Triskelion for orchestra
Kirsten Volness 2004
Transposed Score Instrumentation: 3 Flutes (1st doubles Piccolo, 3rd doubles Alto Flute) 2 Oboes Cor Anglais 2 Clarinets in Bb Bass Clarinet in Bb 2 Bassoons Contrabassoon 4 Horns in F 3 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani Instruments: 30”, 28”, 26” and 23” Timpani Implements: Timpani mallets
Percussion I Instruments: Glockenspiel, Splash cymbal, Xylophone, Temple blocks, Crash cymbals, Small suspended cymbal, Snare drum, Tom-toms, Large suspended cymbal, Lion’s roar Implements: Medium plastic mallets, Sticks, Medium brass mallets
Percussion II
Instruments: Marimba (4.5 octave or larger), Vibraslap, Cabasa, Mark tree, Small suspended cymbal, Tambourine, Brake drum, Metal wind chimes, Congas, Slapstick Implements: Medium yarn mallets, Small brass mallet, Sticks
Percussion III
Instruments: Vibraphone, Guiro, Ratchet, Tam-tam, Large triangle, Bass drum Implements: Medium yarn mallets, Guiro stick, Tam-tam beater, Triangle beater, Bass drum beater
Percussion IV Instruments: Sizzle cymbal, Claves, Wood block, Small triangle, Hi-hat, Crotales, Bongos, Large suspended cymbal, Small suspended cymbal, Chimes, Large china cymbal, Castanets, Thunder sheet, Granite blocks, Bass drum, Xylophone, Snare drum Implements: Soft yarn mallets, Sticks, Triangle beater, Chime mallets, Bass drum beaters, Medium plastic mallets
Piano/Celesta Harp Implements: picks
Strings Duration: 6 minutes Program Notes: The triskelion, or triskele, is a symbol that appears in various forms throughout history in what is now the European continent; it is believed to have first appeared in Anatolian kingdoms in the 4th century BCE. Most commonly, it appears as “three running legs, bent at the knee, conjoined at the centre.” However, the symbol that inspired this piece appears in the form of a Celtic knot featuring three connected spirals contained within a circle. In the pagan realm of spirituality, a part of its significance is tied to the idea that within the life cycle of a woman there are three stages: maiden, mother, and crone. Each of these corresponds to the cycles of the moon – new and waxing, full, and waning, respectively. The beauty of the Celtic knot lies in the fact that it is composed of one, continuous strand manifesting something much more complex – in the case of the triskelion, a continuous flow through the cycle on a small (lunar) and large (life) scale, always ending (and beginning) in rebirth. It is truly a celebration of change, evolution, growth and the things that make life precious and enduring as the cycle flows on.
Performance Notes: For the conductor: Though notated in 4/4-3/4, the rhythmic feeling is that of 7/16 in the opening and closing sections as it is inherent in the primary motivic material. All accidentals carry through to the end of the measure. Sounding pitches: Piccolo, celesta and xylophone sound one octave above written pitch. Glockenspiel and crotales sound two octaves above written pitch. Contrabass sounds one octave below written pitch. Horns in F sound a perfect fifth below written pitch. Concerning the percussion: Suspended cymbals: Let cymbal vibrate unless release or damp is specified. When struck with stick, “X” notehead denotes striking cymbal and choking immediately. Crash cymbal technique at 107: The sizzle sound desired is achieved by drawing one plate across the other, allowing both to vibrate. The proceeding choke should be executed by quickly drawing the top plate in the opposite direction as the sizzle, in a lateral motion, while applying pressure toward the bottom plate, thus creating suction between plates. For those familiar with the term, it is essentially a slow fizz-up. Snare drum technique at 125: The first eighth note of beat 3, “kek”, is a rim shot executed with the stick head as near to the rim as possible. The proceeding “press” is a short buzz roll achieved by executing a double stop and literally pressing into the drumhead as the stick heads move quickly from center to far edge. Vibraphone pedaling: Use a mixture of half and feather pedaling to produce a clean, yet sustained and connected sound, unless explicit pedaling is specified. Concerning the harp: At rehearsal 29, use picks to strum the strings in the general range notated. The sixteenth-note rhythm should be as precise as possible. Concerning the piano: Pedal with discretion unless pedaling or sound is specified.
Suggested percussion layout: ↑Conductor
↓Back of stage