Joseph Foster Harkins
Golden Fields of Air’s Perspective for clarinet, violin, violoncello, and piano
Joseph F. Harkins Music Publications
Joseph Foster Harkins
Golden Fields of Air’s Perspective for clarinet in A, violin, violoncello, and piano Composed 2018 Composed for Unheard-of//Ensemble Duration: 8’ Performance Notes: - Due to certain timbral effects called for, the piano lid must be open at full stick or taken
completely off - A clarinet in Bb may be utilized if an A clarinet is unavailable, though the A clarinet is preferred. Contact the composer for a transposed part. - The score is transposed and notated without a key signature. Accidentals carry through the bar and apply only to the octave they are affixed to. - The second half of the work utilizes bird sounds, which may be obtained from the composer as a Logic or MP3 file, pulled from any open source, or from this Creative Commons licensed YouTube video: https://www.youtube.com/watch?v=wKhFZPefb64&t=185s Start the sounds just before performance, muted, and ensure no ads are playing. The score indicates to the pianist when to slowly raise the volume of the sounds, which should be loud enough to be heard but not distracting to the ensemble or audience. At the end of the work, either the pianist or another member of the ensemble may lower the volume back to mute as indicated in the score. Either the hall’s sound system or a personal amplifier (large, small, doesn’t matter) may be used, so long as it can be heard throughout the space and the volume control can be placed conveniently to the pianist or appropriate member of the ensemble. Use of bird sounds is required for a proper performance of the piece.
Copyright © 2018 Joseph F. Harkins Music Publications (ASCAP) All rights reserved. Find more music from us by visiting josephfosterharkins.com
Program Notes: When I moved to Cincinnati, the length of time to visit home (Central Pennsylvania) increased enough to make flying a much more convenient option. The first of these trips was to visit old friends from my alma mater in West Chester, near Philadelphia. My flight there was rather early in the morning, and luckily there was minimal cloud cover and a very bright sun illuminating the sky. As the plane gained altitude the fragmentary landscape of Ohio unfolded beneath us. I was taken aback by what I saw – the landscape was outlined with lines of trees and access roads, and the fields they bordered shimmered and glistened with the morning sun. This stretched in every direction to the horizon, and this awesome sight instantly compelled a musical response via a bright polychord in the upper register of the piano, imitating this shimmering effect. Cadenza-like responses from the other three instruments comment on the angular, blinding colors radiating from this chord, and the piece unfolds the morning scene that was so impressed into my mind, complete with heralding birds. I will always love my native state, but Ohio still has beautiful surprises to unfold.
- January 6 2018
for Unheard-of//Ensemble
GOLDEN FIELDS OF AIR'S PERSPECTIVE for clarinet in A, violin, violoncello, and piano transposed piano score
Joseph Foster Harkins (2018) ~w
Incredibly bright and shimmering q = 76
° ¢&
Violin
4 ##~w 4
~w
~w
p sempre
Incredibly bright and shimmering q = 76
Piano
#>œœœ # 4 #œ &4 ff >œœ 4 # œ &4 œ °
{
>œœ œœ
> ###œœœœ Œ
œ œœœ Ó
∑
>œœ œœ
œ œœœ Œ
∑
Œ
∑
ff
> œœœœ œœœœ
Ó
> Œ #œœœœ
∑
> œœœœ œœœœ
°5 Cl. (A)
Ó
Œ
Ó
∑
∑
∑
∑
& œ b˙ ™
˙ pp
p
<#>~ & <#> w
Vln.
œ pp
~w
~w
~w
~w
~w
Oœ Œ Œ œ p
? ˙ Ó
œ b˙ ™
Vc.
Œ
Ó
>> ###œœœœ œœœœ Œ
œ œœœ
∑
∑
∑
∑
Ó
∑
∑
Ó
∑
∑
œ
¢ pp
p
∑
pp
∑
>œœ œœ œœ œœ Œ
∑
& ff
ff
Pno.
∑
>> Œ #œœœœ œœœœ œœœœ
∑
{
&
Œ
∑
> bœœœœ œœœœ
(continue sustain)
*
*° A & ˙
œ
w
° Cl. (A)
œ œ b˙
#˙
n˙ ™
nw
p
& #˙
Vln.
f
j œ w
j œ nœ
? ˙™
bœ
b˙ ™
˙™
nœ
nœ œ
œ ˙™
Œ
∑
Œ
∑
˙™ ˙™ ˙™
Vc.
