scellĂŠ de sept sceaux For Violin, Clarinet, Cello, and Piano
Sean Harold 2016
scellé de sept sceaux After Louange à l’Éternité de Jésus from Quatuor pour la fin du temps
Score is in C Instrumentation: Violin Clarinet in Bb Cello Piano Duration: Approx. 9’
NOTATION Arrows: Arrows connecting one technique to another (for example, ord. to sul pont) indicate a slow change over the duration of the arrow. Microtones: Microtones are notated in two (simultaneous) ways: First, the cent deviation from 12-EDO is given above the pitch. Second, the ratio used to tune the pitch is given. For the latter, a dashed line connects the “fundamental” to the harmonic (the lower pitch is always used as the “fundamental,” even if it’s the pitch being tuned). Microtonal deviations are not notated for natural harmonics, open strings, or (generally) pitches within about 5 cents of 12EDO. Piano Harmonics: Piano harmonics are notated with the sounding pitch in parentheses (upper staff), the keyboard (played) pitch as normal (lower staff), and the harmonic (nodal point) in a circle above the sounding pitch. If string construction prevents accessing a certain harmonic, see if the same pitch can be found on a lower or higher string (IE: 7th partial of C3 = 14th partial of C2). For ease of performance, mark the following nodal points inside the piano (higher partials — the 11th and 13th — can usually be found in front of the hammers [near the player]): 7th partial of F1 7th partial of C2 5th partial of A2 13th partial of G1 11th partial of C2 5th partial of C3 th 2 th 2 5 partial of C 10 partial of F 7th partial of C3 Singing: Sung pitches are notated on a separate cutaway staff above the normal instrument staff. If the pitch is tied over, it should end naturally once the players breath runs out. All pitches should be sung in the most comfortable register for the performer.
Written for the Phoenix Quartet Completed at, and with thanks to, the MacDowell Colony
C SCORE
scellé de sept sceaux Movement I: Revelation 5 5:1 And I saw in the right hand of Him that sat on the throne a book written within and on the backside, sealed with seven seals. Extatique q = 45-50
Violin
Clarinet in B b
Cello
Piano
4 &4
4 &4 ˙ p ? 44
ped…
œo
pizz.
( ) IV
‚ p
Œ
"o œ ( )
Ó
arco
‚
! œ
O
+16¢
5/
4
b˙ p
*MSP sub. Ÿ~~~~~~~~~~~~~~~~ #> ord #j" œ #œ œ. ‰ # œn œ # œ J sub. p p 5/ * Let C be unstable 3 sub. nasal , ord * œ b œ œ b œ >œ œ . sub. p (harm. tr.) sub. *MSP# ord " ‚. œ ‚ œ ‚ >‚ sub. p ! œ œ >œ Œ œ œ œ$‰ R r Œ & œ œ œ$‰ œ œ œ > -30¢
Ó
4 &4 ?4 Ó 4
Sean Harold
˙. œ
( )
O. Ó
j ‰ œ Œ ©2016
˙
w
˙
w
O
O
Ó
Ó
* MSP = Molto Sul Pont MST = Molto Sul Tasto
* MSP = Molto Sul Pont MST = Molto Sul Tasto
Ó
* ped…
?
˙
p
2
&
6 Cl.
˙ >
! œ
œ
&˙ > ?
5/
4
, -14¢ nœ
œ!
6 Vc.
6
Pno.
˙ >
? + œ
Vc.
11
Pno.
&
?
œ@
un poco
œ@
un poco
(III)
˙. 3/
2
?> j œ œ. F sub. p
11
un poco
Ͼ Ͼ
z œ
,
œz
flutter
Œ
œ
sub.
