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D AV I D M A S L A N K A
F O RV I O L I N , C L A R I N E T, & P IA N O
Trio No. 1
c h a m b e r m u s i c b y dav i d m a s l a n k a
String Quartet No. 1 • 1968
Three Pieces for Clarinet and Piano • 1975
Fourth Piece for Clarinet and Piano • 1979
Heaven to Clear when Day Did Close for Tenor Saxophone and String Quartet • 1981
Trio No. 2 for Violin, Clarinet, and Piano • 1981
Images from “The Old Gringo”: Eleven Little Pieces for Violin, Clarinet, and Piano • 1987
Nocturne for Violin or Clarinet and Piano • 1990
Little Concerto for Six Players for Flute, Oboe/English Horn, Clarinet, Bassoon, Violin, and Piano) • 1990
Montana Music: Fantasy on a Chorale Tune for Violin and Viola • 1993
Montana Music: Trio for Violin, Cello, and Piano • 1993
Tears for Viola, Cello, Bassoon and Piano • 1994
String Quartet No. 2 • 2003
Eternal Garden for Clarinet and Piano • 2009
T R I O N o. 1for Violin, Clarinet, & Piano
M A S L A N K A P R E S S
N E W YO R K
FULL SCORE IN C
(1971 / 2012)
D AV I D M A S L A N K A
Trio No. 1F O R
V I O L I N , C L A R I N E T, & P IA N O
Copyright © 2013 by Maslanka Press
Version 1.0
All rights reserved. No part of this work may be reproduced in any form or by any means without permission from the publisher. Individuals who purchase the music may create a physical or electronic copy for personal backup or ease of use.
David Maslanka and Maslanka Press are members of the American Society for Composers, Authors and Publishers (asca p). Public performances of this work must be licensed through asca p. See www.ascap.com for more information.
First published in 2013 by Maslanka Press.
m asl a n k a pr ess420 West Fifty-sixth Street #10New York City, n y 10019 usawww.maslankapress.com
This is the initial release of this work. Any errata may be found on this work’s page at www.maslankapress.com.
mp-2012.11-1.0-ps
Designed, engraved, and printed in the United States.∞
Total Duration: 13́ (All timings are approximate)
Note to Performers v
Program Note v
I (3́ 30̋ ) 3
II (2́ ) 7
III (2́ ) 10
IV (1́ 20̋ ) 12
V (3́45˝) 16
Contents
v
This music makes very exacting demands in every detail. If you are as patient as you can be in your practice then the music will achieve a kind of fleeting glow. Pay as careful attention as possible to tempos and dynamics.
Note to the Performers
Forty years after writing this Trio I am able to see its relationship to composers of the mid and early 20th century such as Crumb, Messiaen, Webern, and Bartok, and back further to Chopin and Bach. The five movements are internal, whispery, and sometimes suddenly surprising. They are little ‘postcards’ from the psyche. I took the opportunity in revising the piece to give my younger self a composition lesson, amplifying expressive values, and filling out melodies that had more to say.
I. Maybe your introduction to a quiet and withdrawn fellow who doesn’t meet your eye.
II. Passacaglia – a throwback to the Baroque, but more in line with miniatures by Webern.
III. A kind of time travel with roots in Bach, Chopin, & Webern IV. The 1970s idea of ‘tonality in quotes’ – reference (with long-
ing!) to the old tonal style. It was at this point in my compos-ing life that I began to question the use of irony in music, to realize that I was searching for the heart center, and that for me it lay in tonality and singing melody.
V. Fanfare and scherzo: skittery and flittery, a brush of moth wings against the face. This is the largest and most developed movement, acting in some ways as a summary for the whole piece.
(December 2012)
david m aslank a
Program note
T R I O N o. 1for Violin, Clarinet, & Piano
3
4
5
6
7
8
9
10
{{{
pp ff
pp ff p
p pp
° ø ...
23
pp p
pp fpp
45 6 7
p mp
A bit faster (q = ca. 60) slowing faster
p mf p8 9 10 11
1213
34
34
2424
2424
& ∑Ucoordinate strictly with clarinet
∑ (senza sord.)
q = ca. 52
& ∑Ucoordinate strictly with violin
bend tone
>(bend)
& —––U&
(1)
?
° ø —–––U
&3 ∑ .
&>
∑
&?
& ∑& -
& ?
?
Œ œ œ
˙n ™ œb œ ™™ œ œ˙̇̇nn
∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏ œœnn œ ‰ Œ ˙̇̇n##˙̇̇n#
wwwn www˙̇̇̇bb# œœœbb
r ‰™ Œ ˙̇̇nn#˙̇̇nn# www#n# www
wbœ œ# œ œ ‰ Œ ‰ œ# j œ# œ ™ œ# œ#J ‰ Œ Œ
œr ‰™ Œ Œ ‰ œb j œ fiœb jœ œ ™ œ œn œr‰™
˙ fiœjœJ œ ™ ˙ œJ ‰ œ fiœjœ œ œ
œ fiœ# jœ œn œ ™ fiœb j œj ˙ fiœj
œj œ# ™ œ œn œj ‰ Œ fiœj œ
M O V E M E N T IM O V E M E N T I IM O V E M E N T I IM O V E M E N T I I I
pp
°
play freely; coordinationis approximate? œb
?œn
fiœn œn
œ#
&
mp pppp cresc.
