Thomas CARILLON SKY

Augusta Read Thomas

CARILLON SKY for solo violin and chamber ensemble

Full score

from the G. Schirmer Rental Library Date of Printing_________

G. Schirmer, Inc. New York, NY

Augusta Read Thomas

CARILLON SKY for solo violin and chamber ensemble

G. Schirmer, Inc. New York, NY

Instrumentation Flute (doubling Piccolo) Oboe Clarinet in B= Trumpet in C (doubling Piccolo Trumpet in B=) Trombone (optional doubling Alto Trombone) Percussion (2 players) 1. Vibraphone (2 bows needed, motor off), Crotales (2 octaves), 2 Low tom-toms, 2 Finger cymbals suspended from a frame played with triangle beaters, Sizzle cymbal (wire brushes needed) 2. Marimba, Tubular chimes, Glockenspiel, 4 triangles of various pitches, 2 Bongos, Suspended cymbal (bow needed), Chinese cymbal (with a good rattle or splash to its attack), Large tamtam

Harp (harmonics sound one octave higher than written) Piano (lid must be removed) Solo Violin 2 Violins (practice mutes needed) 2 Violoncello (practice mutes needed) (Optional Viola substitute for Violoncello I)

duration ca. 7 minutes Transposed Score Grace notes come before the beat All pizz. are lv. molto sempre All ricochets in the string parts are free - an exact number of iterations is not required There are only 6 dynamics used in this composition (pp, p, mp, mf, f, ff) such that they each have a very distinct meaning. For instance, pp is as quiet as possible. I.e.: There are no ppp or pppp markings.

Setup Percussion I

Piano Trumpet

Harp

Percussion II

Trombone

Flute

Oboe Violin

Clarinet Violoncello

Violin

Violoncello Solo Violin Conductor

Program Note The title CARILLON SKY refers to a image that inspired me to compose this music - that of a sky full of very soft tinkling and flickering bells, as well as very clamorous pealing, ringing, resonant bells, through which one floats. As if a Cathedral’s Bell Tower becomes a metaphor for natures ever changing landscape and the violin soloist is a distinctive bird soaring, interacting, circling and swirling in the resonance.

The idea was to try to compose a mini violin concert, but one that is in fact a "whole piece" -- all packed into 7 minutes.

The solo violin part is marked with this performance indication: “Passionate and rubato; like a jazz improvisation. Accentuate the variety of characters.”

Made up of several phrases, some of which end on fermatas, the works characters include: majestic, playful, elegant, resonant, spirited, calmly floating, bold, with repose, resolute and graceful. The form is slightly unusual in that the phrases are of asymmetrical length. As if a “group of improvisers” takes the materials a little further “out” or “back in” (in the jazz sense of those words) with each successive phrase. The piece accumulates - rather than being in one of the standard forms, such as ABA form, or rondo form. The form is the best reaction to the objects calling it into being.

While the music was very carefully made, and is highly nuanced, and is a “serious” piece of music, it should sound free, spontaneous, resonant, jazzy, playful and alive.

—Augusta Read Thomas

with admiration and gratitude to Baird Dodge, Oliver Knussen, and the Chicago Symphony

CARILLON SKY (for Solo Violin and Chamber Ensemble) Augusta Read Thomas Passionate and rubato

(2005)

= 80

Like a jazz improvisation. Accentuate the variety of characters.

Piccolo (Flute)

Oboe

Clarinet in B

Trumpet in C (Piccolo Tpt.)

Trombone (opt. Alto Tbn.)

1

Percussion

2

Piano

Harp

D CB/E F G A

* 0

Solo Violin majestic

5

3

3

3

3

3

playful and reaching upward

Passionate and rubato

= 80

Like a jazz improvisation. Accentuate the variety of characters.

Violin I

Violin II

Violoncello I (optional Viola)

Violoncello II

*Bowings are only suggestions, and can be changed freely by the soloist.

Corrected 8/2006

Copyright Š 2006 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved.

Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

Property of: G. Schirmer Rental Library Bellvale Road Chester, NY 10918 SUPPLIED ON LOAN ONLY

2 Delicate, resonant, fragile, gossamer Like birds in the sky

5

fltg.

