Santa Clara UniversityScholar Commons

Music College of Arts & Sciences

2002

Seven infinitely short periods of (winter) timeBruno RuviaroSanta Clara University, bruviaro@scu.edu

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Piano, Bb clarinet and violin. [ca. 12’00]Premiered by the Left Coast Chamber Ensemble: Phyllis Kamrin (violin), Bruce Foster (clarinet), Eric Zivian (piano), Mill Valley, October 25, 2007.Winner of the Left Coast Chamber Ensemble Composition Contest 2007.This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.

This Score is brought to you for free and open access by the College of Arts & Sciences at Scholar Commons. It has been accepted for inclusion inMusic by an authorized administrator of Scholar Commons. For more information, please contact rscroggin@scu.edu.

Recommended CitationRuviaro, Bruno, "Seven infinitely short periods of (winter) time" (2002). Music. Paper 10.http://scholarcommons.scu.edu/music/10

Bruno Ruviaro

seven infinitely shortperiods of (winter) time

(2002)

piano, violin and Bb clarinet

2) Fermatas - short, medium, long, respectively:

9) Violin techniques -

a) "écrasé" means to play the string with exaggerated force (overpressure), producing a very noisy, strident sound of no precise tone; b) the sign means Bartók pizzicato, or "snap" pizzicato; c) "play behind the bridge": play between the bridge and the tailpiece alternating strings randomly, resulting in several non-harmonic sounds.

8) Piano clusters - play as many notes as possible approximately in the region where the cluster sign appears:

1) Accidents are valid for an entire measure. However, many cautionary accidents are used in the score in order to make it easier to read.

7) Piano - the following notes or range of notes should have their strings "taped" inside the piano before the performance: use a strong adhesive tape to dampen the strings near the place where the hammers hit. These notes will remain "taped" during all the piece. If necessary, lower G may be taped together with F# and F natural (which are actually never used at all).

3) Piano - G-Clef octave-up and F-Clef octave-down are used in some movements:

4) Piano - release Pedal half way up and quickly press it again (keeping some of previous resonances):

5) Piano - dampen the corresponding string with one or more fingers and then play the note on the keyboard with the other hand:

6) Piano and Clarinet (2nd piece) - progressive rallentando; attempt to make a smooth connection with the next bar containing standard-measured rhythms:

Instructions

I.

q= 40

q= 40

Violin

Clarinet in Bb

Piano

little vibratosempre legatocon sord.

p

3 3

sempre legatop

3 3

p

sempre

7

5 6

5 6

1

10

pp

5 3

pp

5 3

15

pp

3

3 3

pp

3

3 3

2

18

rit.

rit.

ppp

gliss.3

ppp

gliss.3

3

22

A tempo

A tempo

pizz.p

ppp

niente

p

ppp

[musification]

3

q= 60

q= 60

II.

Violin

Clarinet in Bb

Piano

senza sord.

mf

mf

p

mf

p

mf

3

p

(ped. simile)

4

5

mf

p

3 3 3 3

7

poco a poco sul pont.

mf

p

p

3 3 pp

33 3 3

3

p

5

9

sul pont.

pp

pp

mf

mp espress.

12

al niente

ppp

ppp

[old tune]

6

Fastq = 100

Fastq = 100

III.

Violin f

nat.

écrasé

f [Ossia - if piano lacks B7 and C8]

9 9

Piano

f

9 9

f

3

(écrasé)

play behind the bridge on any strings

nat.

9 9 9

(*)

(*) "taped" note - see instructions7

5

(nat.)

écrasé

nat.

écrasé

10 10

10 10

7

behind the bridge

f

nat.

(r.h. only)

f

10

9

écrasé

gliss.

ff

9 9

[basement]8

q= 70

q= 70

IV.

Violin

Clarinet in Bb

Piano

mf

sul tasto

3

3

mf

6 6 6 6 6

3

mp

2

al niente

quasi al niente

6 6 6 6

p

3

9

3

(sul tasto)

mf

3

mf

6 6 6 6 6

mp

3

4

poco rit.

poco rit.

(sul tasto)

3

nat.

al niente

quasi al niente

pocosfp

3

6 6 6 6

mf 3

mf

p

10

q= 60

q= 60

6rit.

rit.

f

6pizz.

arco

mf

pp

6

f

vibrato

poco vibrato

senza vibrato

p

3

3

pp

dim.

mf

7 6 5

f

Con motoq = 70

Con motoq = 70

8

pp sempre

33

pp sempre

3

3

11

11

3

3

poco rit.

poco rit.

13

q = 56

q = 56

6

pp

poco accel.

mf f

molto rit.

mp 6

ff

mp

12

q = 60

q = 60

15

19

sfp

ppp

p

ppp

3

una corda

p

[wilting]

13

Vivoq = 150-160

Vivoq = 150-160

V.

Violin

Clarinet in Bb

Piano

mf

3

mf

3

ff

3

3 3

3 3

14

5

cresc.

cresc.

fp

cresc.

8

f

ff

ff

ff

[what??]15

Lentoq = 30

VI.

molto rit.

Clarinet in Bb flatterzunge

fp

very long

nat.

quasi f

3

5

A tempo3

Cl. mf

p

(almost tied)3

molto rit. A tempo5

Cl.

mp

5

7molto rit. A tempo

Cl. flatterzunge

f

nat.

mf

5 beacoup de souffle

pp

[snow down]

16

q = 50

q = 50

VII.

poco rit.

poco rit.

Violin

Clarinet in Bb

Piano

sul pont.

fp

ff (First cluster played with r.h. only, but taking as many keys as possible; use both hands for the others. Lower limit for these clusters is G# 6, the first "taped" note)

ATTENTION:G-Clef octave highF-clef octave low

mf

sempre

A tempo

A tempo

2

ff

quasi f

17

q = 60

q = 60

3

nat.

f

p

mf

gliss.

mp

f

4

pizz.

ff

f

mf

(norm. pizz.)

arco

mf

(very slowly)

gliss.

cresc.

3 3 3 3

mf

f

(dampen string withfingers (right hand)and play the notewith left hand)

18

5

gliss. gliss.

quasi f 5 3 3 3

33

ff

mf

6

gliss.

gliss.

mf

cresc.

5

f

19

7

gliss.

f

3 3

f

8

fp

3 3

f

f

20

Tempo primoq = 50

Tempo primoq = 50

9

mf

pp

f

mf

(always with pedal)

10

p

mf

p

pp

mp

[final basement]21