œz
3
+ œ w
p
sub. sub. ord
au point
Ͼ
œ
p
+35¢
"f "
+ œ ˙
5/
4
, +21¢ #œ
w Œ
j œ œ. > f sub. p Ó
# "f+ " j œ œ sub. p
11/
Ó Ó
Œ
w œ +
˙
œ
Ó
œ + œ
6/
III
+37¢
, -49¢ #˙
to inside of piano
œ +
w
+ ˙
+ ‰ œj ‰ +j œ w
II
+ œ
scellé
breathe as needed
˙
sub. ord
œ J Œ F
+ œ
"f "
"f "
Π&w &
@ œ
Ó
&
11 Cl.
œ!
œ
11 Vln.
#
au point
6 Vln.
sub. ord
œ "f "
5
˙
œ> œ . J f sub. p
œ
w
* inside + keyboard 5 7 Œ ( b œo ) ( œo ) Œ œ œ % "f "
4/
Œ Œ
Œ
, -49¢. #˙
3
keyboard
bœ p
Ó
˙.
˙
j #œ œ. > sub. sub. f p ‰ j Œ œ
œ!
-14¢
5/
4
œ
w
œ
œ@
œ
œ
Ó
Ͼ
au point MST
œz
o
slow fast tr. ~~~~~~~~~~~~~~~~~~~~~ , timb. ˙.
breathy
o
5
inside + keyboard
b œo )
j œ œ. > f sub. p
œ
-47¢
˙.
(
˙.
8/
œ
8
4/
7
œ
œ
3
-47¢
#œ Œ Œ
Ó Ó
j nœ œ. > F sub. p
œ!.
@œj
œ@
Ͼ
Ó
* Place RH at the indicated harmonic nodal point(s), then play the keyboard pitch(es) with the LH. Lower pitch = Keyboard pitch Circled number = Harmonic node to be used (of keyboard pitch) Pitch in parentheses = Resultant pitch
æœj œz. & ˙ %
au point MST
o
keyboard
Attacca
(no pause)
3
scellé
Movement II: Revelation 6:1-2 6:2 And I saw, and behold a white horse: and he that sat on him had a bow; and a crown was given unto him: and he went forth conquering, and to conquer. 16 Vln.
Ó
&
16 Cl.
&
œ"o ?III O p
16 ( ) Vc.
16
Pno.
&
?
oo œ (œ) O IV O
O. O.
straight tone MST
" b˙ p
˙˙ .. Ó # œ œ F
O O
breathy
b˙ p " ˙ ˙ &
# œœ F
œœ œ F O O
" œœ & œ &
œœ .. j œ œ. p # ˙ ˙ p
# j œœ p
˙˙
œœ ..
‰
œ.
,Cantus j œ ˙
o
O O
‚. ‚.
‰
(ord)
o
"oo # œ 21 ( ( œ )) &# O III O IV F
scellé
4
Vln.
OO
œ
OO
un poco
21 Cl.
&
?
˙
21 Vc.
œ
21
Pno.
&
œ
œ œ
f
wz
˙ F
w
œ
wz
unmetered arp.
w w
˙z
w w
? f %w
Vln.
&bw
26 Cl.
& ?
26 Vc.
˙.
?b w
26
Pno.
b˙.
b˙.
nasal
w
bbwww & z
Œ
bw w
œ F
˙z
˙ ˙ p
bœ
˙.
b˙.
˙. b b ˙˙ ..
z
o
b˙. ˙.
œ
p ,
œ
œz wz œœ œ b ww
œ p
bœ
œ œ œ
p (RH) p œœœ & bœ z b œœ
?
z
j bœ o
p (LH)
* ped…
w
œ w œœ b ww
%˙
* ped…
to piano
un poco
unmetered arp.
z
z
wz w w
b˙
un poco
Œ
o
I II
". # # OO . oo P
un poco
www bw z b ww
z
LH from violin
#oo ( œœ ) O III O IV o F , flutter œæ %sub. f œ œ œ œœ œ œ
, flutter b Ͼ F
œz œ œ F ord
œ
Sounds 2 octaves higher
f
unmetered arp.
ord
˙.
˙ P
o
Ó bw
,
˙ ˙
(ped…)
26
˙z œ œ˙ œ ˙ sub. p S
unmetered arp.
