fl

1 ~ 40 Eccitante Stereophonic Music for Sheng and EnsembleHehkuu

Jukka Tiensuu 2014

ob

bcl

tpt

con sord.

vib

Motor OFFwith contrabass bow

hpE and B tuned ¼-tone down

v.2

vc

S.

~ 40 Eccitante

cl

bsn

hn

tne

pf

v.l

va

2

fl

10 poco a poco accel.~ 60)(

piu

~ 40 ~ 60 accel. poco a poco

ob

piu

bcl

piu

tpt

senza sord.

piu

vib

Motor ON SLOWmallets

hp

v.2

piu

vc

piu

S.

poco a poco accel. ~ 60)( ~ 40 ~ 60 accel. poco a poco

cl

piu

bsn

piu

hn

piu

tne

piu

pf

v.l

piu

va

piu

3

fl

17 ~ 80)(

piu

rall. molto

z z

< 10)( ~ 40 Appassionato

z

ob

piu

z z

bcl

piu

x z

tpt

piu

z z

vib

hp

l.v.

poco

x x x x z x x x

v.2

piu

z zcantando(ma senza vibr.)

s.v.

z z

vc

piu

z z

S.

~ 80)( rall. molto < 10)( ~ 40

cl

piu

x z z

bsn

piu

z z

hn

piu

x z

tne

piu

z z

pfm.s.

m.d.l.v. (senza Ped.) (11.)

8ba

z z

8ba

z

v.l

piu

z z

~ 40 Appassionato

va

piu

z z

4

fl

24

z z

ob

bcl

tpt

vib

(motor ON slow)with two cb bows

hp x z z z z z z z zz

v.2x z x

s.pont.

vc

s.v.

cantando(ma senza vibr.)

z z

s.pont.

S.

( )

clx z

bsn

hn

tne

pfz

8ba

z z

8ba 8ba

z x

8ba

z

8ba

x

v.l zcantando

s.v.

(ma senza vibr.)

x z x zs.pont.

va

cantando

s.v.

(ma senza vibr.)

x x x x

s.pont.

5

fl

34z z z

ob

bcl

tpt

vib

mallets

hpzz zz x x x x z z z z z z

zz zz (l.v.)

v.2

ord. s.v.

z z

s.pont.

vc

ord. s.v.

cantando(ma senza vibr.)

z z

s.pont.

S.

(quasi accel... ...rall.)

cl z x

bsn

hn

tne

pf

xx

8ba

zz z

8ba

zz

8ba

z z

8ba

z

8ba

xx

8ba

zz

v.l z

ord. s.v.

x zx

3

z x

3

z

3

va

ord. s.v.

x x

6

fl

43accel. poco a poco ~ 54 Ardente sempre accel. p. a p.

ob

bcl

tpt

con sord.

vib

bows

hp

v.2

ord.

vc

ord.

S.

accel. poco a poco ~ 54 Ardenteetc. accel. al...

sempre accel. p. a p.

cl

bsn

hn

tne

pf

v.l

s.pont. ord.

va

s.pont. ord.

7

fl

53 = 88-96

piu sub. ( )

ob

piu sub. ( )

bcl

piu sub.

tpt

piusub.

vibMotor OFFmallets

secco sub.

hp

sub.

v.2

piu sub. ( )

vc

piu sub.

S.

= 88-96

cl

piu sub. ( )

bsn

piu sub.

hn

piu sub.

tne

con sord.

x

piu sub.

pf

sub.

v.l

piu sub. ( )

va

piu sub. ( )

8

fl

58ritmi precisi

leggero

3

33 3 meno

fl

64

piu

3 3 3 3 3 3

33

3

ob

leggero

3

33 3 meno

ob

piu

3 3 3 3 3 3

3

tpt

leggero

3

3

v.2

leggero

3

3 33

vc

S.

ritmi precisi

( ) leggero3 3

3 3 meno

S.

piu

3 3 3 3

3 3

3

cl

leggero3 3

3 3

cl

piu

3 3 3 3 3 3

3 3

v.l

leggero

3

3 33

va

leggero

3

3 33

9

fl

703 3 3 3 3 3 3

33

3

fl

76

brillante

ritmi precisi sempre

33

poco accel.

3

~ 108

ob

3

3 3 3 3 3 3 3 3 3

ob

brillante 33

tpt

brillante

3

33

v.2

brillante3 3

vc

brillante 3

S.3 3 3 3 3 3

33

3

S.

cl3 3 3 3 3 3 3 3

cl

brillante3

3

v.l

brillante3 3

va

brillante3

3

10

fl

82molto rall.

ob

bcl

~ 30 ~ 48

tpt

vib

hp

xx xx xx

v.2

vc

S.

cl

~ 54)( ~ 36)( < 20)( ~ 30 ~ 48

bsn

hn

tne

senza sord.

pf

v.l

va

11

vib

89 malletsMotor ON SLOW

( )

vib

104

( )

hpx

(l.v.)

x x x x x x x x x x x x x x

hpxx

(upper g-flat ord.)

xxxz xz

xz xzxz xz

zz

S.

quasi nocturne

( )

(through small glissandi produce beats ad lib.)

