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Bruno Ruviaro
Anomia
(2007)
for six or fourteen players
http://ccrma.stanford.edu/~ruviaro
Anomia (2007) by Bruno Ruviaro – Performance Instructions
Anomia can be played by six or fourteen players (see instrumentation on next page). The sextet version has only one movement, called Anomia (mild). The chamber orchestra version has three movements: Anomia (mild), Anomia (chronic), and Anomia (severe). Each movement lasts a little over one minute. They can be played in different combinations, as specified below:
In a SEXTET concert: play Anomia (mild) twice in the same concert, but not in direct sequence: there should be one or more pieces by other composers in between the two Anomia (mild) performances. In the specific case Anomia (mild) is chosen to be the first piece in the program, it must be also the last piece of the same concert. In other words, Anomia (mild) can't be the first piece of a program without being the last piece as well. Here are some examples of hypothetical concerts:
Piece W Piece W Anomia (mild) Piece WAnomia (mild) Piece X Piece W Piece XPiece X Anomia (mild) Piece X Anomia (mild)Intermission or Intermission or Intermission or Piece Y ...etc.Piece Y Piece Y Piece Y Anomia (mild)Anomia (mild) Anomia (mild) Piece Z Piece ZPiece Z Piece Z Anomia (mild)
In a CHAMBER ORCHESTRA concert: all three movements should be played once, but not in direct sequence. There should be one or more pieces by other composers separating each of the Anomia movements. The concert may start with one of the three Anomia movements, but it should not end with any of them. The ensemble may choose any of the six possible orderings:
1) [Other piece(s) optional...] Anomia (mild) [...other piece(s)...] Anomia (chronic) [...other piece(s)...] Anomia (severe) [...other piece(s)...]
2) [Other piece(s) optional...] Anomia (mild) [...other piece(s)...] Anomia (severe) [...other piece(s)...] Anomia (chronic) [...other piece(s)...]
3) [Other piece(s) optional...] Anomia (chronic) [...other piece(s)...] Anomia (mild) [...other piece(s)...] Anomia (severe) [...other piece(s)...]
4) [Other piece(s) optional...] Anomia (chronic) [...other piece(s)...] Anomia (severe) [...other piece(s)...] Anomia (mild) [...other piece(s)...]
5) [Other piece(s) optional...] Anomia (severe) [...other piece(s)...] Anomia (mild) [...other piece(s)...] Anomia (chronic) [...other piece(s)...]
6) [Other piece(s) optional...] Anomia (severe) [...other piece(s)...] Anomia (chronic) [...other piece(s)...] Anomia (mild) [...other piece(s)...]
Sextet version: Anomia (mild) Chamber Orchestra version (all three movements)
PiccoloBass ClarinetViolinVioloncelloXylophonePiano
Flute (& Piccolo)OboeClarinet in Bb (& Bass Clarinet)Bassoon
Horn in FTrumpet in CTrombone
Xylophone
Piano
Violin 1Violin 2ViolaVioloncelloContrabass
Anomia is dedicated to the inauthentica ensemble, (http://www.inauthentica.org/), which premiered the piece at Stanford University on May 27 2007 (Mark Menzies, director).
anomia noun (Medicine): a form of aphasia in which the patient is unable to recall the names of everyday objects.
anomie (also anomy) noun: lack of the usual social or ethical standards in an individual or group.
NOTATION
1 2 3 4 5 6 7 8 9 10 11
(2) The end of the glissando does nothave to be articulated. The notegiven in parentheses serves onlyas a suggested approximation.
(1) Glissando between specified notes
(3) Glissando between notes within specified rhythm.Note values without noteheads (no pitch) should notbe rearticulated: they are simply part of the glissando.
(4) Glissando withouta specified ending note.
(5) Rapid, unmeasured alternation between twonotes. These trills are made to the note given in parentheses.
(6) Grace notes: alwaysas fast as possible.
(7) WINDS: Flutter tongue.STRINGS & PERCUSSION: Rapid,unmeasured repetition of the same note (tremolo).
(8) Quarter-tone notation used in the piece.
