Outi Tarkiainen MOSAICS

for “A Fragile Hope”

For Orchestra

(2021)

Duration: c. 15 mins

Commissioned by Gothenburg Symphony Orchestra and the Oulu Symphony Orchestra

FULL SCORE

Copyright © 2022 Edition Wilhelm Hansen, A/S, Copenhagen

WH 33485

ISBN: 978-87-598-4478-6

ISMN: 979-0-66134-7776-7

Music engraving in Sibelius

Publisher’s editor: Rasmus Koppelhus

Edition Wilhelm Hansen, A/S

Bornholmsgade 1A

1266 København K Denmark www.wisemusicclassical.com

Instrumentation

3 Flutes (Fl. 2–3 doubling Alto Flute, Fl. 3 doubling Piccolo)

3 Oboes (Ob. 3 doubling English Horn in F)

3 Clarinets in Bb (Cl. 3 doubling Bass Clarinet in Bb)

3 Bassoons (Bsn. 3 doubling Contrabassoon)

4 Horns in F

3 Trumpets in C

3 Tenor Trombones

Tuba

Timpani

Percussion (3 players)

1: Bass drum

Bell tree

Crotales (also with bow)

Flexatone

Snare Drum

Suspended Cymbals (small, medium, large)

Tam-tam (large)

Vibraphone

Vibraslap

2: Gong (large)

Suspended Cymbal (small, medium and large)

Tam-tam (large)

Thai Gongs (Db, F#, A, Bb)

Tubular Bells

3: Bass Drum

Cymbal Pair

Glockenspiel

Marimba

Sand Paper Triangle

Piano (doubling Celesta)

Strings

The score is not transposed Crotales sound two octaves higher than written

Glockenspiel sound two octaves higher than written

Double Basses sound one octave lower than written

Duration: c. 15 minutes

Orchestral parts are available on hire from the publisher

Composer’s Note

Mosaics for orchestra reflects and fantasizes the musical world of my first opera,ARoom of One’s Own. It was composed as part of the major Nordic, a Fragile Hope project dealing with climate change of Swedish photographer and film maker Joakim Odelberg, but also works without the visual element, as an independent piece for orchestra. Mosaics was commissioned by the Gothenburg and Oulu Symphony Orchestras.

Notation

Conductor

Tempo markings: many factors can affect the choice of tempi, and the metronome marks shown are approximate, for guidance only.

General quarter tone, between natural and sharp quarter tone, between natural and flat l.v. let vibrate (allow to sound for as long as possible) diminuendo al niente crescendo dal niente

Accidentials apply throughout the bar.

Tremolo should always be as dense as possible. Trills should always be played up a semitone, unless otherwise specified. When vibrato markings are not specified, players may use their usual vibrato. All glissandi should start immediately at the beginning of the note value. The grace notes with a crossing line should be played before the beat. The grace notes without a crossing line should be played on the beat.

Strings change very gradually from one sound or one way of playing (etc.) to another air only, blow air through your instrument, the resulting sound should be wind-like half stop

When playing long sustained notes, the bow changes should always be imperceptible and made independently of the other players.

Brass Straight mutes should be used unless otherwise specified.

Percussion

If vibraphone pedalling is not specified, use the pedal lightly according the nature of the textures. The choice of mallets is left to the musicians. Whether hard or soft, always choose mallets giving as much resonance as possible.

Piano/Celesta prepared string (with for example Blue-Tack) œœbœœœnœœœ b œœœœœœœœ # œ J‰Œ œœœœœœœœ # œnœœ#œ#œbœnœœnœJ‰ œœbœœœnœœœ b œœœœœœœœ # œnœœ#œ#œbœnœœnœJ‰

If piano/celesta pedalling is not specified, use the pedal lightly according the nature of the textures.