(keep E, gliss. on D#)

S.

(vibrato sempre) p. a p. meno vibr.

pf

z

(senza Ped.)

z z z z z z z z z z z

pf

zz zz z zz

12

fl

113~30

s.v. z z x x

ob

s.v. x x t

tpt

s.v. con sord.

vib

motor OFF

hpzz

v.2s.v.

(on string)

vcs.v.(on string)

S.

~ 30(non vibr.)

x

languido

clts.v.

t x t

pfxx

v.l

(on string)s.v. t

va

(on string)s.v.

13

fl

121 x z

obx x x

tpt

con sord.

vib

v.2

vcxx tt

S.

languido

S.

127 128 (Cadenza 1)

(sombre chordal processes)

cl

z t

v.l

x

va

xzz

14

fl

129 ~ 60129 ~ 48 / 60 accel.

ob

bclmolto vibrato (slow)

tptmolto vibrato (slow)

vib

motor ON SLOWbows

hp

v.2molto vibrato (slow)

vc

molto vibrato (slow)

S.

~ 60molto vibrato (slow)

~ 48 / 60 accel.

clmolto vibrato (slow)

bsn

molto vibrato (slow)

hn

molto vibrato (slow)

tne

con sord. molto vibrato (slow)

pf

v.lmolto vibrato (slow)

vamolto vibrato (slow)

15

fl

138~ 69/88)(

ob

bcl

ord.

tpt

ord.

vib

hp

v.2

ord.

vc

ord.

S.

~ 69/88)(

cl

ord.

bsn

ord.

hn

ord.

tne

ord.

pf

secco

v.l

ord.

va

ord.

16

fl

144

brillante3

33

~ 108 rall. molto

ob

brillante 3 3

bcl

tpt

brillante3 3

3

v.2

brillante3

3

vc

3

S.

~ 108 rall. molto

cl

brillante3

3

bsn

hn

tne

v.l

brillante3

3

va

brillante3

3

17

fl

150 < 40)( accel. molto ~ 88

ob

bcl

tpt

v.2

vc

S.

< 40)( accel. molto ~ 88

cl

bsn

hn

tne

v.l

va

18

fl

156

ob

bcl

tptsenza sord.

v.2

vc

S.

molto rall. ~ 20

S.

162l.v.

~ 40

release keys as indicated

(Cadenza 2)

Senza tempo 30"-60"163

(e.g. keep E, gliss on D#)

(start cadenza slowly, speed up)(use also crossing gliss. ad lib.)

(high glissandi with beat etc.)

.... ....

~ 40165

accelerando ad lib.

cl

bsn

hn

tne

v.l

va

19

fl

168~108 ritmi esatti

zs.v. z x x x

obs.v. x x t x

bcl

tpt

s.v. con sord.

t

vib

malletsmotor OFF

hp

v.2

(on string)s.v.

vc

(on string)s.v. xx

S.

~108 ritmi esatti

passionato

x

( ) passionato semprem

clts.v.

t x tz

bsn

hn

tne

pf

v.ls.v.

(on string) t x

va

(on string)s.v.

x

20

fl

173 z x x x z

obx t x

bcl

tpt

vib

hp

v.2z

vcxx

S.(poco l.v.)

clt x t

z

bsn

hn

tne

pf

v.lt x

va

x t

21

fl

180 ~ 60 s.v. poco a poco accel.

ob

s.v.

bcl

s.v.

tpt

s.v.

vibmotor OFFbows

hp

v.2

s.v.

vc

s.v.

S.

(repeat in free rhythm ad lib.)(strong syncopated thrusts)

non vibrato~ 60

poco a poco accel.

cl

s.v.z x

bsn

s.v. z x

hn xs.v.

z

tne

con sord.

xs.v. z

pf

v.ls.v.

z x

vas.v.

x z

22

fl

186 ~ 80)(~ 108

z

ob

bcl

tpt

senza sord.

vib

mallets

hp

v.2z

vc

S.

~ 80)( ~ 108

cl z x z z z z z z

bsnx z x x x x x x

hn x x z z z z z z

tnez x z z z z z z

senza sord.

pf

v.l

z z x x x x x x

va z x z z z z z z

23

fl

192 z~ 60 accel.

obz z

bcl z z

tpt z z

vib

hp xxxx

zzzz zz z z z z

(l.v.)

v.2z

vcz z

S.

