Returning Violin and Piano

for Seohee Min

-

-

2016/19 (edited) Duration: 18’ Peter Kramer

PROGRAM NOTE Returning was written for violinist Seohee Min during the Spring and Summer of 2016 and was edited during the Spring of 2019. Movements: 1. Incipit 2. Con moto 3. Chimera 4. Murmurations I-II — Flight — Canticle 5. Returning 6. Murmuration III — Circulatio So with my eyes I traced the line Of the horizon, thin and fine, Straight around till I was come Back to where I’d started from; … Or on still evenings when the rain falls close There comes a tremor in the drops, and fast My pulses run, knowing thy thought hath passed That beareth thee as doth the wind a rose. … Du bleibst doch immer was du bist. “you remain always what you are.” Fragments from: Renascence, Edna St. Vincent Millay; Camaraderie, Ezra Pound; Manifesto (2016), Lewis Nielson

NOTE TO PERFORMERS

This piece consists of different degrees of repetition, each movement focuses on repetition in a different way, some movements are literal re-composed versions of previous movements. The musical material repeats itself, retraces its steps and moves forward, as if searching through a labyrinth. The performers should be aware of this searching quality, an affect which should come through the performance itself. It should be noted that aspects such as tempi and timing are left to the player’s discretion, if the performer feels like taking a faster/slower tempo, or feels like taking more or less time at certain points within the piece, please feel free to do so! Additionally, all of the special techniques are outlined in the score itself where they occur.

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Copyright © 2016

1. Incipit q=60 Returningfor Seohee Min

Peter Kramer (2016/19)

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Vln.

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Order of repetitions:1. mm. 1-5 (fermata)2. mm. 3-6 (fermata)3. mm. 5-9 (fermata)4. mm. 4-11 (fermata)5. mm. 1-13 (da capo, no repeats, no fermati)

sffz!

(metal mute)*

>≥

ff senza vib. full bow

, >≥ ,1.

>≥ simile >3.

> >

&pp fp

”“. .>&‹

sffz!

Æ

ff

Æ

(sffz)

always resonant!Æ Æ Æ

(sfz)

Æ Æ' &

?

√≈U

* The violin should be muted with a metal mute in this movement, over the course of the repetitions the sound of the muted violin should slowly be revealed as the piano becomes quieter.** Keep the pedal down throughout the repetitions.

Table of fermati:

= short= medium= long

Ped.

&‹ -

(hold)**

∑decresc. poco a poco

∑decresc. poco a poco

?

‰œ ™ œ ™ œ ™ œ ™ œ ™ œ ™

œ œŒ

œ œ œ œ# œ œ# œ œ

‰ Œ ˙

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(1.)

(3.)

2.

(sffz)

> (molto vib.) >ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ **note≈

≈

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≤

'

>

≈

≈ÍÍÍÍÍÍÍÍÍÍÍÍÍfp

>o o ≥

(swell)ûùo sffz

, ≥

ùûo sffz,

&>

b> -

***note

sfzsubitopp sffz

> . .

pp

”“ > . .

?

(Ped.)

* When half pedaling, allow preceeding sounds to continue ringing, do not lift the pedal fully up.** There should be a slight pause (short fermata) at the end of every repeat, as if time has suddenly stopped, the piano pedal should remain down during these fermati, the musicians should remain still.*** All high register sfz piano material throughout the entire piece should focus on exciting the resonant body of the piano, like an echo chamber sfz gestures should playwith the resonant body of the piano itself, in other words play very loudly!

mf decresc. poco a poco

(1/2)* ø

-p

-decresc.

’“- ’“pp -off

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jœ ™ œ œ œ ™ œ ™

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(3.)

≥

ùûo sffz≈

≈sffz

l.r.

≤

'

>≥

ff**note

>≥

5

4. (da capo no repeats and no fermati)

>≥

sffz

U

U

…

Æ≤

mute!***

****note

fp

s.p. IVIII

>

oII

III

ppp

Io

3

√5 5

3

5

&(echo)*

(echo)

5 p

.∑ √

5

?