¢ p
>œœ >œœ œœ œ œ œœ œœ œ #œ œ #œ
A ∑
∑
∑
Ó
Œ
&
Ó
p ff Pno.
œ# œ # œ # œ Œ #œ
?
{
∑
∑
∑
& œœ
>œœ >œœ œœ n n œ b œ œœ œœ &
3
° Copyright © 2018 JOSEPH F. HARKINS MUSIC PUBLICATIONS (ASCAP) All rights reserved. josephfosterharkins.com
Ó
2 Slower q = 54
Ϫ
17
w Cl. (A)
w
œ J
° ¢&
˙ ˙™
#œ
nœ
‰ p
pp molto espress.
> ###œœœœ Œ
& Ó
>œ œ œœœ œœœ
Slower q = 54 > # ˙ j #œ
Œ
Ó
Œ
Œ
∑
f
#œ œ Œ #œ#œ
p
ff Pno.
> Œ n#œœœœ
& Ó
{
> œœœœ œœœœ
?
Œ
Ó
Ó
∑
œœ * ° (continue sustain) 6
21 ° Cl. & (A) ¢
œ> œ œ œ œ#œ œ œ œ # œ ‰ nœ œ œ œ œ œ œ
œ
œ™ bœ
bœ œ nœ
f
br llante
œ
b˙ ‰ pp
3
#œ > #œ > #œ > #œj
#œj
j #œ
> #œ > #œ #œj
Œ
#œj
Ó
Œ
Ó
∑
& pp pp Pno.
? ∑
∑
∑
{ #>œ J
poco accel. 24
Cl. (A)
° -œ#œ ™ œ ™ ‰ j Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #œ œ nœ w œ ¢&
Œ
-œ
-œ -œ
‰ 3
ff p
ppp poss b le
poco accel. “”
œ >j # œ #>œj # œ #œ œ # œ # œ #œ œ œ œ œ œ œ œœ œ œ #œ#œœ #œ#œœœ#œ 7 ? Œ #œ #œœœœ 6 7 > j œ
∑ &
7
p
cresc.
Pno.
? Ó
?
Ó *
{
∑
∑
Tempo primo (q = 76)
#w
œ J ‰ Œ
°27 Cl.
bœ
œ
œ
Ϫ
#œ œ J
Œ
œ
w
˙
& (A) fff
w
f
œ J ‰ Œ
œ
ff
œ
œ #œ ™
&
Vln.
p
fff
w
œ
w
œ #˙
f
œ J ‰ Œ
B
œ #œ J
Œ
ff
œ
œ #œ ™ #œ J
Œ
œ œ #˙
w
Vc.
¢ p
fff
f
ff
Tempo primo (q = 76)
#>œœœ # ? #œ
>œœ œœ
>> ###œœœœ œœœœ Ó
∑
∑
∑
œ œœœ Ó
ff ff sffz
sffz
œ™ ™ >œ
œ™ ™ >œ
Pno.
? #œœœ œœœ >œ >œ °
{
Ó
Œ
∑
∑
#œœœœ œœœœ œœœœ Ó >>
accel.
3
<#> ˙
œ J
32
° Cl.
rall.
accel.
‰
Œ
∑
‰
Œ
∑
& (A) fff
˙
œ J
&
Vln.
fff
Vc.
œ 5 5 5 B J ‰? œ œ œ œ œ ¢ #œ œ œ œ œ œ œ œ œ œ
#œ nœ#œ nœ
3
#œ nœ nœ # œ œ- œ- œ- œ nœ bœ bœ œ bœ bœ œ #œ ff
f poco a poco cresc.
34 ° Cl.
A tempo
rall.
A tempo
∑
Œ
j bœ-
& b>œ ™
(A)
Ϫ
‰
Œ
Ó
p f pizz. 5 3
& Ó
Vln.
œ ?
œ J ‰
Vc.
¢
œ #œ œ #œ œ œ œ œ œ n œ œ #œ #œ f > sfz pizz. œ #œ œ #œ œ œ œ nœ nœ nœ 3 #œ œ #>œ
Ó
∑
arco
Ó
Œ ˙™
5
f sfz
p
°37 Cl. (A)
∑
Ó
Œ
& œ > ff sul pont.
∑ Vln.
