L INABASTABLE PERFIL
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1 L INABASTABLE ERIL Homenatge a E Chillida er a violí i iano MIQUEL OLIU ARTITURA
2 Miquel Oliu L inabastable eril Homenatge a E Chillida er a violí i iano
3
4 Nota de rograma L inabastable eril és ruit de la lectura de les relexions recollides er Eduardo Chillida en els seus aunts ersonals, i més concretament en la rase «l inabastable eril de la branca moguda el vent» La imatge d aquest «eril al vent», entès com a horitzó, com a esai de trànsit entre el alable i l imalable, sintetitza gran art del ensament i l obra de E Chillida L imuls ascendent de l inici de l obra situa amb insistència l oient al registre agut er tal de transmetre la sensació de distància resecte una realitat inabastable L ús abundant d harmònics al violí, la tendència a dinàmiques ianoianíssim, un etit motiu en lleuger balanceig, la subtilesa en les luctuacions del moviment cadencial desitgen crear una textura transarent i airosa que evoqui el «eril» eímer de «la branca moguda el vent» El motiu de la nota reetida es desenvolua en la breu secció que culmina en arribar a un uníson entre iano i violí (nota re central del iano), del qual en sorgeix la quietud que es manté ins al inal de l obra D aquesta unió dels dos instruments en naixerà, en el violí, una darrera i lenta ascensió i, arallelament, en el iano, un imuls descendent ca a les rounditats del registre greu, inexlorat ins al moment Es retén assolir, així, l equilibri intern de l obra Nota sobre la interretació Violí: llistat d harmònics naturals (alguns són de timbre ràgil) iano: el edal de ressonància només està indicat com a base L intèrret té llibertat er a introduir i matisar les subtileses que cregui necessàries, i er a er ús del edal una corda
5 Nota de rograma El inalcanzable eril es ruto de la lectura de las relexiones recogidas or Eduardo Chillida en sus auntes ersonales, y más concretamente en la rase «el inalcanzable eril de la rama movida or el viento» La imagen de este «eril al viento», entendido como horizonte, como esacio de tránsito entre lo alable y lo imalable, sintetiza gran arte del ensamiento y obra de E Chillida El imulso ascendente del inicio de la obra sitúa con insistencia al oyente en el registro agudo ara transmitir la sensación de distancia resecto a una realidad inalcanzable El uso abundante de armónicos en el violín, la tendencia a dinámicas ianoianísimo, un equeño motivo en ligero balanceo, la sutileza en las luctuaciones del movimiento cadencial, desean crear una textura transarente y airosa que evoque el «eril» eímero de «la rama movida or el viento» El motivo de la nota reetida se desarrolla en la breve sección que culmina al llegar a un unísono entre iano y violín (nota re central del iano), del cual surge la quietud que se mantiene hasta al inal de la obra De esta unión de los dos instrumentos nacerá en el violín una última y lenta ascensión, y aralelamente en el iano, un imulso descendente hacia las roundidades del registro grave, inexlorado hasta el momento Se retende lograr así, el equilibrio interno de la obra Nota sobre la interretación Violín: listado de armónicos naturales (algunos son de timbre rágil) iano: el edal de resonancia solo está indicado como base El intérrete tiene libertad ara introducir y matizar las sutilezas que crea necesarias, y ara hacer uso del edal una corda
6 rogramme note The unattainable roile is based on the reading o the relections included in Eduardo Chillida s ersonal notes, and more recisely o the hrase the unattainable roile o the branch moved by the wind The image o this roile on the wind, seen as an horizon, as a moving sace between the alable and imalable, contains and synthesizes a great art o E Chillida s thoughts and ideas The ascending and insistent imulse at the beginning o the iece is located with insistence to the listener in the uer register in order to transmit the eeling o distance about an unattainable reality The use o lentiul violin harmonics, ianoianissimo dynamics, a little sotoscillating moti and ine luctuations in the cadencial movement retend to create a transarent and graceul texture, which reminds the ehemeral roile o the branch moved by the wind The reeatednote moti is develoed in the brie section culminating in the unison between iano and violin (middle D note on the iano), which comes rom the eace and quietness maintained until the end o the work rom these two instruments union, will be born a last and slow ascension in the violin, and a descending imulse into the dee grave register on the iano, unexlored u to now In this way, the internal balance o the iece is retended to be achieved Note on interretation Violin: list o natural harmonics (some are a ragile timbre) iano: edal resonance is only indicated as a base The layer has the reedom to enter and qualiy subtleties that believes are necessary, and to use the una corda edal