˙ ‚‚
# b˙.
b˙.
III
II
sub. P
#IV
˙. P ? b˙.
o
Œ
sub.
un poco
ΠΠO O
P
,
˙ b b ˙˙ & z %œ p
III
b˙.
œ p
˙.
* ped…
ord
˙. w p ˙. w ˙ .. w ˙ w z z z sub. p f Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ? œ ˙. w & œ % œœ ˙˙ .. ww
z
p sub. f
* ped… (flutter)
z
p
(ped…)
z
Attacca
(no pause)
5
scellé
Movement III: Revelation 6:3-4 6:4 And there went out another horse that was red: and power was given to him that sat thereon to take peace from the earth, and that they should kill one another: and there was given unto him a great sword. *1 Accent every quarter note without changing bowing or rearticulating unless otherwise indicated through movement. Accent should be felt as a pulse, only slightly louder than the given dynamic.
Q H &============ q \= Sing (in comfortable register)
# &œ > f 31 f & œ > # 31 > œ ?œ 31
Vln.
Cl.
Vc.
31
Pno.
"ooh"
f
&œ
œ ? œj œœ % fœ sub. p
œ œ > > *toto piano * piano œ > >œ œ
*to piano œ œœ œ
* lightly pedal... (by phrase)
œ > >œ œ
*from trio
Hum
" œ œ > *1simile œ œ > *1simile >œ" 1simile œ œ* œ
# œ
œ
bœ
flutter
œ œ œ
Voice
œ œœ œ
œ œœ œ
Hum
"rrr"
"shh"
œ b œœœ
" œ
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # j œ œ œ œ bœ p from piano p from piano
œ
ord
˘ / | -----------
x & q q ====\ =q ========= q "shh" "ooh"
œ œœ œ
bœ
b œæ œ bœ /» xæ| ~~~~~~~ x˘ ---------------------& == =\ | -#œ œ œh œ œ œ
Sing (in comfortable register)
œ œœ œ
====\ bq = h=
bœ œœ œ
bœ b œœœ
œ
œ" #œ œ b œœœ
œ
œ
œ œ œ œœœ
œ œ
bœ
œ #œ
œ
#œ nœ
œ
p from piano Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
œ œ j œœ œ j œ
%œ
œ b b œœœ f
œ œœ œ
to trio
œ œ
bœ œœ œ
* During these moments, the dynamic of the quartet as a whole should be constant with only the balance between the piano and the trio shifting. (As if the piano and the trio were being cross-faded).
w == \= Hum
œ œ œ œ œ œœ œ
" bœ bœ b œ" œ
f (RH)
˙ ˙ b b œœœ
œ f f œ œœ
f
œœœœ p
# œ
un poco
œ
un poco
œ
# # œœ
un poco
œ œœ &h === Hum
œ œ b œœœœ
œ œ œœœœ
6
"ooh"
" & bœ
36 Vln.
œ
# œ
\= b w ==
œ
bœ
" #œ
œ
# œ
/ (‰) x˘ ----------\ |J
#œ
(‰) ----------» |xJ \ \
scellé
" œ
"shh"
# œ
œ
" #œ sub. p sub. p
"shh"
36 Cl.
&
bœ
œ
Hum
" ? # # œœ
== --q
œœ
36 Vc.
œ œ œœœœ
36
Pno.
& Œ bœ ? bbbœœœ
" œ œ
41 Vln.
&œ #œ
#œ
#œ œ ˙ ˙ œœœ
œ œ
41 Cl.
&
Vc.
41
Pno.