~ 60 accel.

cl z z

bsnz z

hn z z

tnez z

pf

z(11.)z

8ba 8basecco

v.l

z z

va

z z

24

fl

202 ~ 96 3 3

ob

3 3

bcl

cresc.

tpt

vib

hp

v.2

vc

cresc.

S.

~ 96 3 3

cl

cresc.

3 3

bsn

cresc.

hn

cresc.

tne

cresc.

pf

v.l

va

cresc.

25

fl

208 3 3 3 3

fl

215

piu

3 3 3 3 3 3

3

3

3

3 3 3 33 3

fl

2203

3 3 3

ob

3 3 3 3

ob

piu

3 3 3 3 3 3

3

3

3

3 3 33

3

ob3 3 3 3

S.

3 3 3 3

S.

piu

3 3 3 3

3 3

33 3 3 3 3 3

S.

33

3 3

cl

3 3 3 3

cl

piu

3 3 3 3 3 3

3 3

3 3 33 3

cl

3 3 3 3

26

fl

233

cresc.

ob

bcl

tpt

(senza sord.)

v.2

cresc.

vc

cresc.

S.

keep up the intensity ("drive")throughout the cadenza

( . . etc.)224 (Cadenza 3)ca. 30"-60"

"bird-calls"...... Shui-tu ... Hu-she

( )( )

( )~ 132-138

optional tremolo (Hu-she)

( )226

(poco a poco meno tremolo) sempre

3 5

cresc.

S.

cl

bsn

hn

tne

(senza sord.)

v.l

cresc.

va

cresc.

27

fl

240~ 108 ~ 48

ob

bcl

tpt

vib

hp

v.2

vc

S.

~ 108 ~ 48

( ) lontano

cl

bsn

hn

tne

pf

v.l

va

Jukka Tiensuu:

Hehkuu (2014) Stereophonic Music for Sheng and Ensemble

Instrumentation:

Sheng solo

flute oboe

clarinet in Bb bass clarinet

bassoon horn in F

trumpet in C trombone

vibraphone harp piano

violin 1 violin 2

viola cello

duration ca. 20'

Jukka Tiensuu: Hehkuu (2014)

Stereophonic music for Sheng and Ensemble

Setup: For stereophonic effect, the distance between the instruments should be as great as feasible (except piano, harp and vibraphone, which form a "trio" in the middle, close to the back end of the stage):

tne piano harp vibraphone bcl bsn tpt horn oboe cl fl vla vc v.1 Sheng v.2 conductor Notation General: (Tempi) in parenthesis indicate a "passing" or "momentary" tempo (like in the middle of accel./rall.). Accidentals are used as in the traditional notation: they apply till the end of the bar and any accidental, including a micro-tonal one, cancels the previous accidental. Accidentals are occasionally repeated for clarity and to facilitate reading. Rhythms are played exactly as written (important for the many passages based on complimentary rhythms). All trills should be played as fast as possible. On mordents ( ) play 4-5 notes whenever possible. Dynamics for the harp and for the harmonics of the piano are written louder (action notation) than for the rest of the ensemble (result notation), aiming at a better dynamic balance between the instruments. Glissandi: The glissandi are played continuously during the indicated time (not portamento), although some expression through change of speed is encouraged. Note stems without heads in the middle of a glissando are for orientation only. A small stemless note head at the end of a glissando indicates the (approximate) ending pitch only and is not to be articulated separately. s.v. senza vibrato l.v. Let (strings or metal bars) vibrate, do not damp. l.v. ends at ord. or at a written pause. ─ tenuto, play note to the full written length (only, no accent is intended). o diminuendo al niente, continue the diminuendo until the sound disappears completely. Do not try to

"refresh" or re-attack the sound just to reach the notated ending point, if the sound happens to die away gracefully already before.

x z u t A quarter-tone sharp and flat, and a sixth-tone (difference between harmonic and ET minor 7ths) sharp and flat, respectively.

bars 129-139: molto vibrato. Almost like small glissandi up & down. All players preferably at the same (2-3 Hz) speed.

bars 114-127 and 168-176: all sfp should be equally loud (dynamic balance between the instruments). Specific: Harp's E and B are tuned a quarter-tone flat (except for the top and bottom octaves as they are not used). In the score the pitches for the quarter-tones (x z zf) are indicated, but the harp part is notated "as played" (# n f).

Piano Everything is played without pedal. Diamond-shape note heads indicate harmonics. They are always written at the sounding pitch. (When played on

the piano: Before the perfomance, mark the needed harmonic nods accurately on the bass strings with e.g. narrow strips of masking tape. To play, press down the indicated key with the left hand while touching the string on the indicated harmonic nod with the right hand. About ⅓ of a second after the hammer has hit the string, quickly lift your finger from the string. Timing is crucial, when pursuing for a harmonic sound as brilliant as possible, while minimizing the (non-wanted) sound of the string's fundamental. Hehkuu was commissioned by Ensemble intercontemporain