* An "echo" dynamic denotes an extremely quiet yet audible sound, like a shadow of a sound.** The vertical line denotes a stable and unfluctuating dynamic.*** Where a mute symbol is present, suddenly mute the sound of the vibrating strings with the left hand dampening the sound quickly!**** Sul pont. (s.p.) should always be very close to the bridge, likewise sul tasto (s.t.) should always be very much over the bridge.

Ped.u.c.

(una corda pedal)

subito

∑

final draft 06/26/16score 07/02/16New York, NY

off

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&sffz

molto vib.*

(senza sord.)

> ÍÍÍ

normal vib. (ad lib. freely)**

ord.flautando

fp

Note to the vln: The violinist should create two characters one with the (ord/flautando) sound and the other with the (s.p./tip) sound.

>pp

3 U violent, nervous sempre

pp p>

(unmeasured tremolo)

s.p.tip

fp mf

>…

5

mute!

ord.flautando

p

>pp

33 3 5 3

&U> >

5

> >5

>5

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* This type of vibrato should be very wide, one quarter-tone sharp and one quarter-tone flat. ** The entire piece may be played with vibrato at the violinists discretion, except where molto or senza vibrato is asked for.

Note to performers: For most of this movement there is a strict "hocket" coordination between the two instruments, the violinist should pay close attention to the "mute" signs, likewise the violin and piano should coordinate their material with much precision, there should be a sense of a continuous line in the violin part despite the gaps of silence/rest, the two instruments should strive to play into one anothers sound rather than over, the result should be a composite sound consisting of the two instruments, however sfz and fp gestures may come out of this texture.

Ped.

> p

ppp

mf (echo)

pp

(mf)

l.r.

∑

&IVIII

s.p.tip

mf …>

IVIII

pp

IVIII

ord.

(ricochet)

mp

>....... IVIII s.p.

sfz ….>

5

ord.molto vib.

pp

- ùû f …3

ÍÍÍÍÍÍÍÍÍs.p.tip

p …

55

&(mf)

> > >5

p mf

. > > >

5 5 3 5

?

(Ped.)

∑

(full)ø

p

pp

>

3

∑

(full)ø

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‰ Œ Œœ

Œ ≈œ œ œ ™ œR œ Œ œ

‰˙ ™œ Œ Œ ˙ ™œ Œ Œ

Œ ææ朜b j ≈ ææ朜n j œœ# œœr Œ œ ‰ Œ Ó ‰ ææ朜b j ≈

œ œR œ œ ™ œ œR œ ‰ ‰ œJ œ ˙ œ œ ™ œ

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fp

IVIII

ord.

>.......

1.

pp

s.p.tip5

pp mp

IVIII

…>

3

2.

sfz

s.p.tip

….>5

pp mf

IVIII

>35

5 5

&(mf)

> > l.r. >5

p. .5 5 3

?

(Ped.)

mp

- ∑

(Ped.)

(mf)mp

p

& n(1/2)ø3

&ord.flautando

IVIII

fp

IVIII

>pp

IVIIIo 3

mf

ord.o>.......

2. vln. (as echo! near tip)1. vln. (normal)

s.p.tip

p

>.......IVIIIord.

pp

s.p.tip

p … mp.>

pp

III

sfz …

o

.>

.......ord.

p>

s.p.tip

5

pp mf ….>

53

5 5

&mf

> > > > >

5

^ >5 5

&

(Ped.)

>f

>mf

> sfz

ff

> sffz

(full)

mf

ø

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j œœn ≈ ææ朜bn ™™j ≈ ‰ ææ朜n œœ œœb j ‰ ‰ ≈ œœn r ‰™ ≈ ææ朜bn ™™ œœ œœb ‰

œ œR œ œ ™ œ ˙ ™ œR œ Œ ‰ œ œ

Œ ™ œb ™ Ó œJœj ‰ ‰

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5

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14

18

Part II (same tempo)

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18

34

34

&s.p.

pp mp

>

5

1. vln. play

2. vln. tacet

ord.flau.

pp (like air)

IVIII

p

o.-

33

5

3 3 3

&sfz pp sffz

> . .

pp

> . .”“&‹

poco

pp

>

dolce

&

(Ped.)

sffz

>

(1/2)ø

p >

(echo)

(full)ø

l.r.(echo)

mf

>

&

1.