Ó
Œ
& œ > ff 6
Vc.
nœ #œ œ #œ nœ #œ #œ nœ nœ # œ # œ ? œ # œ # œ œ œ # œ # œ œ #œ #œ nœ ¢ b œ œ bœ
#œ nœ nœ sul pont. 3
&
bœ œ >œ œ
œ ‰ J
œ > ff
6
f
freely
B
°39 Cl. (A)
œ nœ œb œ b œ œ œ n œ n œ n œ œ œ œ œ œ b œ œ # œ #œ œ #œ œ 6
& œ
˙™
w
ord.
#œ nœ œ nœ nœ œ œ n œ œ # œ # œ œ # œ œ œ œ œ b œ n œ # œ #œ œ 6
Vln.
& #˙ ™
w
#˙ ™
w
œ
ord.
#œ nœ œ nœ nœ œ œ n œ œ # œ # œ œ # œ œ œ œ œ b œ n œ # œ #œ œ 6
Vc.
¢& œ
B >œ >œ œ ? œœœ œœœ œœœ Ó
∑
∑
ff Pno.
? bœœœœ œœœœ œœœœ > > °
{
Ó
> > œ j# œ œ j > bœ œ #œ j > j œ
∑
bœ
*
4 42
<b> œ & J ‰
n>˙
nœ
œ œ œ œ
° Cl. (A)
˙
w
œ ‰ J
Œ
Ó
Œ
Ó
Œ
Ó
3
pp
appass onata
Vln.
œ ‰ #>˙ & J
œ
œ #œ œ #œ #˙
w
œ ‰ J
3
pp
appass onata 3
Vc.
œ ‰ J #>˙ appass onata
¢&
>œœ ? œœ
>œœ œœ
#˙ œ
w
œ ‰ J
œ #œ œ #œ
pp
###˙˙˙˙ Œ
œ œœœ Ó
∑
œ œœœ ∑
& ff p Pno.
? bœœœœ œœœœ œœœœ > > °
Ó
Œ #˙˙˙˙ *°
∑
{
&
46 ° Cl.
w
˙
œœœœ
˙
∑
œ
œ ‰ Ó J
∑ &
∑
(A) pp ord.
#w æ
&
˙ æ
˙ æ
pp ord.
¢&
˙ ææ
œ ææ
Ó
Œ
#œ
Œ
œ
pp
mf
Pno.
œ & Œ #œœœ
Œ œ #œ œ #œ Œ
Ó
{
∑
pp
œ j œ >j # ˙ j œ
∑
œ ‰ Ó J
ff
#œ #œ Ó
œ ‰ Ó J pp ord.
˙ ææ
pp
###œœœœ & Œ
œ æ
ff sul pont.
#w ææ
∑ Vc.
pp ord.
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∑ Vln.
ff sul pont.
### œœœœ ∑
Ó
∑
∑
∑
p
œœ # Œ œœ
œ j œ >j #˙ j
Ó
#œ œ œ
C
°51 Cl.
*stand and move to the side of the piano, facing the body
∑
∑
∑
∑
∑
∑
& (A)
w ˙ #˙
œ #˙ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Vln.
¢&
œ #˙ # œ
˙
j œ œ™
Ó ˙ #˙
Πp molto
w
œ n œ-
p molto sost. f
C Ÿ~~~~~~~~~~~~~ ∑
∑
∑
Ó
∑
∑
∑
# -œ œœ
∑
& #w
œ nœ
Pno. pp
{
∑
∑
∑
∑
&
f
Œ ?œ
-œ # œœ
?
Œ
Ó
∑
œ
pp pp
*
°
*
5
œ. #>œ œ # œ # œ œ # œ œ
59
n -œ
œ 3 J ‰ nœ#œ œ#œ#œ œ# œ œ œ
œ #œ#œnœ œ œ n œ n œ
&
Vln.
3
5
f
ff
p
*play into body of piano
j œ ‰ b˙ ™ > f
& w
(A)
pp
Vln.
¢& <#> œj ‰
j œ ‰ Œ Ó
nœ œ œ ™ # œ >
n˙ # œ œ n œ- œ œ n œ nœ
f molto ten.
œ œ œ poco accel. œ œ œ œ J ‰ J ‰ œ
#˙
D
°62 Cl.
5
Ó
˙
œ ‰ Œ J
p ff
s m. for each p tch
pp
Œ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
sffz
D ?
poco accel.
∑
∑
Pno.
{ ° (continue sustain through bar 85)
69 ° Cl.