(9) Accidentals apply only to the note before which they are written.The only exception is when a note is immediately repeated in thesame register. Courtesy natural signs (in parentheses or not) areoften used to avoid ambiguities. In the example above, all the four E'srepeated in immediate sequence are flatted.
(11) STRINGS: “Scratch tone” (special combination of bow pressureand bow speed generating a noisy sound without definite pitch).The sign applies only to the note above which it is written. Sometimesused with an arrow to indicate gradual transition from scratch tone tonormal tone production (“norm.”), or vice-versa.
(10) STRINGS: “Bartók” pizzicato.CLARINET: “slap tongue” (exaggeratedtongue action producing a short, sharppercussive sound. Always staccato.
12 13 14 15 16 17
(18) Molto Sul Ponticello, Sul Ponticello, Ordinario,and Sul Tasto. Used with arrows when a gradual transition from one to another is required.
m.s.p.
s.p.
ord.
s.t.
(14) WINDS: The symbol on the left means normal tone production. Thesecond symbol (black and white circle) calls for a breathy, indistinct timbre,but still with fully identifiable pitch. The last symbol (diamond shape) calls fora very breathy sound, with almost no identifiable pitch (or having pitch as timbralmodification). Arrows indicate a gradual transition from one sound quality to another.
(13) STRINGS: The symbol on the left means normal finger pressure on thefingerboard. The second symbol (black and white circle) means “half-harmonic”:finger pressure between normal and harmonic pressure. The third symbol(diamond) means the regular “harmonic” pressure. Arrows indicate a gradualtransition from one sound quality to another.
(15) CLARINET: “Growl”: literally, make agrowling sound in the throat while playingthe specified note to achieve a distorted andnoisy tone quality.
growl
(16) PERCUSSION:Dead strokes.
(17) XYLOPHONE MALLETS:(from left to right) soft, medium, hard
Bruno Ruviaro, 2007
q = 40
Anomia (mild)
q = 75
q = 60
Piccolo
Bass Clarinetin Bb
Violin
Violoncello
Xylophone
Piano
pp
f
f
(f)6
p
mf
5:4
3 5
3
5:4
pp
f
f
mp sub.
mf
sfp
mp
vib.
3
5:4
33:2e7:4
s.t.
pp
f
pizz.
f
3
3
mf
arco
pp
affrettando
(Finish thegesture earlierthan howis written)
mp
pizz.
mf
3
5:45:4
s.t.
p
f
pizz.
f
mf
wide vibrato (ca. M2)
pizz.
mf(*) Pluck the same two strings as the left hand continues to modulate the pitches with the wide vibrato.
(*)
pp
5 5:4
f
pp mp
3 3 33
mp
mf
f f
quasi f
mf
5:4
3
3 56
poco
5:4
3
6
accel.
Picc.
B. Cl.
Vln.
Vc.
Xyl.
Pno.
mf
bisbigliando (timbral trill)
f
7:4 7:4 6:4 5:4 7:4 7:4 5
p
mf
mfmolto
pp
poco vibrato
mf
3 5:4
3
5:4
f
mf moltof
mf
pizz.
mf secco
5:4
6
(pizz.)
f ff
mff
col legno batt.
meno f mf
pizz.
mf secco
5
p
mf
quasi f
pp
mp
mf
7:4x7:4x 5:4y
7:4x
f bright
9:8 12:8y
6 65 6 6
quasi fmf
mp
ad lib. (poco)
3
3 3 5
Anomia (mild) by Bruno Ruviaro
2
q = 130
10
q = 92
Picc.
B. Cl.
Vln.
Vc.
Xyl.
Pno.
(f)
fmolto
7:4
3
ff sffz sfp
pocovibrato
p
mp
moltovib.
sfp
5 37:4e
mpmolto
f
arco jeté
f
5:4e
(arco ord.)
pp
pocomf
p sub.
f
3 5
67
mpmolto
f
arcom.s.p.
f
mp
molto
f
ord.