∑

2.

ord.

”“

pp

I

f …5

”“

pp

I

n

5mp …

5ff

>

…

”“5

ÍÍÍÍÍÍÍ

&‹ (pp) dolce pp dolce

&

(Ped.)

(mf)

> >5

(Ped.)

Note to performers: In Part II dashed slurs are used to connect a long descending scale that should be shaped independently by both the violinist and pianist throughout Part II.

mf

>

(full)

>

ø5

> >5 5

‰ œœbn œ œœb œœ ™™œn œR

œ‰ ‰ œœ œœb œœb œœ œœb œœ œœ œœb œœ

j œœ Ó

˙ œ œ œ œ œ œ œ≈ Œ

œbŒ

œbŒ

Œ ™ œ# ™ ‰ œœ# Ó œ Œ

œn

Œ O#œ# OR Œ ≈

œO OJ ‰™ œb ≈

œ Ó œ Œ œb Œ œn Œ˙ œR œ ˙ œR œ œ œ œ ™ œ œR

6

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21

24 ü†™™

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fp

#5

>

mf … pp p

ÍÍÍÍmf

>”“

pp5 3 5

&‹ (pp)

&mf

> >5

&

(Ped.)

(mf)

> > >

p

. .3

pp

-

dolce

&”“II

mf …5

sffz …

.>5

pp

-”“

5

ppp

-

ff …

1.

∑

&(mf)

>

p5

sffz pp

^ -

p

.3

mf

> >55 5

&

(Ped.)

(pp)

l.r.

(slowly lift pedal)

-

off

(pp)

l.r.

‰œ ™O ™J Œ Œ œbR œ Œ ‰ ‰ œJ Œ ‰ œb ™J œ

œ Œ œ Œœb

Œ ŒœR œ œ

œ œ œŒ

œ œ œ‰

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≈ œOJ ‰ œR Œ ‰ œJ ≈˙b ™

œ ™ œ œR œ œ œ ™ œ ˙ ™ œJ ‰ ‰ œR œ œ

Œ œb Œ œb Œ œn Œ œb Œ

7

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27 °¢™™

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¢

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30

&

2.

fp

->3

ûùmf …ÍÍÍÍÍÍÍÍ

IV

pp5

p

5

sffz …

.>5

mp …

ÍÍÍÍÍÍÍ IIIfp

>5

pp5

&p

.3

mf

> >

5p

> >

5(p)

> >

5

>5 5

&(pp)

Ped.

l.r.

(pp)

subito

(full)ø

&IV

mp

5

… sfz …

.>

pp p …5

III

pp

-o

dolce f

>…

5ÍÍÍÍÍÍpp mp …

5

&>

5

> >

5

> ^

subito

>5 5

&

(Ped.)

(pp)

(p)

l.r.

(full)

sffz

ø

(p)

‰ œ ‰œ ™Ob ™j O O ™j ‰

œR Œ Œ œb ‰ œ ™O ™J O ™j ‰

œJ ‰ ‰œR œ œ œ ™ œ œR œ œ Œ œR œ œ ™ œ

Œ œb Œ œb Œ œ Œ œb Œ

‰ œ ™O ™j Œ œR ‰ œbJ œJ ‰™ œn Œ œb ≈ ˙

œR œ œ œR œ œ œ ™ œ œ œ œnR ˙

œb Œ œn Œ œb Œ œb Œ œ

8

°¢

{°¢

{

33 ü†™™

ü

†

™™™™

36

Coda (same tempo)

18

18

18

18

34

34

&fp

III>

mf

IIIII

n…

5

1.

IV

pp pp

IV

5

2.

p

IV III II I etc.

ppp

o9

&(p)

>

mf subito

>

(p)

>5

&

(Ped.)

