No. 71747
HELLAWELL
Agricolas
for Clarinet and Orchestra Full Score
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PIERS HELLAWELL
Agricolas
for Clarinet and Orchestra
Full Score
ISSUU Version
For perusal only
Commissioned by Robert Plane with financial assistance from the Britten-Pears Foundation and RVW Trust
First performance at the Vale of Glamorgan Festival, Llandaff Cathedral, 11 th September 2008 by Robert Plane and the BBC National Orchestra of Wales conducted by Michal Dworzynski.
This score is a facsimile of the composer’s manuscript, reflecting the state of editorial work and correction as of August 2008
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PIERS HELLAWELL
Agricolas
for Clarinet and Orchestra
Instrumentation
2 Flutes (2nd d. piccolo, alto flute)
2 Oboes (2nd d. cor anglais)
2 Clarinets (2nd d. bass-clarinet)
Bassoon Contrabassoon
Solo Clarinet
4 Horns in F
2 Trumpets in C
2 Trombone
1 Bass-trombone
1 Tuba
2 Percussion*
Percussion 1: vibraphone (+ bow), marimba, glockenspiel, tam-tam, Tubular Bells.
1 Harp
Strings (Double Basses must have low extensions)
Percussion 2: tam-tam, crotales, steel drum, 2 temple-blocks + cymbal, bongos, glass bottle/watercontainer*, triangle, rainstick, Bass Drum, 2 small ‘Chinese’ gongs (higher/lower).
* small glass bottle to be repeatedly struck with metal object (eg fork) while gradually raised from/lowered into water-container to change pitch.
Duration c. 18 minutes
Score is transposed
Contents
Movement 1:
Recitative-Ensemble – Bridge 1 – Chorale Prelude (chaconne) – Bridge 2 – Recitative-Ensemble
Movement 2:
Page
1
Chorale Prelude (Blues) – Bridge 3 - Chorale Prelude (canons) – Bridge 4 – Chorale Prelude (Sancta Maria) 32
Chorale Prelude (Epilogue)
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Agricolas, for clarinet and orchestra, was commissioned by Robert Plane with financial assistance from the Britten-Pears Foundation and RVW Trust, and was given its world premiere by him at the Vale of Glamorgan Festival, in Llandaff Cathedral, on 11 September 2008. The BBC National Orchestra of Wales was conducted by Michal Dworzynski. Agricolas takes its title and concept of design from the work of the American sculptor David Smith, many of whose works were grouped into sets in terms of their shared titles – for example the Agricolas. The work avoids the typical long-range structures of a concerto; instead it reflects the modular structure of many of Smith’s pieces with a mosaic sequence of shorter sections, scored for ‘chamber’ ensembles; there are two sets of these sequences, forming two overall movements that are thus akin to ‘sculptures’. Each of these presents three main pieces, linked by brief connecting sections (‘Bridges’) that concentrate on unison lines - groups of instruments playing the same melody - and simple ostinati. These Bridge sections are analogous to rods and struts that connect the objects in many of Smith’s pieces.
Another connecting level between several of the main sections is a recurring harmonic series that I call an ‘escalator’; this is unrolled in a wide range of treatments, so that several pieces become variations on this musical skeleton – chorale preludes with separate identities. The last of these is heard at the end, a brief Epilogue. In Agricolas the solo clarinet is conceived in the role of a commentator: eschewing strident display and conflict, it is free to explore a variety of chamber associations around the orchestra. However, the relation between clarinet and its fellows is a deepening one, beginning in a ‘concertante’ fashion with an athletic accompanied work-out but becoming increasingly, in movement II, a lyrical partnershipalthough at the end of this movement the solo clarinet explodes into action.
Piers Hellawell 2008
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