*slowly begin fading in bird sounds, arriving at desired volume by bar 69
A tempo
˙ ∑
∑
∑
∑
Ó
Œ
& (A)
œ
j‰Œ Ó œ
∑
2 ˙ 4
Ó
4 ˙ 4
~~~~~~~~~~ œ -œ -œ -œ Ÿw 3
ppp p
f
ff pizz.
# -œ
# -œ arco
con sord.
∑ Vln.
∑
&
Ó #˙ #˙
˙˙ ™™ #œ œ
j œœ ‰ Œ Ó
w w
Œ
p
Ó
Œ 42 ∑ 44 #w #w
Ó
p
œœ #˙ ™ ˙™
p
pizz.
# œ-
con sord.
# œarco
∑ Vc.
∑
¢&
Ó
?˙
˙
˙˙ ™™ #œ #œ
j œœ ‰ Œ Ó
w w
Œ
p
Ó
Œ 42 ∑ 44 w w
Ó
p
œœ #˙ ™™ #˙
p
E *return to seated playing position
° Cl.
œ œ œ#œ œ
& (A)
œœœœœ #œ œ œ œ œ ˙ œ p
Vln.
w
f
& <#>˙ ™ ˙™
j‰ Œ Ó œ
pp
##œœ
∑
∑
∑
ff
j œœ ‰ Œ Ó
w w
∑ ##w w
w w
p sempre
Vc.
? ¢ <#><#>˙˙ ™™
œœ
j œœ ‰ Œ Ó
w w
w w
∑
w w
p sempre
“” #˙
E
j #œ
∑
∑
Ó
#œ œ #œj
œj
Œ
Ó
# ~~~~~~~~~~~ Ÿ œ œ œœœ w
Œ
& 3
pp mf Pno.
?
{
∑
∑
∑
∑
∑
∑ *
6 86
°
#w w
Cl. (A)
∑
∑
& pp molto legato poss b le
& <#><#>w w
Vln.
œœ
#˙˙ ™™
˙˙ ™™ ##œœ
w w
œ œ
#˙ ™ # ˙™
˙ ™™ ˙
w w
? w w
Vc.
¢
œ œ
> #w
> œ w œ œ # œ œ # œ ™ # œ # œ œ # œ œ ˙ œ œœ#œœœ j œ œœœœœ & #œ #œ#œœ#œ# œ œ œ œ œ œ œ œœ f
j #œ
espress. molto
p freely, w th some rubato Pno.
? ∑
{
∑
∑
∑
° lunga
F w w
° Cl.
œ J ‰Œ Ó
w U ∑
j ‰ œ
& (A) p
w
bw
pp
p
Œ
Ó
w
∑ p blend w/ vln.
pp pp
senza sord.
& <#><#>w w
Vln.
#w w p
? w w
Vc.
¢
##w w
j œœ ‰ Œ Ó pp j senza sord. œœ ‰ Œ Ó
##~w
U ∑
∑
~w
~w
~w
∑ p sempre
U ∑
~w j œ ‰
˙ Ó bw
Œ
Ó
∑
∑ p blend w/ vln.
p
pp
pp
p
lunga
> # w j & #œ
> # w j ∑
U ∑
∑
U ∑
pp
F # œœ œœ œœ # œ œ œ ∑ #œ œ œ
∑
Ó
∑
∑
∑
Ó
∑
∑
∑
#œ p
Pno.
? ∑
∑
∑ & #œœœœ œœœœ *°
∑
{ w
° Cl. (A)
œ -j ˙™ J ‰œ
w
w
œ J ‰ Œ
Ó
œœœœ
U j‰Œ Ó œ
∑
& w
w
mfp ppp as hushed as phys cally poss ble
Vln.
<#>~ & <#> w
~w
~w
~w
~w
~w
~w
~w
Oœ U J ‰Œ Ó
~w
~w
~w
~w
~w
~w
~w
~w
Oœ U J ‰Œ Ó
? Vc.
¢ ###œœœœ œœœœ œœœœ Ó &
∑
###˙˙˙˙ œœœœ Œ
∑
###œœœœ Œ Ó
∑
Œ #œœœœ Ó
∑
p
###œœœœ ∑ Œ
Ó
U ∑
Ó
U ∑
pp
p Pno.
œ œ œ & #œœœ œœœ œœœ Ó
{
∑
Œ #˙˙˙˙ œœœœ
∑
∑ Œ #œœœœ
*slowly decrease volume until silent
*