(pp)

(full)ø

(slowly lift pedal)

∑

off

&sffz

pizz.>

ff

>> …

(echo)

-subito (an "echo" dynamic denotes an extremely quiet

yet audible sound, like a shadow of a sound)

- -

&sffz

Æ

ff

Æ

(echo)

-

subito

- -”“

&

Ped.

∑ ∑

(full)ø

∑

Œ œb œJœj ‰™ ˙b ≈ Ob

œœ œ œn œ œ œ œ œ

® Ó

˙ œ œ ™ ˙ œ ˙ ™

Œ œb Œ œn Œ œ

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9

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38

38

& ∑√

& ∑ ∑√

&

(Ped.)

(no cresc.)

ppp

?l.h.

u.c.off

‘“r.h.

. . . . .6

. . . .. .

6

.cut off!

ƒfinal draft 06/27/16score 07/03/16New York, NY. .

3

Œ ‰

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10

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3. Chimera q=70_75

5

18

18

34

34

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1. a) fire-breathing she-monster in Greek mythology having a lion's head, a goat's body, and a serpent's tail. b) an imaginary monster compounded of incongruous parts.2. an illusion or fabrication of the mind.

sffz

extremely focused and full sound...

arcoord.(full bow)

>≥

ff

, ≤>

, ≥

>

,

Note to vln: Bring out the descending chromatic line attached by the dashed slurs, arpeggiate chords freely, differentiate them, non-mechanical.

>≥ simile> > > > >

&sffz

Æ l.r.∑ ∑

?

Ped.(1/2)

∑

ø (hold)∑ ∑

&

(sffz)

>>

> pp

-≤

ùû sfz …sffz

> l.r.

& ∑r.h.

mechanical!

Æ”“pick up from vln.

Æ'

Æ”“ Æ'

?

(Ped.)

∑sffz

∑ff

(full)ø

∑

‰ œœ œœ# œœœœœ œœ# œœ œœ

œœ œœœ# œœb

œJ Œ Œ Œ

‰

œœœœ# œœœ# œœ

œ ™Œ ™ Œ ™

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œœœœ# œœœœœœœœnb#

œœœœn# œœœœœœœœ#n

11

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8

11 rit.

rit.

38

38

34

34

54

54

& ∑mf

.-

…

∑

&(sffz)

Æ”“ Æ'

Æ”“ Æ'

Æ”“ Æ ppp'

?

(Ped.)

∑l.h.

ff

>

off

sffz

(full)

Æ

ø

&mp

.-…

.......(ricochet)

ppp

->(stop bow on strings)

∑√

&Æ”“ Æ

'∑ ∑

√

?

(Ped.)

(ppp)

(full)ø

Æ r.h.

l.h.

p

r.h.

?‹ppp

final draft 06/28/16score 07/03/16New York, NY

- ƒ

Œ ™ œœœ ™™™

œœœœ# œœœœœœœœ#b∏∏∏∏∏∏

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Œ Œ œn œ ™ œbJ Œ

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œœœœ# œœœœ œœœ# Œ ™Ó œb Œ ™ œb ™œb ™ œ ™œ ™ ˙̇b ™™ ˙̇

12

°¢

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4. Murmurations I-II q=65_70Part I

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ü

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34

34

18

18

34

34

& ∑TACET

∑ ∑

&p

- &‹

mp

>l.r.

pp

l.r..> .3

3

&

Ped.

∑calm

(pedal freely, sustaining, never fully lifting the pedal)

&‹

> l.r. -3

& ∑

1.

∑

2.

∑

&‹

p

>

mf

(c)

sffz

.> .->

(bb)

p

-

mp

>3

3

3

&‹

(Ped.)