Piccolo

Picc.

3

sempre

3 5

Ob.

Cl. in B 3

espr.

C Trumpet st. mute (fiber)

fltg.

Tpt. elegant

Tbn.

bowed

Vibraphone (motor off) 1

Ped.

Perc.

4 Triangles

Sus. Cym.

scrape with triangle beater

2 3

sempre

elegant; not harsh

inside piano

gliss. with skin of fingertip gliss. l.v.

elegant and dreamy

Pno. pizz.

3

gliss. freely to top of harp gliss. l.v.

3

3

sempre

Hp.

(All harp harmonics sound one octave higher than written.) very slow trill, dreamy

Solo Vn.

3 5

calm

gradually ebbing away

fade into texture

emerge out of texture

Delicate, resonant, fragile, gossamer Like birds in the sky

ricochet

con sord.

Vn. I

ricochet

ricochet con sord.

Vn. II sempre

6

Vc. I

Vc. II

Notes to Conductor: (1) Please alert the ensemble that there are only six dynamics – – in this work, such that each dynamic has a precise meaning ( , for instance, should be as quiet as possible). (2) Grace notes come before the beat.

(3) Ricochets are free – an exact number of iterations is not required. (4) All pizz. are l.v. molto sempre.

sempre

3 10

fltg.

3

Picc.

5

sempre

Ob.

Cl. in B

3 3

3

sempre

fltg.

3

Tpt. sempre

3

3

3

sempre

3

straight mute Tbn. 3

sempre chant–like, very slight vibrato

Sizzle Cymbal wire brush

2 Finger Cymbals (suspended) triangle beater

1

Perc.

4 Triangles

Sus. Cym. (scrape)

2 Triangles

sporadic, uneven, disjointed tremolo

2 sim.

5

pizz. (inside piano)

Pno.

❉

glis

s.

l.v.

3

G

Hp.

F G A

delicate

(D CB/E F GA )

Solo Vn.

3 3

3

trem. arco d’punta

3

espr.

trem. arco d’punta

battuto

pizz. sul A

Vn. I 3

3

3

ricochet

trill between the three notes Vn. II

trem. arco d’punta

ricochet

3 3

con sord.

pizz.

arco trem. arco battuto d’punta

pizz.

sempre arco ricochet

Vc. I 3

Vc. II

sempre

3

sempre

4 poco rit.

14

fltg.

fltg.

Picc.

3

3

sub.

sub.

5

6

rubato 7

Ob. sub.

5

sporadic, uneven, disjointed trill

Cl. in B 5

sporadic, uneven, disjointed tremolo 3

Tpt. 3

fltg. (optional) Tbn. 3

Crotales rubber mallets

5

Sizzle Cymbal

l.v. molto

wire brush l.v.

1 5

Perc.

Tubular Chime

Chinese Cymbal 2

gliss.

Pno.

Ped.

Ped.

(inside piano) l.v. molto

slowly

dreamy

❉

8va

very slow dream

y gliss.

(D CB/E FG A )

Hp.

it is okay to double back on the gliss.

ord.

sul tasto Solo Vn. espr. fade into the texture

3

emerge out of texture

espr.

poco rit.

arco, sul tasto sul G Vn. I sempre trill between the three notes

trem. punta d’arco

pizz. arco Vn. II

3

5

sempre ricochet

rubato

ricochet

pizz.

sim.

Vc. I 7

3

con sord.

trem. punta d’arco

3 3

Vc. II sempre

5

trem. punta d’arco

5

5 A tempo 18

take Flute

Flute

solo

5

Picc.

5

espr. solo Ob. sub. espr. slow, dreamy trill Cl. in B

via sord.

senza sord.

Tpt. sub.

Tbn.

Crotale – bowed l.v.

Vibraphone mallets

l.v.

1 5

Ped.

Ped.

Perc.

Sus. Cym. – bowed

Tub. Chimes

l.v.

2 elegant

Ped.

Ped.