7
8 no no Violin iano Anelante q = 5 senza vib b b b Ó b b bn Ó oco U Ó b n o o con vib # # svib Als estimats amics Emili i atryca L'inabastable eril Homenatge a Eduardo Chillida Rit con vib svib 5 b b n 0 II 5 5 S esressivo S b b b b b Rit con vib Ó b N b N Ó # gradual release 5 delicato 5 b S 5 A temo b svib b N Ó A temo b b b b nb Miquel Oliu b b n Miquel Oliu, 201
9 no no no 2 b b b n n # # # 11 b 11 A temo, ma libero gradual release b sul ont N b # # # Ÿ~~~~~~~~~~~~~~~~~~ I 0 w ( ) w S Ó svib 1 5 dolce 1 5 N N 5 b ( ) s # b # Ó ord sub o 1/2 (artial change) Temo giusto ord svib # oco rit con vib b dondolando # b # n b S o b b Ó con vib bb # b b b b n b b b 5 5 5
10 no no no Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1 III ( ) 1 n n # # n n # # n b nb b Ó ( ) 1 1 Ÿ~~~~~~~~~~~~~~~~ IV III II : # n N 5 # # b N ( ) III cresc r S # n b S # II ma calido N n Ó b con vib III # n # # # # o1/2 b bb bb n 5 # b Ÿ~~~ i I n n oco rit Ó # #
11 no no no oco iù mosso q = 5 svib o 2 II # semre 2 b b b S ( ) 2 2 con vib # # # S esress b b # b # # # S ( ) # # n b dondolando ma sonoro b 1/2 # b n b # b b b b b b b b b n n n # b b b b # b # dondolando # # # oco rit n n # # 1/2 semre o b b b bn n N b n b # N # Temo I # Ó # # # # Ó b b b N b b b # 5 5 5
12 no no no 2 5 ~~~ b (ord) ŸÈ s # # # 2 5 b b # b b b # b# 5 o Accel iù mosso q = ord b sub esress b b n b b b b b ( 1/2 ) 5 Rit svib b 5 b n b Ó n ( 1/2 ) b b b b b b n b S n b b b b n b S S # b III IV S Temo I con vib b # S # b b Ó 5
13 no no no # o 0 0 svib IV III II # # 9: b b n nb b Rit III II n # con vib I b b b b Ó : # # # # # # # # A temo b # # # r b b b S Ÿ~~~~~~~~~~ (ord) b svib b # # Accel 5 b dondol # n# : o b # b (Accel) s b b ~~~~~~~~~~~~~~~~~~~~ 2 b b b b b Ÿi n n 9: 2 b b # # # # # ( 1/2 ) ord n 5 5 5
14 no no no iù mosso q = Ÿ~~~~~ 5 ~~ # ( ) # # Ÿ È con vib I II sub esress sub 5 # # Ó 5 # Ó ( 1/2 ) 5 5 1/2 b S b # dondol o # # b # # N # # # b Temo I dondol # # b Rit svib # o b S S cresc o o b b o b b Ÿ i ~~~~~~~~~ # II b # ƒ Ó Ÿ i b b ~~~~~ n o con vib b n Ÿ~~~~~~~~~~ III ( ) b # b Ÿ i ~~~~ U Ó Rit oco oco Ó U U
15 no no no I 50 II # # # n b b bb b # RÔ 50 iù mosso q = cristallino etereo 2ˆ 1 2ˆ 1 2ˆ1 IV b b b n 5ˆ1 III II 5ˆ 1 b n b # R 5ˆ 1 # b # # ˆ 1 5 ˆ 1 ˆ 1 b b b 1/2 dolce n # nn # oco rit b S III # n bb # n b # b # n n b n A temo III IV N n # # # II I dolce # n b n# b # N # # n # # bbb N I II n rk b # bbn n rk # b b b 5ˆ 1 5ˆ 1 5ˆ1 ˆ1 ˆ 1 ˆ
16 9 no no no b n svib 2 w w S 2 Temo I b # n rk # nnb b n ƒs b b b n # w w RÔ 1/2 molto tranquillo q = 5 dolcissimo n b b b cresc r # # b b intenso n b b Ó w Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ( ) U S lunga U lunga lunga U # # b n b b n n n # # legatissimo con vib b b n b # 5 b S sub b b # b b b n 10: # b 2ˆ1 1 2ˆ ˆ1
17 no no no ˆ ˆ1 2ˆ1 1 9 # 9 Mosso e= b ( 1/2 ) 2 2 n o b b b b b R gradual release o o o o : izz n o o o o o b b b arco 1/2 col legno # # # # o1/2 # # # # # # # izz # # # # 5 5 5: # # # bbbb # b b b b b b b 5: 5 sul tasto arco ord 5 5 dolcissimo ˆ1 1 1 ˆ1 ˆ1 1 # # # # # N b b b 1/2 col legno b b b R b b o o o b
18 11 no no no b b b b b b b b n b b b ( 1/2 ) 1/ arco sul tasto oco rit b b b b b Ó dolcissimo iù mosso e= sub b vivo 1/2 N b izz arco etté # # izz o o o b o etté b b ~~~~~~~~~~~~ ~~~~~~~~~ b Ÿi Ÿ i b b Ÿi b b n R R R o o 0 0 izz b n b b arco etté ~~~~~~ b Ÿi b b b # # b # b b n n b n # izz arco # III S n b Ÿ È ~~~~ 1/2
19 12 no no no 5 5 n b b b S ƒ ( ) calmando IV arco # + n b b b b #n b n n b n ƒ # # # ƒs b IV arco b b n b n b b n b # # # # w ( ) e=x (e=) 1ˆ1 1ˆ 2 1ˆ1 1ˆ 2 2 1ˆ1 1ˆ + # # S 5 r + IV (arco) R n # R # S # # # n b b n n b n b b b # # # # # r# # RÔ R gradual release Ó b b # w U U # 1/ # U 5 5 5
20 1 no no no 91 + r + + r b b n S S molto esressivo b b 91 n R # # b n n # # # R 9 ( 1/ ) Intenso e sostenuto roondo e sostenuto 1/2 e= 5 n b # S b 9 5 n # # b # # b ort b b b # b n b R S b n b b S b n n # b S S r b n b Rit sul tasto ort 9 b b dolce b n b b
21 no no no / A temo n b semre ort I 102 sul tasto ort ỊII o I II b b R Ø II ord # S S enérgico # bn b b # n b n b b # n 5 5 # # # S 102 b # n b b b n n 1/2 b b n # # # S b # b n b b n # n b b
22 15 no no Molto rit 1/ b, b Molto calmo e= w ma sonoro e ieno 1/2 oco vibr IV o dolce e intimo delicato b Ø I III II iù mosso e=10 b R n b ort ort ort molto enérgico Molto rit # b ort ƒ lunga U w lunga U highest ossible note lunga U Vic, gener de 201
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