>

(1/2)

∑

ø (pedal freely)>3

3

˙̇ ™™ ≈ œ œœJ œJœœj

Ó ≈ œ œ ‰ Ó

≈ œ œœJ œJœœj Ó Ó ‰ œb j

‰

≈ œ œœJ œJœœj Œ ‰

œ œ˙ ™

‰ Œœb

‰ ≈ œ œœJ

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13

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8 °¢™™

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¢

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11

Murmuration II

& ∑ ∑(con sord. rubber/leather)

s.t.flautando

fp

WWW(unmeasured tremolo)IIIIV

mf>

>3

&‹

p pp

.

mf

.> . >mp

>3

p

>3 3

3

&‹

Note to vln: The violin material from mm. 10-16 should be fingered approximately by the left hand with harmonic pressure, and should be executed with a slight amount of glissando/portamento between the notated pitches, the open string grace notes should also be muted freely with the left hand, the resulting sound should be very hushed and airy (sul tasto/flautando), when performed in this way the notated pitch will not sound, there should be moments where natural harmonics occurrandomly while navigating this material.

(Ped.)

>>

3

(full)ø>

3 3

&

WWW(

p

≥ ≤ ) (bow freely sempre)

pp mf

>3

II III IV

WWW

p mp fp mf

> .3

&‹

pp

3

∑ &p

- &‹

&‹

(Ped.)(1/2)ø

3 ∑ ∑

Œ Œ 66 66Bµ 66nnfi6 6

œJœœj

‰ Ó Œ ‰ œ œœœœ œœ œ œ œJ œJ œ œ œJ œ

œJœœj ‰ Ó Ó ≈ œ œ œœjœJ œJ œJœ

œj œœ œœ œj œ

)) ™™ 66j 66nµfi6 6 6 ))Bn )) ‰ 66µ# ™™ 66nn

œJ œ Ó ˙̇ ™™œj Œ Ó

14

°¢

{°¢

{

14 ü†™™

ü

†

™™™™

17 °¢™™

°

¢

™™™™

Part II: Flight (a little slower)

18

18

34

34

&

WWW1.

mp pocosubitopp

WWW

fp

IVIII

>3

2.

pp

IIIIV

3IVIII

p

&‹

mp p sffz

^pp

3

p>

mf p

> -pp

3

mp

>3 3 3

&‹

(Ped.)(full)ø (pedal freely)

>(Ped.)

3

3

3

3

3

&mp

IIIII

pp

fp

1. vln. s.t.

2. vln. s.p. (as echo)

>mf

III>o II

pp

3

(senza sord) ∑35 5

&‹

mfpp

>

sffz

Æp

”“< >ppp p pp mp

> . .

pp

> . .

p

5 3

&‹

(Ped.)

&

(1/2)ø

subito

l.r.

&‹

35

3 3 3 3

fi6n 6 ))Bµ ™™ 66

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* To execute this technique place the bow (near the frog) on the indicated strings, without moving the bow vertically or horizontally rotate the hair of the bow (near the frog) in a cirucalar motion against the indicated strings, do not lift the bow up or vertically, with the bow arm add pressure (at the frog) down onto the strings while making a circular rotation, this should produce a scratchy-overpressured sound, aim for a sound that imitates the sound of rain or of an old record player, there should be no audible pitch.

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Part III: Canticle (slowing down)

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Note to performers: This entire section entitled "Canticle" should be performed as if sounding from very far off, as an echo, the tempo may fluctuate dramatically and should over the course of this section begin to slow down as if a music box were slowly winding down to a halt.

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Note to performers: The "rain-drop" sound produced by the violin should increase in intensity over the course of Part I as if a rubber band were slowly being streched to the breaking point, the piano should remain within the sound of the violin almost eminating from it, strive to create one long phrase throughout Part I.

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explosive

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Part II: suspensus (same tempo)

32

124

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& ÚTACET

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& ∑TACET

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.- (somewhat free in rhythm)

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p

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mp

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mf

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Note to pno: While gradually lifting the sustain pedal the sustaining resonance of the sostenuto pedal should become more and more apparent, cresc. enough to makethe sos. notes vibrate sympathetically as the sustain pedal is lifted.

∑

(hold)(slowly lift pedal)

∑(gradual cresc. and sense of phrasing)

∑ ∑: ;off!