3:2q
p
s.t.
pizz.
mp
mf
legno batt.
mp
35
35 3
p
quasi f
p
quasi f
molto
mp molto
5 35
mf f
6 3
7:6y
(f)
senza
pp
7:4e
mf
p mp
7:6y
3:2e 3:2
Anomia (mild) by Bruno Ruviaro
3
15
q = 160 rall.
q = 120
Picc.
B. Cl.
Vln.
Vc.
Xyl.
Pno.
mf
3 3 5:4
arco
f
gliss.
mf
s.p.
pizz.
f
5:4 3 5:4
arco
ff sffz sfp
ff
pp
s.p.
mf
3
f
sfp
p
mp
mff
3 6
7:4 3
3
3
3
3
5:45:4
f
ff marcato
3 5
6
f
f (electric!)
staccatissimo
mf
p sub.
quasi f
p
7:4e
7:4e
3 3
3
Anomia (mild) by Bruno Ruviaro
4
ca. 3"22q = 92 q = 75 poco accel.
poco accel.
ca. 4"q = 92
Picc.
B. Cl.
Vln.
Vc.
Xyl.
Pno.
f
f
mf
f
5
3 5
Voice (approx. pitch)
f
f
Voice
growl + vibrato
f
mf
f mf f
3
5:4y
3
arco
f
sfp
pizz.
mf
mp
(pizz.)
f
6:4
5:4x3
3
3
f
col legno batt.
arco ord.
mp
f
3 3
f
3
ff
f
35:4
poco
Anomia (mild) by Bruno Ruviaro
5
q = 75 poco accel.29 ca. 7"
q = 92 rall.
q = 50 rall.
rall.
q = 30 accel. q = 50
Picc.
B. Cl.
Vln.
Vc.
Xyl.
Pno.
mp
3 3
p
mp
smorzato
pp
poco vibrato
3 5
arco jeté
mf
arco ord.s.p.
pp
sord.
3
3
senza sord.
mf
jeté
(wide vibrato on lower note)
sord.
ppp
affrettando
poco
9 3
pizz.
mf
arco
(slow gliss)
mf
jeté
(wide vibrato on upper note)
s.t.
p
pppp
9
cellostrings
I
IIIIV
II
p
3
5
3
mp
ppp
3 5 3
mp
pp
p
p
3
(in loco)
mp
ten.
5:3x
5 5
5 3
poco
senza
mp
3
Last revision: September 20 2007
ten.
5:3x
Anomia (mild) by Bruno Ruviaro
6
q = 40 Bruno Ruviaro, 2007
Anomia (chronic)
q = 75
q = 60
Piccolo
Oboe
Bass Clarinetin Bb
Bassoon
Horn in F
Trumpet in C
Trombone
Xylophone
Piano
Violin 1
Violin 2
Viola
Violoncello
Contrabass
pp
f
f
(f)6
p
mf
mf
bisbigliando (timbral trill)
5:4
3 5
3
5:4
mf mp
mf
p sub.
mf
mp
sfp
sfp
5
53
5
Bass Clarinet
pp
f
f
vib.
pf
mp sub.
mf
sfp
vib.
mp
3
p
mf
5:4
3 33:2e7:4
3 5:4
sord.
pp
3 5
sord.
mp
(sord.)
pp
3 3 5 3 5
pp
f
mf
mp
sord.
pp
5:4 3 5
f
pp mp
p
mf
quasi f
3 3 33 7:4x 7:4x 5:4y
mp
f f
quasi f
mf
5:4
3
3 5 6
9:8
poco
quasi f
mf
5:4
3
s.t.
pp
f
pizz.
f
(f)
3
(f)
3
mf
arco
pp
mp
pizz.
mf
3 (sempre pizz.)
f
mf molto
5:4 5:4
5:4 6
s.t.
p
f
pizz.
f
mf
(pizz.)
wide vibrato (ca. M2 up/down)
mf p
[Pluck the same two strings as the left hand continues to modulate the pitches with the wide vibrato.]
(pizz.)
f ff
mf
5 5:4
5
8
q = 130accel.
q = 92
Picc.
Ob.
