 8 œ r ‰ n#œœ 8 œœ ‰ #œœ #n-œœœJ ‰ ≈ R ‰ #œœ ‰ 8 . J nœ J œJ œJ >œ more intense then before

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52

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Vln.

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55

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ne be ne e G ord. b œœ œ Sul 3œ 3 œ b œ pizz. U U arco 5 œ 3 ‰ ‰ Œ 3 be ‰ Œ 5 œœ bœ ‰ nœ ‰ 3 ‰ j ≈arco ™ Kr ™œbœJ ™ ® Kr 44 ≈ 4 4 J 4 &8 œ3 J j J bœ R œ n œ b œ ne bœ œ™ Ô œ

56

57

niente

Sul A pizz.

59

58

mp

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œnœ darkly œnœ RÔ J ‰ 2 4 4 & 4 bœ ™nœ œ ™œnœj ≈ ® RÔ J ≈ ®

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ff

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harmonics, ad lib.

poco sul pont.

53

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mp

62

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e nU e b ‚œ ‚œ pp

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be be earcoe e ej e j pizz. sim. b ‚ 4 bœ bb‚œ b‰œ ‚œ ‚ ‰ ‚ ‰ n e ‰ 7 4 œJ œJ œ œ‚ œ n‚œ ‚ 4 J J + J n œ œJ + + f + p mf

63

64

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7 &4 ≈

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"gritty"

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#œ#œ œ œ œbœbœ poco sul pont.

5

ff sub.

Vln.

5

Fiercely, (But Holding Back) ord.

sfz ff

67

p

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œæ j bœæœ æœ œ æ

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nœ œbœbœnœ

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7 ‰ nbœæ æœ æ æœ æ æœ 5 ‰ n#œæœ nœæ 8 & œ bœ j œ n œ j bœ 8 œj j æ æœ n œJ æ œ æ æœn œ æ æœ œ æ œJ + +

66

œ œ nœnœbœ

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æ ‰ j b œœ œJ œœ æ +

"gritty"

7 8 nœbœbœ nœnœ

œæ nœ æ

5

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bœæ œæ 7 œ œj œ 8 æ nœ æ

sfz ff

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æj œæ b œæ æ æ æ œ œ b œ œ n œæ b œæ œæ b œæ œæ bœæ æ æ b œæ n œæ b œæ nœæ bœæ œæ ‰œ œ nœœ 7 ‰œ œ œ œ nœ œ œ 8 œ 7 œ œ œ œ n œ & 8 œj æ æ œj æ æ œj 8 J œ ‰ ‰ œ ‰ ‰ n œ 8 œ ‰ œ œ ‰ ‰ œ + nœ J æ æ œ œJ œJ œJ œJ œJ n œJ + J poco accel.

69

Vln.

70

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nbœæœ œæ bœæœ œæœ nœæœ bœæ & œ‰ n œ œ œ ‰ œJ œJ œ œ

72

Vln.

sfz

ff sempre

æ nbœæœ æœ æ æœ æœ æœ æœ nœ œ ‰ ‰ œœ œ bœ‰ œ n œ bœ œœ nb œœn œœ œJ œ œ n œ œ œ æ æ æœ bæœ 73

74

æj œ næœ

j œ

ænœj æ 10 nœ 8 œ b œ œœ æ æ

bœbœ œ œ œ œ œ œ 10 œ œ œ œ 2 Œ 6 # œ # œ œ œ œ œ œ œ 8 8 &8 œ #œ œ œ œ œ œ œ n œ œ # œ œ œ œ œ œœ nœ œ œ

75

Vln.

p

71

76

Ferociously!

fff sempre, non dim.

Suddenly Calm (A Tempo); q = 92

3 3 3 œ3 3 3 œ3 3 3 œ 3 œ 6 3 œ3 œ œ œ3 3 3 œ œ œ3 3 3 œ3 œ œ œ3 3 &8 3 œ œ 3 3 œ œ œ œ œ œ œ harmonics, ad lib.

77

Vln.

ppp sub.

3 œ3 3 3 œ3 3 3 œ3 3 3 U 3 œ 3 œ 3 œ 3 œ 5 ‰ ‰ Œ 3 œ œ 3 3 œ œ 3 3 œ œ 3 3 œ 8 3œ & 3œ œ 3 3 œ œ 3 3 œ œ 3 œ œœ œœ œ œ poco rit.

78

Vln.

79

niente January 9, 2017 Saint Paul, MN

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