:

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Part 2: Circulatio (tempo mov 1)

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34

34

&(sffz) ff

(simile)> > > > ,

(sffz) ff

>≥"dance-like"

senza vib.

,>o≤

& Æ ÆÆ Æ

5

Æ

sffz (sffz) ff

Æ > >”“ >5 5

?

(Ped.)

cresc. poco a poco!

∑ ∑

(full)ø

∑"dance-like"

&

,

(sffz) ff

>o≥ ,>≤ , >≥”“ ,

(sffz) ff

>≤”“

,

pppp

o≥"dance-like"poco vib. (freely)

subito!

&(sffz) ff

> >(sffz) ff

> ÿ◊pppp

"dance-like"Æ

subito!

”“

?

(Ped.)

∑

(full)ø

∑

œ ™ œ ™ œ ™ œ ™ œ ™ œ ™

œn œ œ# œR œ œ ™ œ# œ œR œ œ œ

œ œ œ œb ™ œ ™ Œ ™ Œ ™

œ ™ œ ™ œ œJ œ ™ œ ™ œ ™Œ ™ Œ ™

33

°¢

{°¢

{

28 ü†™™

ü

†

™™™™

(tempo mov 3)

32

34

34

18

18

34

34

&(pppp)

≤∑

o(anacrusis)

o≤

ùûsffzol.r.

ord.(vib. freely)

sffz ff

≤>

&(pppp)

ÿ◊(pppp)

”“ Æ”“mechanical!

Æ'

?

(Ped.)

∑ ∑

(full)

sffz ff

∑

ø

&,

(sffz)

>≥ , ≤>

, ≥>

,>≤

…

,

(sffz)

>≥ , ≤>

, ≥>

&Æ

- -?

(Ped.)

∑ ∑

Ped.

(sffz)

(full)ø

mf

>

œ ™Œ ™ œœJ Œ Œ œœ

œ ™ œ ™ œ ™ œ ™ ‰ œœœœ# œœœœ œœœœ#‰

œœ œœ# œœnœœœ ™™™ Œ ™ œœœ# œœœ# œœ

œœœœ ™™™™ Œ ™ Œœœœœ# œœœœ#b œœœœ ™™™™ Œ ™

Œ ™ œ ™

34

°¢

{°¢

{

35

3838

38

58

58

&molto vib!

pp ùû mf …ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ (vib. freely)

sffz

s.p.

' (short!)(sffz)

Æ...resolving...

ord.

- ûùo sffz …∑

&Æ”“ (sffz) Æ

...resolving...

Æ”“pp

∑

?

Ped.

mf

->

&sffz ff

>≥

…

∑

& ∑ ∑ ∑

?-

- l.h.u.c.

ppp (no cresc.)

‘“r.h.

. . . . .6

. . . .. .

6

. . .

3

œ ™‰ œœb Œ

œœœ##n œœ

œœœœ# œœœœ Œ œœœœ# Œ Œ

˙ œb Œ ™ œ ™œœ ™™ ˙ ™˙̇ ™™

Œ ™ œœœ ™™™ Œ ™

˙ ™˙̇ ™™ Ó ≈ œ œ œb œ œR œRœ œ œ œ œ

r œr œ œb

35

°¢

{°¢

{

41

43

58

58

34

34

&sffz ff

≤>

… sffz ff

≥>

…

& . .. . . .

. . . . . . . ..3 . . . . . .

6

. . . Æ r.h.6

6

3

?

(u.c.)

(ppp)

∑ ∑Ped.

off!

sffz

& ∑ ∑√

&(echo)

”“ √final draft 07/01/16score 07/14/16New York, NY

edited 03/30/19NYC

?(Ped.)

u.c.

∑ ∑ ƒ

œœœ# ™™™ Œ Œ ™ œœ ™™

œ œ œ# œ œ œ#œ# œ œ œ# œ# œ œ# œ# œ#R œ#R œ œ#

œ# œ œ# r œ# r œ œ# œn ™

œ ™ œ ™ œ ™ œ ™

36