Œ ‰ œ j œ ‰ ‰ œ ˙ Œ ‰ œ j w ˙ Œ ‰ œ ˙ Œ ‰ œ j w ˙ b˙ œ œ r≈ œ ˙ Œ ‰ œ j w ˙ Œ ‰ œ ˙ w #w ˙ w œ j ‰ ‰ #œ ˙

Œ ˙ ‰ ‰ #œ J œ ‰ w w œ j ‰ Œ Œ œ Œ Œ ‰ œ j œœœ œ Œ w w Œ Œ Œ œ Œ æ ˙ œ Œ Œ Œ æ œ œœbœœœnœœœ b œœœœœœœœ # w Œ ˙ ˙ œœbœœœnœœœ b œœœœœœœœ # œnœœ#œ#œbœnœœnœ ˙ Œ œœ œœ # œnœœ#œ#œbœnœœœ œj‰Œ Œ œœbœœœnœœœ b œœœœœœœœ œ œœœbœœ b œ#œœ#œ#œ#œœœœnœbœnœ#œ#œœœ œœbœ n#œœ # œœ œœ #bœœnœ#œœœœœœœœœ b œ œœœbœœ b œ #œœ#œ#œ#œœœœnœbœnœ#œ#œœœ œœbœ n#œœ # œ Œ Œ

Œ œ œœœ b œœœœœœœœ #bœœnœ#œœœœœœœœœ b œ œœœbœœ b œ#œœ#œ#œ#œœœœ nbœœnœ#œ#œœœ œ bœ œœnœœœœ b œœœœœœœœ # bœœnœ#œœœœœœœœœ b œ œœœbœœ b œ#œœ#œ#œ#œœJ‰‰Œ œ bœ œœnœœœœ b œœœœœœœœ # bœœnœ#œœœœœœœœœ b œ œœœbœœ b œ#œœ#œ#œ#œœJ‰‰Œ ‰ œ j ˙ w ˙ ‰ œ j ‰ Œ ˙ w w ˙ ˙ œ Œ Œ b˙ w œ j‰Œ ˙ œ J ≈Œ Œ œ ˙ ˙ œ œ j ‰ Œ ‰ œ j ˙ ˙ œ j‰Œ ˙ ˙ ˙ w ˙ œ j‰ œ

Œ w ˙ Œ

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#œœ # œœœœ#œœ b œœ bœ bœœœbœœœœœœœœbœœœ bbœœbœœbœnœ#œœœœœœœbœœœ bbœœbœœbœnœ#œœ œœ

R ˙ ˙ œ J ‰ Œ bœœœœœbœœœ b nœœ#œœ#œœœœœ#œœœ#œnœ#œœnœ b w ˙ Œ œ J ‰ Œ Œ bœœœœ b nœœ#œœ#œœœœœbœœœœbœœœ b nœœ#œœ#œœœœœ#œœœ#œnœ#œœnœ b Œ ‰ bœ R ˙ ˙ œ J ‰ Œ bœœœœœbœœœ b nœœ#œœ#œœœœœbœœœœbœœœ b nœœ#œœ#œœœœœ#œœœ#œnœ#œœnœ b Œ ‰ bœ R ˙ ˙ œ J ‰#œœœœœbœœœœbœœœ b nœœ#œœ#œœœœœbœœœœbœœœ b nœœ#œœ#œœœœœ#œœœ#œnœ#œœnœ b Œ ‰ bœR˙ ˙ œ R ≈ #œœœ#œœœœbœœœœbœœœ b nœR‰ bœœ œ #œ œ #œ œ ‰ Œ ‰ bœR˙ ˙ œ R ≈ #œœœ#œœœœbœœœœbœœœ b nœR‰ bœœ œ #œ œ #œ œ ‰ Œ ‰ œ R˙ ˙ b˙ ‰bœ œ j Œ bœj ˙ ‰bœ œ ‰ bœj œj‰Œ œ #œ œ œ #œ œ œ œ œ œ œ Œ Œ ‰ œ R˙ ˙ Œ ‰ #œrœ ‰ #œrœ ‰ œ rœ ‰ œ rœ # ‰ œ rœ b œ œ J‰‰ bœr˙ ˙ œ<#>R ‰ œ #œ nœ #œ œ œ #œ œ œ bœ œ œ J‰‰ bœR˙ ˙ œ<#>R ‰ œ #œ nœ #œ œ œ #œ œ œ bœ œ œ J‰‰ bœR˙ ˙ œ R ‰ œ Œ œ Œ #œ Œ #œ Œ bœ œj‰‰ œ R˙ ˙

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