High Voice Two Violins Viola & Accordion

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1 CHISTOHE WILLIAM IECE ON A OEM O ADELAIE e t'adoe à l'égal de la voûte noctune om Les leus du Mal High Two Violins Viola Accodion 00 Chistohe William iece ASCA, All ights eseved

2 o Katy

3 e t'adoe à l'égal de la voûte noctune e t'adoe à l'égal de la voûte noctune, Ô vase de tistesse, ô gande tacitune, Et t'aime d'autant lus, belle, que tu me uis, Et que tu me aais, onement de mes nuits, lus ioniquement accumule les lieues Qui séaent mes bas des immensités bleues. e m'avance à l'attaque, et e gime aux assauts, Comme aès un cadave un choeu de vemisseaux, Et e chéis, ô bête imlacable et cuelle! usqu'à cette oideu a où tu m'es lus belle!

4 Notes: The scoe is notated by switching between semi-satial notation, and taditionally baed sections. The semi-satial sections ae oten event oiented, meaning that the assing o time is oten dictated by a soloist by which the events aound the solo can be aligned. In the sections whee thee is no aaent solo, I have notated geneal times in tems o seconds om one event, to the next. This timeline is notated above the sta in backets, with the aoximation in seconds o the event. The baed sections should be teated nomally, with an aoximate metonome making ovided at the beginning o the assage. It is imotant that these two sections blend togethe seamlessly, that is to say that the audience should not be able to audibly discen when ba lines ae esent the entie scoe should be eomed vey exessively, and with a geat eedom. ecause thee ae no measue numbes, I have used two seaate tyes o eheasal makings thoughout: A S, and then a numbe system, 0, which can be used to mak the assing o time, and align events when no ba lines ae esent. With this in mind, the conducto s ole is an imotant one, they will contol the ensemble by cuing the entances o the events, and aligning the eomes, as well as the taditional ole when ba lines ae esent. o eeence, the eheasal makings ae as such: A D: Semi satial notation D H: Nomal (ba lines ae esent) I M: Semi Satial notation. The vocal line should be eomed with geat libety, and the events should be aligned aound the singe. N O: Nomal Two bas ate eheasal lette O thee is a substantial imovised section o the vocalist. While the singe will all out o time, the ensemble should stay in time. At, the ensemble should be aligned, and o this eason it is obably an advantage i the singe and conducto woked out a system by which they can eectively communicate the alignment at. S (ending) Semi satial notation

5 Notes egading ats: Satial scoes, while no less accuate than nomal notation, can be conusing o eomes (the assing o time can no longe be gauged by ba lines). o this eason I have teated the ats in a slightly unconventional manne. Stings: ( Violins, Viola) Each o the sting layes ats ae couled with the othe sting ats. The two othe stings in the at will be educed o the laye, and should aid in undestanding how the events ae satially aligned. Accodion: The accodions at will be couled with the vocal at in a simila manne. Singe: The singe should use an / by black binde and sing om the scoe. Ideally the vocalist should have thei at memoized, although singing with the scoe will aid in aligning the events. Notes egading eomance: (nomenclatue) All standad notational actices should be adheed too, unless seciically stated othewise. Glissando: should be eomed o the entie duation o the maked note. Glissandos should not be eomed like a otamento. Tilled Glissando: should be eomed much like the glissando, ove the ull duation o the note value. All othe non-standad notation is exlained in the scoe.

6 DATION: :00 ON A OEM O ADELAIE "e t'adoe à l'égal de la voûte noctune" om Les leus du Mal o Katy Chistohe William iece Violin I Violin II Viola Ad Libitum izz. S S S b n n ca. ca. 6 Accodion # S # n n ı 00

7 I A izz. n ca. con sod. aco n Adagio Solo exessive # # n n ı

8 I (non vib.). Í Í ca N. ca I Vc. b Í n # # n n Change bellow as necessay

9 Adagio b I Accodion: Notes laced within the box ae to be eomed by undulating slowly between the given itches, vaying ode, atten and duation. The desied eect should be akin to chimes gently being ustled in the wind. Vib., ad lib. b I b

10 I C b I b D Adagio n 7 b n 7

11 6 I Adagio e = 0 - ca 7.. b 6 b bb b I 6. Í b b 6 b

12 7 I Í b b bb b nb n I E b. Í b ß b ß

13 I b b. 6 n b n b 6 I 6 b 6 n bb bn

14 9 I G bb n b. bb b Ë I cesecendo Œ Œ.... bit

15 0 H I by bit.... n I ƒ n ƒ n ƒ b n n

16 I I senza sod. senza sod. b senza sod. I b bb b ww w nb n w

17 ca ca Ad libitum, meno mosso (q = ca 60 ) Œ ca I Ad libitum, meno mosso (q = ca 60 ), b N. ı ca ca Vln I N. O e t' adoe ı

18 ca ca sul onticello, (eeat note atten) O b ı b Vln II Ÿ$ e t' adoe ı ad lib (cont..h. in similia ashion until cue) b