Cl.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Xyl.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
f
(f)
fmolto
7:4 7:4 6:4 5:4 7:4 7:4 57:4
3
mf
mp mf
f
sfp
mp
fmolto
3
mf
poco vibrato
moltopp
mf
Clarinet Bb
3
5:4
ff
sffz sfp
poco vibrato
p
5
mp
senza sord.
(senza sord.)
sfp
mp
f
3
mp
senza sord.
mp mf
f
sfp
mp
f
3
mp
senza sord.
mf
mp mf
f
pp
p
mf
mp mf
f
p
quasi f
molto
7:4x 5 3
f bright
(f)
mf f
12:8y
6 65 6 6 3
7:6y
mp
ad lib. (poco)
3
(f)
senza
3 3 5 7:6y
f
mf
(pizz.)
mf secco
mp mf
f
arco jeté
f
5:4e
pp
pocomf
p sub.
f
3 5
67
mf secco
pizz.
mp mf
f
pizz.
arco jeté
f
mp
pizz.
f
3
f
col legno batt.
meno f mf
mf secco
pizz.
mp mf
f
arco m.s.p.
f
mp
molto
ord.
f
3
p
s.t.
3 5
m.s.p.
mp
ord.
3 mp
pizz.
f
3
Anomia (chronic) by Bruno Ruviaro
2
14
q = 160 rall.
q = 120
ca. 3"
Picc.
Ob.
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Xyl.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
mf
f
3 37:8x
f
mf
f
p
7:8x3
5:4 7:8x
mp
sfp
molto vib.
pp
molto
Bass Clarinet
Bass Clarinet
37:4e
3
p
pp
molto mp
3 7:8x3
mp
pp
molto
3 3
p
pp
molto
3
mp
mp
3
5:4
pp
molto
mp
mp
5:4
mp molto
f
sfp
p
mp
mf f
mf
53 6
7:4 3
3
3
35:4
5:4
f
ff
3 5
6
pp
7:4e
mf
p mp
f
staccatissimo
p
mf
p sub.
quasi f
p
3:2e3:2x
7:4e
7:4e
33
3
pizz.
mf
arco
f
mp
s.p.
ord.
f
s.p.
mf
(on the string)
f
7:4 3
3 7:8x
3
5:4 3 5:4
(pizz.)
mf
arcos.p.
mp
quasi f
p
5 7:8x
(pizz.)
mp
mf
legno batt.
mp
arcos.p.
mf
f
ord.
3 5
37:8x
3
pizz.
mp
mf
legno batt.
mp
arco
ff
sfp
ff
pp
s.p.
mf
3
5 3
3
(pizz.)
mp
legno batt.
mp
pizz.
mf
(mf)
3 3
Anomia (chronic) by Bruno Ruviaro
3
q = 9223
q = 75 poco accel.
poco accel.
poco accel.
ca. 4" q = 92 q = 75 poco accel.
Picc.
Ob.
B. Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Xyl.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
f
f
mf
Flute
Flute
mp
5
3 5
3
3
Voice (approx. pitch)
f
f
Voice
p
f
mp
3
3
growl + vibrato
f
mpsub.
mf
f mf f
pp
ppp
mp
smorzato
3
5:4y
3
3 5
f
mf
pp
ppp
f
ppp
5
f
pp
ppp
f staccatissimo
p
3 3 5
3 5
f
pp
ppp
f staccatissimo
p
3
3
5
3 5 5
pp
ppp
f staccatissimo
3 5
f
mp
33 5
ff
f
mp
3 5:4
5 5
poco
poco
( )
f
sfp
pizz.
mf
mp
f
arco jeté
mf
6
5:4x 3
3
3
f
sfp
pizz.
mf
mp
f
mf
arco jeté
55:4x
33
f
col legno batt.
mp
arcoord.
mp
pp
f
pizz.
mf
3
3
f
col legno batt.
mp
arcoord.
mp
pp
f
pizz.
mf
3 3
3
Anomia (chronic) by Bruno Ruviaro
4
ca. 7"30
q = 92 rall.
q = 50rall. q = 30 q = 50accel.
Fl.
Ob.