8va

8va

ord. (on keyboard)

Pno.

resonant

secco (not muddy)

loco

5

❉

Hp.

resonant

D C B

slow to fast

❉

❉

D C B E F A

rubato 3

Solo Vn. sotto voce

playful

6

sub.

3

ricochet

A tempo via sord.

ord.

senza sord.

Vn. I

pizz.

ricochet

balance with Solo Vn.

arco

Vn. II

ricochet arco

pizz.

Vc. I

ricochet pizz.

Vc. II

Note: At start of measure 18, it should sound as if everything grows out of the F natural.

6 22 Fl.

Ob.

Cl. in B

Tpt.

Tbn.

(Vib.) l.v.

1 in background Ped.

Perc.

2

Pno.

â?‰

Hp.

secco

D B E F G A

Solo Vn. 3

3

lyric and espr.

espr.

solo 3

Vn. I 3

espr. pizz.

Vn. II

Vc. I

Vc. II

3

3

espr.

7 28

3

Fl. 3

3

Ob.

3

Cl. in B 3

3

Tpt. 3

3

Tbn.

espr.

3

1 secco Perc.

(Tub. Ch.)

3

2 secco

secco

3 3

secco

Pno.

3

3

P.D.L.T 3

B E F G

secco

Hp. 3

5

Solo Vn. bold

5

sub. spirited

3

Vn. I

arco 3

Vn. II

arco Vc. I 3

Vc. II 3

8 33

A tempo ( = 80)

rit. freely

Fl.

Ob.

Cl. in B

Tpt.

Tbn.

1

Perc.

2

Pno.

Hp.

3

Solo Vn. 5

3

with repose

rit. freely to practice mute Vn. I

to practice mute Vn. II

to practice mute Vc. I

via sord.

Vc. II

3

espr.

A tempo ( = 80)

sempre poetic

5

espr.

9 38

fltg.

fltg.

solo 3

Fl. 3

3

solo

solo Ob.

3

espr.

Cl. in B 3

3

sub. solo

Harmon mute – stem removed

take Harmon mute – stem removed

fltg.

Tpt. poss. fltg. (optional) 3

Tbn.

blend with pizz.

Crotale

bowed

Vibraphone

1

Perc.

Ped.

Glockenspiel

2

Pno. secco

3

B

ord.

Hp.

E

D

G

(DCB/E F G A)

espr.

C E F 3

Solo Vn. 3

ricochet

ricochet

con sord. (practice mute)

arco. pont.

pizz.

Vn. I 3 3

arco

con sord. (practice mute) pizz.

pont.

Vn. II

con sord. (practice mute)

via sord.

senza sord.

pont.

Vc. I

con sord. – practice mute

senza sord.

Vc. II 3

arco

10 solo

43

fltg.

fltg.

Fl. 3

3

3

sub.

3

sempre solo 3

Ob. 3

emerge out of Solo Violin 6

Cl. in B 3

fltg.

norm.

3

Tpt.

3

5

fltg. (optional) Tbn.

(Vib.) 1 Ped.

Perc.

(Glock.)

2

Pno.

❉ rubato

gliss.

ss.

3

Hp.

l.v.

gli

5

(D C B /E FGA)

E

Solo Vn. 7

3

espr.

fade into Oboe

tremolo punta d’arco

sul A pizz.

Vn. I 3

ricochet

tremolo punta d’arco

ord.

sim.

Vn. II

tremolo punta d’arco

solo

ord.

Vc. I

espr. pizz.

arco

ord.

tremolo punta d’arco

Vc. II 5

3

3

pizz.

arco

tremolo punta d’arco

11 47 Fl. 3

3 5

espr.

Ob. poss.

Cl. in B

Tpt. 3

espr.

Tbn.

1

Perc.

2

Pno.

8va

gliss.

Hp.

elegant, dreamy

solo

espr.

Solo Vn. 3

3

sub.

ricochet

3

tremolo punta d’arco

arco ord.

3

solo senza sord.

via sord.

Vn. I 3 3

via sord.

3

Vn. II

trem. punta d’arco

solo

Vc. I espr. ricochet 3

Vc. II 3

via sord.