19 sul onticello ca. ca I sul onticello (eeat note atten) à l'égal de la voûte bb b ca ca ca ca I sul onticello sul onticello sul onticello noc - tune bb

20 ca K I K ah K I nomal ca. ca ca nomal nomal $ b Ÿ bb b b bb b bb b

21 6 ca 6 L I L b L b Solo, ad libitum n n n sul onticello sul onticello I sul onticello sul onticello n n

22 7 sul onticello I sul onticello b b I b n n n nomal n nomal nomal

23 I # I 6 6 b b

24 9 I 7 M 7 M 7 M OÔ vase de tistesse, I ca # ô gande tac - i - tune

25 0 I ah Ÿ $ # b # ca I ca # Et t'aime d'autant lus, # belle, b que tu me uis,

26 I 7 # 7 b n $ Ÿ N q = 60 I Œ N n ß Í ß Í ß b Í b b b b b S S q = 60 b Et que tu me aais, q = 60 with the voice N n b n b

27 I b S b b S S b S b b S b Œ Œ b onement de mes nuits, lus i - b Œ b Œ I b S S S n b n b Œ n b n b Ÿ$ S S b on-ique-ment a - ccumele les lieues ah..

28 I S gadually accel. to temo # # # b b b b b b gadually accel. to temo n n Qui séaent mes bas gadually accel. to temo Ô Ô Ô Ô b des immensités bleues. b n

29 O stat in the nomal osition, and slowly move to ont. Animated q = 7 nomal (Cb) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b^ b^ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ b^ I ƒ (Cb) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~ b^ ^ b^ ƒ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~ b^ b^ b^ ƒ hold o as long as Ad Libitum - Solo ( only) O Animated q = 7 comotably ossible b ah Animated q = 7 b ƒ b O b clustes ee to geneal egiste, and not to sediic itches. Œ Solo. eely imovise in a stylistically coheent manne with the est o the iece.notes should geneally be within the bounds o the tonality o the iece. Solo should be ee, and bavuistic, so tavesing outside o the tonality is emissable, so long as the singe is caable, and comotable in doing so. Geneal chaacteistic o the line is stat loud, and gadually decescendo. Geneal egistal chaacteistics should mio the dynamics, stat high, end low. I ~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b^ ~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b^ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ b^ sul onticello Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b^ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b^ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b^

30 I (Cb) ~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~. () () ~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Í (Ab) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Sul A (Cb) Ÿ~~~~~~~~~~~~~~~~~~~~~~. I (Cb) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (D) (Ab) (Cb) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ # b Sul A () Sul D (D) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (Cb) (D) Ÿ~~~~~~~~~~~~~~~~~~~~~~ # Œ #.. Í Sul A Œ Œ b b n b b bb b

31 6 I ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ () (Cb) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (Cb) (D) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # b. Sul G (Cb) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (Cb) Ÿ~~~~~~~~~~ #. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~... Œ gadually slow b b gadually slow

32 7 I ~~~~~~~~~~~~~~~~~~~~~~~~ Ad libitum, meno mosso (q = ca 60 ) Ad libitum, meno mosso (q = ca 60 ) æ ca 6 ca # O Ad libitum, meno mosso (q = ca 60 ) ı

33 I ca ca ca ca ca n bo O O b O # O # O bo ca

34 9 I Q O Q eeat until conductes cue avoid any alignment that might occu between the othe stings sul onticello. sul onticello. # O. Ÿ~~~~ n. eeat until conductes cue avoid any alignment that might occu between the othe stings n no. Í # O Ÿ~~~~~ # Í eeat until conductes cue avoid any alignment that might occu between the othe stings O b O b bo. Q imovise on the notes o the cluste using quick, and scatteed hythm with both the let, and ight hands. The geneal eect should be movement within the sonoity o the cluste. continue until conductos cue.

35 0 ca 0 I sim., add a low staccato cluste to the textue. The geneal eect should be aing. The low cluste should occu saingly, and at with no discenable atten. ßl

36 I Soken Should be eomed with natual inlection, and with declimation. e m'avance à l'attaque, et e gime aux assauts, Comme aès un cadave un choeu de vemisseaux ßl

37 I ca.. ßl

38 Ad libitum, meno mosso (q = ca 60 ) I Ad libitum, meno mosso (q = ca 60 ) Et e chéis, # # # Ad libitum, meno mosso (q = ca 60 ) ı # b bo b bo b bo I # #.. # # n n O æ. ô bête im - lac - a - ble et cuelle! b (cont..h. in similia ashion until cue) ı

39 I O b æ. Ÿ$ b b I 6 with the voice n. (D#) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (#) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ # 7 6 moendo usqu'à cette oideu Ÿ $ a où tu m'es lus 7 belle. 6 7

40 S I (D#) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (#) Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ S S # # ### n # ## ## n# ## ## b I b b b Œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ long. n n b.. b..... b.. b. Œ

Henrik Denerin. seals II. for cello and soprano. full score

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