#œ
b œœ
œ
œ
œ œ " #œ
œ œ
œ &œ œ œ œ œœ ? # nœœœ œ # # œœœ œ
œ
œ
n e bh # q . ======== \= "ooh"
œœ
# œœ
œœ"
œœ
œ
#œ œ
nQ b H .=========== \=
#œ
œ
œœœ
bœ b b œœœ
bœ œœ œ
œ #œ
# # œœ œ œœ
œ œ œæ
ord
-----------» æ|x~~~~~~~ \ "rrr"
œ
œ n œœ œ
œ #œ
œ œœ œ
œ n œœ œ
match trio dynamic
œœ n œ
sung multiphonic
nœ
œ
# œ
œ
#œ
#œ
œ
œ #œ œ
! œ œ œ œ œ #œ # œœ œœ œ # # œœœ # œ œ
bœ b œœœ
œ œ œ j bœ
œ
%œ
Sing
2 4
œ
n œœ œ
#œ bœ œ
2 4 œ
œ
œ œœ n œ œ
œ œœ œ
œ # œœ œ œœ œ œ #œ
p
œ œ
p
sub.
œ b œœ œ nœ
sung multiphonic
#œ
œ
œ to violin o # œ nœ œ œ œ ! œ œ
#œ œ œ œœ n œœ œ œ œ
œœ
œœ
œ
œ
œ b œœ nœ œ œœ œ œœ œ œœ # œ œ œ œ œ
œ # œœœ
H #h h &\\ ============================== \ \\ h val roux un che --
4 " 4 œœ 4 4
bœ
œœ
œœ
œœ b œ
# œ œ
œ
œ
œ
œ
œ
œ
œ
œ œ
" œ œ
œ œ
œ
œ
œ
H Sing & #h h ============================== \ \ un h \ \\ roux che -val
4 œ" 4
Sing
2 4 #œ nœ 2# œ bœ 4 œ
Ͼ
œ
#œ œ œ œ œ
bœ œ b n œœ
#œ œœœ
o
œ
sub.
œ œœ œ
# œ n œ œœ
# œœ
from cello flutter ord
"shh"
(‰) ----------»# "shh" |xJ \ \
"rrr"
œ
œ / (‰) --------------» # |xJ \ \ " œ œ œ #œ
œ œ
/» x˘ ----------|"shh"
2 4 # nœ
œ
œ
œ" #œ
œ œ
"ooh"
flutter
?œ
41
œ
-----------» æ|x ~~~~~~~ \
# œ
" œ
œ
œ
H #h h &\\ ============================== \ \\ h œ roux j val un che --
4 œj 4œ œ œ 4 œjb œœ 4 %œ
œ œœ œ
j #œ #œ
œ œœ œ
œ œœ b œ œ
œ œ
œ œœ œ
œ œœ œ
œ J
œ œœ œ
œ œœ œ
Attacca
(no pause)
7
scellé
Movement IV: Revelation 6:5-6 6:5 And when he had opened the third seal, I heard the third beast say, Come and see. And I beheld, and lo a black horse; and he that sat on him had a pair of balances in his hand. Sounds 2 octaves higher
46 Vln.
&˙ ˙ F
46 Cl.
&Œ
?˙ F
46 Vc.
46
Pno.
& F ? w
ped…
I
#‚ o
œo II ‚
( )
˙.
F
Sounds 2 octaves higher
O
#O o II
œ
˙. Sounds 2 octaves higher
III
‚o
#‚ o II
(
O œ
b œo )
IV
bO 1
˙.
‚
# ‚I o
‚
œo II ‚
( )
w Sounds 2
‚
˙
III octaves higher
‚o
‚
II # O # œ
˙ Attacca
(no pause)
scellé
8
Movement V: Revelation 6:7-8 6:8 And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him. And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth.
o I O.
(ord)
49 Vln.
&
p
sub. breathe as needed (ord)
49 Cl.
&
bw
sub.
p
(ord)
# OI . Sounds 2 octaves higher ? o sub. p
49 Vc.
49
Pno.
&
w
?
(ped…) (flutter)
>‚
MSP
Í
>‚
MSP
Í
>O
O
Í
*
>œ
nasal
Í
O
Œ
O
MST
˙.
Œ
* Timbre may shift away from breathy during crescendi, in order to achieve the dynamic, but should return to breathy immediately afterward.