3

12 Punchy and resonant = 132–144

ritard freely 52

3

solo fltg.

fltg.

norm.

*

Fl.

Ob.

solo 5

Cl. in B

fltg.

*

via sord.

Tpt.

via sord.

Tbn. 3

(Vib.) 7

*

1 secco sempre

Ped.

Ped. Perc.

Marimba

Tub. Chimes 3

2 3

Ped.

Ped.

ossia rest, if no G chime is available

sempre

*

Pno.

secco

secco

secco

❉

❉

*

Hp.

secco

D B E G A

(DC B/E FG A )

sempre secco

5

sul tasto

*

secco

secco

fast, intense tremolo ord.

Solo Vn. calmly floating

sempre

ritard freely *

sul tasto Vn. I

Vn. II

solo

rubato

Vc. I 5

espr.

Vc. II

*Conductor: Allow time for Percussion 2 to move to Marimba during this fermata.

Punchy and resonant = 132–144

C

13 57

fltg.

fltg.

Fl.

Ob.

Cl. in B

senza sord.

solo

Tpt. 3

senza sord.

Tbn. 3

3

1 Ped.

Ped.

Perc.

secco

Ped.

secco Ped.

2 3 8va

3

Pno.

secco

loco

secco

3

❉

❉

❉

l.v.

l.v.

3

G

Hp.

C

C B G

secco

secco

3

Solo Vn. 3

ord. solo Vn. I

3

3

senza sord.

Vn. II 3

Vc. I 3

senza sord.

Vc. II 3

C A

14 62

Lyric and improvisatory

= 80–88 solo

Fl. 5

Ob.

Cl. in B

Tpt.

st. mute Tbn. blend with pizz.

Crotales 1

Perc.

(Mar.)

3

2

solo

Pno.

❉

C G A

Hp.

rubato

rubato 5

5

5

3

Solo Vn. 3

7

sempre vivid

Lyric and improvisatory

sub.

= 80–88

pizz.

0

0

arco

pizz.

0

0

arco

Vn. I

Vn. II

pizz.

Vc. I

solo pizz.

Vc. II sempre

3

15 66

norm.

fltg.

Fl. echo

Ob. 5

Cl. in B blend with Harp echo

Tpt.

Tbn. 3

1

Perc.

Glockenspiel

l.v. molto

2 7

8va

l.v. molto

Pno.

loco

â?‰ 8va

(DC B /E FG A )

Hp.

l.v.

.

iss

gl

C A

B G A

6

Solo Vn. 6

3

3

3

6

sub. ricochet pizz.

0 0

pizz.

0 0

Vn. I

ricochet

Vn. II

arco, punta d’arco

pizz.

sul A

Vc. I

sul D (pizz.)

Vc. II

16 71

take Piccolo

Fl.

Ob.

solo Cl. in B

st. mute

via sord.

Tpt.

via sord.

Tbn.

2 Low Tom-toms 1

Perc.

very quick gliss. across entire Glock.

l.v. molto (let fade – do not dampen)

2

dramatic and startling rip

secco

Pno.

play the D if you can reach it

.

quick rip

Hp.

gliss

G

gliss

.

(DC B/E FGA )

even speed trills (ossia: play only the top trill if desired) rubato

7

Solo Vn. 5

sub.

arco Vn. I

arco Vn. II

arco Vc. I

arco Vc. II

3

sempre

sub., but keep the sound intense and moving forward

5

17 Vivid

= 132–144

Piccolo

77

take Flute

Picc.

Ob.

Cl. in B

solo senza sord.

(solo)

Tpt. 3

3

3

3

sempre senza sord.

Tbn.

(2 Low Tom-toms) 1

Perc.

6

2 Bongos 2 5

3

3

8va

Pno.

secco

❉

Hp.

secco

secco

gli

ss.

❉

C

Solo Vn.

Vivid

= 132–144 0

Vn. I

Vn. II

Vc. I

Vc. II

18 Lyric and improvisatory

80

= 80–88

Flute

Fl.

Ob.