–q = ca. 76
. .. .œb œb œ .
œb œn œ œb œ œ œ# fiœb j fiœb jwb œJ ‰ œœn J ‰ Œ œJ ‰ œœn j
ŒœœJ ‰
pp
P. ad lib. for clarity
– slowing. . . a lot. . . . . U5
œb œb œn œ œ œn
&*. . . . . . . .
U ?œn œ# œbœb œ
œb œn fiœjwb œ œœ œ œœ œ œœ œ œœ ‰
‰ œb œœb œ œœ œ œœ œ œœ ‰
11
{{{
pp ff
pp ff p
p pp
° ø ...
23
pp p
pp fpp
45 6 7
p mp
A bit faster (q = ca. 60) slowing faster
p mf p8 9 10 11
1213
34
34
2424
2424
& ∑Ucoordinate strictly with clarinet
∑ (senza sord.)
q = ca. 52
& ∑Ucoordinate strictly with violin
bend tone
>(bend)
& —––U&
(1)
?
° ø —–––U
&3 ∑ .
&>
∑
&?
& ∑& -
& ?
?
Œ œ œ
˙n ™ œb œ ™™ œ œ˙̇̇nn
∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏ œœnn œ ‰ Œ ˙̇̇n##˙̇̇n#
wwwn www˙̇̇̇bb# œœœbb
r ‰™ Œ ˙̇̇nn#˙̇̇nn# www#n# www
wbœ œ# œ œ ‰ Œ ‰ œ# j œ# œ ™ œ# œ#J ‰ Œ Œ
œr ‰™ Œ Œ ‰ œb j œ fiœb jœ œ ™ œ œn œr‰™
˙ fiœjœJ œ ™ ˙ œJ ‰ œ fiœjœ œ œ
œ fiœ# jœ œn œ ™ fiœb j œj ˙ fiœj
œj œ# ™ œ œn œj ‰ Œ fiœj œ
M O V E M E N T IM O V E M E N T I IM O V E M E N T I IM O V E M E N T I I I
pp
°
play freely; coordinationis approximate? œb
?œn
fiœn œn
œ#
&
mp pppp cresc.
–q = ca. 76
. .. .œb œb œ .
œb œn œ œb œ œ œ# fiœb j fiœb jwb œJ ‰ œœn J ‰ Œ œJ ‰ œœn j
ŒœœJ ‰
pp
P. ad lib. for clarity
– slowing. . . a lot. . . . . U5
œb œb œn œ œ œn
&*. . . . . . . .
U ?œn œ# œbœb œ
œb œn fiœjwb œ œœ œ œœ œ œœ œ œœ ‰
‰ œb œœb œ œœ œ œœ œ œœ ‰
12
{{
{
f p
A bit slower
f p14 15 16 17 18 19
pp
slowing
pp20 21 22 23 24
q = 160 q = 80
pp p n
p pp
q = 160 q = 80
(no ped.)
°25 27
3434
34 6434 64
6464
64 4464 44
64 4464 44
&- - -
&
?
?
&non vib.long
U U
&, longU U
& U
& U
& ∑ XU∑ ∑U
long
& ∑ XU∑
longU6
&ppp
?X
,3˝ ,2˝ ,5˝
&mfu
Uœn œb œ≈ œœ
œn œb œb œb
?X
° °U.C.
Uu‘“26
œ# œ œ# œ œbœ œ œ
œ œ œ œ ™œ œ# ˙ ˙# œJ œ ™ œ# ™ œ œ
˙ œ œ œ œ ≈ œ œ# fiœ œ# œ ˙ œfiœj
œ ≈ œ#
˙ ™ œfiœj ˙ ˙ œJ ‰ ˙ ™ ˙ Œ
œ ™ œ ™ œ# fiœ# jœ ≈ œ œ ˙ œ ˙
fiœjœ œ œ Œ
ŒŒ
Œ
≈œœ œb œn œ wb
Œ Œ Œ œœ œœ œœ Œ wwwwn#Ó
œ#œn œn ™ fiœj œb
j
Œ Œ ‰™ œnR œ# œ# Œ‰w œb ™ ˙
T R I O N O. 1T R I O N O . 1T R I O N O. 1
mf p sub. pp
(no ped.) °
(pp) cresc.grad.