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Xyl.
Pno.
Vln. 1
Vln. 2
Vla.
Vc.
Cb.
poco vibr.
ppp
mp
p
pp
5:4
pp
5:4
Bb Clarinet
ppp
3
pp
pp
pp
pp
5
ppp
5
mp
p
p senza dim.
pp
33 5:4
ppp
(air only)
p senza dim.
ppp
(air only)
3
3
3
sordina
pp
ppp
(air only)
5
p senza dim.
3
ppp
3
una cordappp
p
3
(in loco)
mp
5:3x
5 3
5:4
mp
5:3x
arcos.p.
pp
3
3
s.p.sord.
pp
s.t.
pp
mp
7
pp
s.p.sord.
s.t.
ppp
7
arco s.t.sord.
pp
mp
arco
(very slow gliss)
pp
s.p.sord.
pp
s.t.
mp
pppp
7
strings I
IIIIV
II
mp
3
5
3
arcoIV
pp
pp
pp
s.t.
pp
mp
pp
ord.
Last revision: September 20 2007
Anomia (chronic) by Bruno Ruviaro
5
q = 75
Bruno Ruviaro, 2007
Anomia (severe)
q = 60
q = 130
q = 92
Flute
Oboe
Clarinet in Bb
Bassoon
Horn in F
Trumpet in C
Trombone
Violin 2
Viola
Contrabass
mf mp
mf
p sub.
mf
sfp
p
mp mf f
fmolto
5
53
f sfz sfp
f
p
3
pp
sord.
mf
(sord.)
f
mp
3
5 3 3
sord.
mp
(sord.)
pp
mf
(sord.)
f
p
3 3 5 5
3
53
sfp
sord.
mf
mp
p
(sord.)
pp
mf
senza sord.
p
mp mf f
3 5
pizz.
f secco
mp mf f
pizz.
f
arco jeté
f
mp
pizz.
f
mp
mf
mp
33 5
3
m.s.p.
sf mp
ord.
3 mp
pizz.
f
mp
mp
3 3
9
q = 160 rall.
q = 120
q = 92 q = 75
Fl.
Ob.
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Vln. 2
Vla.
Cb.
f
mf
f
p
7:8x3
5:4 7:8x
pp
3
pp
mf
f
mf
7:8x3 5
pp
senza sord.
(senza sord.)
f
3 3 3
pp
3
senza sord.
(senza sord.)
mp
mp
f
3
5:4 3
3
sord.
pp
senza sord.
(senza sord.)
mp
mp
5:4
mp
pizz.
mp
arcos.p.
quasi f
p
f
sfp
5 7:8x
55:4x
arcos.p.
mf
f
ord.
f
col legno batt.
mp
7:8x
3 3
pizz.
mf
(mf)
arco
3
Anomia (severe) by Bruno Ruviaro
2
19
q = 92 q = 75 poco accel. ca. 7"
q = 92 rall.
q = 50rall. q = 30 accel. q = 50
Fl.
Ob.
Cl.
Bsn.
Hn.
C Tpt.
Tbn.
Vln. 2
Vla.
Cb.
ppp
poco vibr.
mp
p
pp
5:4
f
mp
pp
3
3 5:4
ppp
3
pp
pp
pp
pp
5
pp
ppp
f
ppp
ppp
5
p
pp
p senza dim.
pp
33 5:4
pp
ppp
f
p
ppp
(air only)
sordina
(sord.)
p senza dim.
5
3 53
pp
ppp
f
p
ppp
(air only)
3
3
3sordina
(sord.)
pp
5
3 5 5
pp
ppp
f
ppp
(air only)
5
sordina
(sord.)
p senza dim.
3
5 3
p
pizz.
pp
f
arco jeté
mf
m.s.t.con sord.
pp
s.t.
ppp
33
7
arcoord.
mp
pp
f
pizz.
mf
arco s.t.con sord.
pp
mp
3
pp
pizz.
pp
pp
arcos.t.
pp
mp
pizz.
ppLast revision: September 20 2007
Anomia (severe) by Bruno Ruviaro
3
