Hellawell ETRUSCAN GAMES

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PIERS HELLAWELL

Etruscan Games for Piano Trio Score

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Commissioned by Gerry Mattock and Beryl Calver-Jones for the Da Vinci Trio

First performed in the Concert Hall, University of Glasgow, by the Da Vinci Trio on Thursday 6th March 2008.

This score is a facsimile of the composer’s manuscript, reflecting the state of editorial work and correction as of 16th February 2008

Etruscan

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for Piano Trio

Games

Four pieces make up the work: three short movements feature, in turn, leading roles for violin, piano and cello, while a single larger movement sees all of these ideas and solos revisited in an extended version. This design, a sort of ‘games’ in the ancient sense of a competitive celebration of athletic prowess, was the gift of the work’s commissioners and dedicatees, and was one that I found creative and fertile. So each of the instruments in Etruscan Games has, in its ‘solo’ piece, a territory of ideas that is expressively contrasted with the other two; in the longer movement, meanwhile, this ‘family’ is brought together into a turbulent confluence.

Unusually for me, therefore, the work’s shape has no extra-musical association. The lost Etruscan language, one of Europe’s ancient and now tantalisingly inscrutable tongues, came to mind during discussions with the commissioners about how new music speaks, or does not, to listeners (and performers) less familiar with its sound-world and syntax. I was aware of the musical content of my trio moving markedly away from the ‘known’ sound world of my recent chamber music, and hence was especially concerned with the perennial question of communication between composer and listener.

Piers Hellawell

Duration c. 15 minutes

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Performance Notes:

Piano

The upward glissando across strings at the beginning of movement II is best accomplished with a rounded implement rather than a hard-edged one. The plastic front cover of some metronomes is ideal, but different materials will give different timbres, so the pianist is encouraged to experiment. The glissando is slow - not the usual ‘zing’; ideally, the separate strings of each pitch might be perceptible.

Cello

The cross-headed notes in movements III and IV are left-hand only pressare notes – requiring a more than usually forceful left-hand contact. They often occur after a bowed note, to give a limping effect, and require careful attention to balance from the surrounding voices.

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Con forza q = 92

Etruscan Games I

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Con forza q = 92

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(Rapid finger-drumming on cello body)

String glissando, slow pace, inside piano in middle register (use pen, comb or other implement to sound separate strings)

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Vln.

Vc. Pno.

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(pizz.beyond bridge on A and C strings; ad lib.but following given material)

(Ad lib.,using the given rhythmic and pitch contour as a guide only. Do not stop these notes but touch only with l.h.as if for harmonics)

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Violoncello

Pesante

q = 66-70, according to material

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Pesante q = 66-70, according to material

ISSUU Version

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* Where 3rd pedal is available it should be used to suspend the chord; passagework can then be played 'dry' or with sustaining pedal added at discretion of pianist