. &>
5
65
œ œ# œ œb œb.œœn œn œb
œb œ œb œn
&œb œb œnœb œn œb œ œb
≈ ™ œœn œbœb œn œ œb
œbJ ‰œ# ™ œœnbJ
‰ ‰ ‰ Œ̇˙n ‰ œ ™
...
(pp)? U
‘“ hold untilsound is gone
Œ ˙b
˙ ™ œb œn œb ™ œn ™
13
{{
{
f p
A bit slower
f p14 15 16 17 18 19
pp
slowing
pp20 21 22 23 24
q = 160 q = 80
pp p n
p pp
q = 160 q = 80
(no ped.)
°25 27
3434
34 6434 64
6464
64 4464 44
64 4464 44
&- - -
&
?
?
&non vib.long
U U
&, longU U
& U
& U
& ∑ XU∑ ∑U
long
& ∑ XU∑
longU6
&ppp
?X
,3˝ ,2˝ ,5˝
&mfu
Uœn œb œ≈ œœ
œn œb œb œb
?X
° °U.C.
Uu‘“26
œ# œ œ# œ œbœ œ œ
œ œ œ œ ™œ œ# ˙ ˙# œJ œ ™ œ# ™ œ œ
˙ œ œ œ œ ≈ œ œ# fiœ œ# œ ˙ œfiœj
œ ≈ œ#
˙ ™ œfiœj ˙ ˙ œJ ‰ ˙ ™ ˙ Œ
œ ™ œ ™ œ# fiœ# jœ ≈ œ œ ˙ œ ˙
fiœjœ œ œ Œ
ŒŒ
Œ
≈œœ œb œn œ wb
Œ Œ Œ œœ œœ œœ Œ wwwwn#Ó
œ#œn œn ™ fiœj œb
j
Œ Œ ‰™ œnR œ# œ# Œ‰w œb ™ ˙
T R I O N O. 1T R I O N O . 1T R I O N O. 1
mf p sub. pp
(no ped.) °
(pp) cresc.grad.
. &>
5
65
œ œ# œ œb œb.œœn œn œb
œb œ œb œn
&œb œb œnœb œn œb œ œb
≈ ™ œœn œbœb œn œ œb
œbJ ‰œ# ™ œœnbJ
‰ ‰ ‰ Œ̇˙n ‰ œ ™
...
(pp)? U
‘“ hold untilsound is gone
Œ ˙b
˙ ™ œb œn œb ™ œn ™
14
15
16
17
18
19
20
21
22
23
24
25
26
David Maslanka was born in New Bedford, Massachusetts in 1943. He attended the Oberlin College Conservatory where he studied composition with Joseph Wood. He spent a year at the Mozarte-um in Salzburg, Austria, and did masters and doctoral study in composition at Michigan State University where his principal teacher was H. Owen Reed.
Maslanka’s music for winds has become especially well known. Among his forty-plus works for wind ensemble and band are Symphonies 2, 3, 4, 5, 7, 8, and 9, twelve concertos, a Mass, and many concert pieces. His wind chamber music includes four wind quintets, four saxophone quartets, and many works for solo in-strument and piano. In addition, he has written a variety of or-chestral and choral pieces.
David Maslanka’s compositions are published by Maslanka Press, Carl Fischer, Inc., Kjos Music Company, Marimba Pro-ductions, Inc., and OU Percussion Press, and have been recorded on Albany, Reference Recordings, BIS (Sweden), Naxos, Cambria, CRI, Mark, Novisse, AUR, Cafua (Japan), Brain Music (Japan), Barking Dog, and Klavier labels. He has served on the faculties of the State University of New York at Geneseo, Sarah Lawrence College, New York University, and Kingsborough Community College of the City University of New York, and since 1990 has been a freelance composer. He now lives in Missoula, Montana. David Maslanka is a member of a s c a p.
About the Composer
∞
This publication was designed, engraved, and typeset by Matthew Maslanka in New York City,
and then printed and bound by Black Ribbon Printing in Castle Rock, Colorado.
The music was engraved using Sibelius 7 (v. 7.1.3),which was released by Avid Technology, Inc. in September 2012.
The music face is Opus Std., designed by Jonathan Finn.This is the OpenType version of Finn’s original Opus type
issued with the original Acorn Archimedes release of Sibelius 7 by Sibelius Software, Ltd., London, uk, in 1993.
The front matter was typeset using InDesign c s 6 (v. 8.0.1)It was released by Adobe Systems Inc., Mountain View, California in May 2012.
The text face is Minion Pro, designed by Robert Slimbach.This is an enlargement and revision of Slimbach’s original Minion type
issued by Adobe Systems Inc., Mountain View, California, in 1989.
The cover is Sundance Harvest Yellow Linen Digital Finish, 80c, f s c .The interior paper is Classic Crest Classic Natural White Smooth, 70t, f s c .
The paper is made by Neenah Paper, Inc. in Wisconsin. It is of archival quality, acid free, and made in a carbon neutral process.
∞
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