Cl. in B echo

Tpt.

3

3

5

3

sub.

Tbn.

solo 1

Perc.

Suspended Cymbal mallet 2

3

secco

Pno.

3

❉

Hp.

G

secco

C

secco

C B G A

3

D 3

trill between three notes 3

Solo Vn. 3 5

Lyric and improvisatory con sord.

Vn. I 3

Vn. II 3

Vc. I

Vc. II

= 80–88

19 85 Fl. sempre

echo solo Ob. echo

sempre

Cl. in B

take B Piccolo Trumpet Tpt. 3

espr.

Tbn.

Vibraphone 1

Ped.

Perc.

Large Tamtam

l.v. molto

2 in background

Inside piano

Pno.

pizz.

pizz.

â?‰

D B E F G

Hp.

rubato

7

7

6

Solo Vn.

fearless

briefly becoming distant

pizz.

sub.

via sord.

Vn. I

con sord.

via sord.

Vn. II echo pizz.

Vc. I

pizz.

Vc. II

3

20 91

3

Fl. 3

3

Ob. 3

3

3

Cl. in B 3 3

Picc. Tpt. in B

Tbn.

1

Perc.

3

Marimba 2

3

3

pizz. (inside piano)

ord.

3

3

Pno.

secco

sim.

3

3 3

Hp.

secco

B

rubato

3

5

6

Solo Vn. 3

mellifluous mysterious

senza sord.

3

(pizz.)

Vn. I 3

3

senza sord.

3

pizz.

Vn. II 3

(pizz.)

Vc. I

(pizz.)

Vc. II

3

21 96 Fl. 3

Ob. 3

Cl. in B echo

solo

B Piccolo Trumpet Picc. Tpt. in B

sempre

Tbn.

1

Perc.

2 3

Pno.

3

Hp.

D C

D G A

secco

rubato

3 6

5

Solo Vn. 3

sul D

arco

Vn. I 3

sul D Vn. II

Vc. I

arco Vc. II

22 Spirited

= 88 tremolo and fluttertongue

fltg.

100 Fl.

bell up solo Ob. 3

Cl. in B

persistent fanfare, in foreground until measure 112 Picc. Tpt. in B 3

3

Tbn.

(Vibraphone) 1 secco

3

lyric

3

Perc.

2

Pno.

C

Hp.

Solo Vn.

Spirited

= 88

Vn. I 3

3

3

3

3

3

3

3

arco Vn. II 3

3

3

3

3

3

arco Vc. I 5

5

5

5

5

Vc. II 3

3

23 102 Fl. sub

Ob.

Cl. in B sub

Picc. Tpt. in B 3

optional: use alto trombone from here to the end Tbn.

1

Perc.

2

Pno.

E

Hp.

Solo Vn.

Vn. I 3

3

3

3

3

3

3

Vn. II 3

3

3

3

3

Vc. I 5

Vc. II 3

5

5

24 fltg.

104 Fl.

bell ord.

Ob.

Cl. in B

Picc. Tpt. in B 3

3

5

sub.

Tbn.

(Vibraphone) 1

Ped. secco; new pedal with each new pitch

Perc.

2

Pno.

D B F G

Hp.

Solo Vn.

Vn. I

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Vn. II 3

3

3

3

3

3

3

Vc. I 5

Vc. II 5

5

5

5

5

25 106 Fl.

3

Ob. 3

Cl. in B

Picc. Tpt. in B 3

Tbn.

1

Perc.

2

Pno.

B E

Hp.

Solo Vn.

Vn. I

3

3

3

3

3

3

Vn. II 3

Vc. I

Vc. II

3

3

3

5

5

26 108 Fl. 5

Ob. 5

Cl. in B

5

sub.

Picc. Tpt. in B 3

3

sempre

3

3

solo Tbn.

(Vib.) 1 (Ped.) Perc.

2

5

Pno.

5

Hp.

Solo Vn.

ord. trem.

Vn. I

3

3

3

3

3

3

3

Vn. II 3

Vc. I

Vc. II

3

5

3

5

3

5

3

3

3

27 rit.