Silently depress keys
?
# ‚‚‚ ‚ # ‚‚ ‚ %
Ó Ó
sost. ped…
&
‚
œ
nœ
‚
Oœ
b ϫ
Ï ‰
Œ œ. œ. % Ø
*breathy >˙
œ
Í MST >O ˙
O œ
Í Œ
‰ Ó
œ. F
œ. œ. % Ø
>‚
MSP
Í
>nasal œ
Í MSP >O œ Í Œ
Sounds 2 octaves higher
#O o
O
circ. bow
I
nasal to breathy ad lib.
˙
w
!œo O
circ. bow
O
II ( )
Œ
‰
Œ j œ. % Ø
œP j ‰ Œ œ.
b œ´ œ ƒ Œ
Œ œ. œ. % Ø
54 Vln.
&
54 Cl.
&
‚ ˙.
Sounds 2 octaves higher
III
# ‚o
‚
Vc.
Pno.
&Ó ?Ó
‚ > Í nasal >œ >‚
MSP
? O.
54
MSP
Í
54
Œ œ. œ. % Ø
9
scellé
Í !´ œ Ï Œ
MST
O
O > Í breathy >˙
˙
Í
>O
MST
O
Œ
Í
œ. œ. % Ø
Ó
O. œ ‚ Œ œ. œ. % Ø
>œ
nasal
Í
>‚
MSP
Í # œ-
P Œ
œ ‚ œ Œ
‚
œ ‚ b œ. F ‰
‚
w
3 4 O.
MSP
ord
O.
3 4
˙.
o
4 4
o
4 4
ord
O
j j ‰ Œ œ. œ. % Ø
o
ord
3 O. 4
Œ
3 4 œ. œ. % Ø
3 4 Œ
Œ
‰
4 4
4 4
4 j 4 œ. Attacca % Ø (no pause)
scellé
10
Movement VI: Revelation 6:9-11 6:9 And when he had opened the fifth seal, I saw under the altar the souls of them that were slain for the word of God, and for the testimony which they held: 6:10 And they cried with a loud voice, saying, How long, O Lord, holy and true, dost thou not judge and avenge our blood on them that dwell on the earth?
"
4 &4 Œ
-12¢
59 Vln.
4 &4 Ó
59 Cl.
?4 " 4 w p
5/
4
˙. p
˙. Œ
4/
59 Vc.
4 &4 Œ
59
Pno.
-16¢
3
-14¢
œ p
5/
4
bœ
œ
˙.
œ
7/
wœ+ ‚ ‚
˙ p Ó
?4 ‰ ‚ 4 j ‚ œ. ‚ % Ø * sost. ped…
Ó
4
4/
inside + keyboard
b œo ) * 7
to inside of piano
Ó
œ6 4/
w
IV
Silently depress keys
n˙.
(
œ
Œ Œ
3
b˙.
-14¢
Ó Ó
6/
5
o (b œ ) 5
˙
-12¢
œ
3
˙
b˙.
œ
+18¢
/5
4/
3
+20¢
˙
Ó
* Harmonics may require more effort to produce the same dynamic effect. Match the sounding dynamics of pitch, rather than effort.
6/
˙. Œ Œ
b˙.
5
o (œ ) 5
œ
Ó
2/
œ
+20¢
1
˙
keyboard
5/
6/
b˙. 4/
5 w 4
5 4 Œ
5
b˙
+18¢
3
5 4 Œ
4 4
+33¢
5 4 ˙
w
w Ó
5 4 ˙.
+35¢
b œo )
(will clash with piano harm.)
3
inside + keyboard 7
(
w
‚o
III
4 4 4 4 4 4 4 4
Attacca
(no pause)
11
scellé
Movement VII: Revelation 6:12-17
6:12 And I beheld when he had opened the sixth seal, and, lo, there was a great earthquake; and the sun became black as sackcloth of hair, and the moon became as blood; 6:13 And the stars of heaven fell unto the earth, even as a fig tree casteth her untimely figs, when she is shaken of a mighty wind. 6:14 And the heaven departed as a scroll when it is rolled together; and every mountain and island were moved out of their places.