111

3

Fl.

solo, bell up 3

Ob. brassy and dramatic solo, bell up Cl. in B brassy and dramatic

3

take C Trumpet Picc. Tpt. in B

Tbn.

3

(Vib.)

(only the A is l.v.)

3

1 secco

Ped.

Perc.

Ped.

2

Pno.

Hp.

C

G

0

Solo Vn. dramatic

rit.

Vn. I

sporadic, uneven, frenetic tremolo

Vn. II

sporadic, uneven, frenetic tremolo

Vc. I

ord. tremolo Vc. II

3

3

28 116

= 80

Fl. 3

bell ord.

Ob. 3

bell ord.

Cl. in B

3

3

C Trumpet Tpt. 3

Tbn.

(Vibraphone)

Crotales

l.v. molto

Glock.

l.v. molto

1

Perc.

Ped. (Marimba) 2

resonant

Pno.

❉

❉

.

gliss

l.v. molto

Hp.

B E A

C B F A

(DC B/E FGA)

5

Solo Vn. 5

3

6

passionate

= 80 Vn. I 5

Vn. II 3

3

Vc. I

pizz.

Vc. II

arco

29 120

solo

Fl. 3

sub.

5

Ob. 6

3

solo Cl. in B 3

Tpt.

Tbn.

1

Perc.

Marimba 2

ord.

secco Pno.

Inside piano

r.h.

pizz.

❉

(Ped.)

❉ Ped.

3

Hp.

3

B F A

secco

Solo Vn. 5

sub. resolute

pizz.

Vn. I 3

3

3

3

pizz.

Vn. II

pizz.

Vc. I

pizz.

Vc. II

6

30 A tempo 125

*

(optional: take Piccolo)

Fl. 7

* Ob. 7

* Cl. in B 7

7

3

sub. solo

*

Tpt. 7

7

poss.

* Tbn. 7

*

Crotales

l.v. molto

1 Perc.

*

4 Triangles

2

8va

* 7 7

secco

Pno.

loco 7

solo

* secco

Hp.

D E G

(D CB/EF G A)

*

8va

Solo Vn. 5

sub. assertive

3

7

sub.

7

A tempo arco

*

Vn. I 7

arco

*

Vn. II 7

arco

.

gliss

*

Vc. I

* Vc. II

* Note: It is an option for the soloist to compose and play a short cadenza (approx. 30 seconds long) at the end of measure 125 and before measure 126. The cadenza should be in the style and aesthetic of this composition. The final two beats of measure 125 can be shortened or omitted by the soloist if they elect to play a cadenza.

D B F G

31 ossia: Play these two measures on Piccolo, sounding at these written pitches.

128 Fl.

Ob.

Cl. in B

Tpt.

Tbn.

Vibraphone

2 Finger Cymbals with Triangle beater l.v. molto *

Low Tom-tom

*

1 secco

as resonant as possible Ped.

Perc.

2 Triangles l.v. molto *

Chinese Cymbal

Tubular Chimes

*

2 as resonant as possible Ped.

secco

*

as resonant as possible

secco

Pno.

*

secco

Hp.

D C

as resonant as possible

D G

secco

**

rubato

Solo Vn. 7

sempre

dramatic

intrepid ord. pont.

Vn. I

ord. pont.

Vn. II

ord. pont.

Vc. I

arco, pont.

ord.

Vc. II

*In final measure, wait until all ringing has naturally faded to silence. Do not lift pedals or stop any resonance. **Violin soloist should start the final measure when the Percussion/Piano/Harp resonance has dwindled about halfway toward silence.

Depending on the resonance of the concert hall, measures 132 and 133 may need to be omitted.

32 133

lunga

Fl.

lunga Ob.

lunga Cl. in B

lunga Tpt.

lunga Tbn.

lunga 1

Perc. lunga 2

lunga

Pno.

lunga

lunga

Hp.

lunga

sul E

sul A

* Solo Vn. poetic

3

sub. bell-like

espr.

lunga Vn. I

lunga Vn. II

lunga Vc. I

lunga Vc. II

* See note ** on previous page.