4 &4
65 Vln.
4 &4
f
œ
from clarinet
65 Cl.
Vc.
Pno.
1 *moltissimo sul pont.
unmetered arp. (sempre)
b œ +18¢ o
*1 As close to the bridge as possible. Occasionally bowing behind the bridge by mistake is expected and perfectly fine. The tone should be more overtones than fundamentals, and extremely unstable.
bœ œ f to violin 65 IIIII b œ œ ‚ ?4 ‚ 4 f 13 65 *b œo 4( ) &4 "Î " ?4 4 w ped…
j œ
bœ
, b˙
œœ
0¢ (12edo)
o
(will clash with piano harm.)
p
˙
œœ
f
o (œ ) ‚ IV
‚ ‚
Silently depress keys
‚‚ %‚
b œœ
‚
sost. ped…
(sempre)
˙
to piano
œœ
p
‚
‚
œœ #œ
œœ œ
p
œœ
œœ œ
œœ œ
(release sost.) * The nodal point for this partial should be found in front of the hammers, and will sound about a quarter tone sharp of its 12EDO equivalent.
f , b˙ sub.
z
œ
#œ
b˙
f
‚
from strings
#œ
˙˙ ˙
#œ
˙z œ˙ ˙
sul pont. *moltissimo unmetered arp. (sempre) z œ ˙z œ ˙ # œ œ ˙ #œ œ ˙ #œ ˙ œ ˙ sub. f
œ
œ
#œ œ
nœ
1
‚
to piano
œœœ
œœ #œ f
ped...
(by phrase)
œœ œ
# œœ œ
œ
œœ œ
œ #œ œ
# œœ œ
œz œ œ
œ œ œ
z
#œ
œœœ
z
˙
œ
#œ
# œœ œ
˙˙ .. ˙.
œ
, bœ
˙z. œ ˙. ˙.
œ # œœ
œ
œ
bœ
z
œz #œ œ œœ œ
œœ #œ
œœ #œ
#œ
#œ #œ
# œœ œ
#œ
œz œz œœ œ œ œ œ
œ
œz œœz œœ œ œ œœ œ
œ
#œ
nœ
nœ
œ
œz œœ œ
œ #œ œ
# œœ œ
œ œ œ
z
12
œ w & # œ œ œ ww
70 Vln.
70 Cl.
& ?
z
˙
70 Vc.
70
Pno.
œ
&# œœ œ ?
#œ
œ
w œw w
z
scellé
* Over the course of the crescendo, the arpeggios should become noisier and noiser, and harsher and harsher. Let the bow slip behind the bridge more and more often, and let scratches occur.
œœ œ
w # ww
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*1 Over the course of the crescendo, let the pitch break, crack, overblow, etc. Neither the flutter nor the pitch should not be stable.
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Attacca
(no pause)
13
scellé
Movement VIII: Revelation 7 7:1 And after these things I saw four angels standing on the four corners of the earth, holding the four winds of the earth, that the wind should not blow on the earth, nor on the sea, nor on any tree.
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Attacca
(no pause)
7:16 They shall hunger no more, neither thirst any more; neither shall the sun light on them, nor any heat. 7:17 For the Lamb which is in the midst of the throne shall feed them, and shall lead them unto living fountains of waters: and God shall wipe away all tears from their eyes.
scellé
16
Movement IX: Revelation 8:1-6 8:1 And when he had opened the seventh seal, there was silence in heaven about the space of half an hour. 8:2 And I saw the seven angels which stood before God; and to them were given seven trumpets.
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8:5 And the angel took the censer, and filled it with fire of the altar, and cast it into the earth: and there were voices, and thunderings, and lightnings, and an earthquake. 8:6 And the seven angels which had the seven trumpets prepared themselves to sound.