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1 Michael Gandoli Resonance Frames Music to oin six ilms by Pamela Larson M51 Music michaelgandolicom

2 Michael Gandoli Resonance Frames Commissioned by Harvard University s First Nights course, Thomas Kelly, proessor First perormance: December 16, 200, Sanders Theater, Cambridge, Massachusetts, Ian Greitzer, clarinet; ohn Holland, violin; ing Li, violoncello; Alison D Amato, piano; Steven Craword, percussion; Sergio Monterisi, conductor M51 Music michaelgandolicom

3 Instrumentation Bb clarinet Violin Violoncello Piano Percussion: Xylophone (or marimba), tin-cans (small, medium large) crotales (one octave set) Perormance notes Score is in C All instruments are written at sounding pitch with the exception o the xylophone and crotales, which sound 8va sopra Accidentals remain in eect or the duration o the measure at the octave in which they occur Metronome markings must be strictly observed Duration: 8 ½ minutes Suggested Seating Arrangement Movie Screen piano percussion violin violoncello clarinet conductor Program Listing Resonance Frames Michael Gandoli (200) Music or six short ilms by Pamela Larson I Photon Waves II Willow III Zig Zag IV UFO / V Spin / VI Desert Dash Program Notes Resonance Frames was commissioned by Harvard University s 200 First Nights course This course, created and taught by Proessor Thomas Kelly, explores several landmark pieces o music rom the 1600 s to the present, whose premieres raised provocative cultural and social issues relative to art and its role in society As a inal proect, the class commissions a new piece o music and witnesses its creation in rehearsal and its world premiere For this occasion, I chose to set to music, six non-narrative, abstract ilms by Boston-based ilm-maker Pamela Larson The creative process very much resembled the setting o poetry to music, in which each artistic discipline shares equally in the inished product Pamela Larson and I worked together on several o the ilms, modiying lengths and experimenting with various orderings in ways that were necessary or the success o the work s overall orm For example, Zig Zag was originally a seventeen-second ilm I suggested that we loop it twice to add length In so doing, undesirable discontinuities in the light o the ilm were created We then reversed the middle iteration, which solved the light problem but caused an abrupt change o motion in the action o the ilm This serendipitous result enhanced the humor o the original ilm, and immediately suggested to me, an appropriate musical response The titles o each movement were created ater the work was completed They are descriptive o the visual and aural elements ound within each respective movement It is desired that the music and ilm be perormed and screened live The ilms are shot in super-eight, with a resulting raw, natural quality that matches well with live musical perormance

4 With grateul acknowledgement to Proessor Thomas Kelly or sponsoring the creation o new musical composition through his masterully authored First Nights course at Harvard University and to Sergio Monterisi or his collegiality and leadership in the rehearsal and editorial processes

6 Rev Bb Clarinet Percussion Piano Violin Violoncello cl perc pno vln vc F 4 R R F 4 r r 4 4 q» 126 Xylophone r R R to Proessor Thomas Kelly and the 200 Harvard University 'First Nights' class r r Resonance Frames I Photon Waves (the sixteenth-note remains constant throughout this movement) R R r R R r R r r Michael Gandoli (200) (Music to oin with six ilms by Pamela Larson) r 200 by Michael Gandoli International Copyright secured All Rights Reserved Copying or reproducing this publication in whole or in part violates the Federal Copyright Law R R R r

7 2 cl perc pno vln vc cl perc pno vln vc 10 r R 14 b b b Resonance Frames - I Photon Waves r b b b R R r r b b b p R r r p b b b

8 cl perc pno vln vc cl perc pno vln vc 18 b b 22 b 16 ˆ41 16 ˆ ˆ ˆ41 16 ˆ41 16 ˆ4 1 b b b > b b b b Pizz Pizz b b b b b b b b b b b Resonance Frames - I Photon Waves ˆ ˆ ˆ ˆ ˆ ˆ4 2 b b b b b b b b b b b b b b b b b b b b b b b b b Œ Œ 16 9 ˆ ˆ ˆ ˆ ˆ ˆ4 1 b b b b b b b b b b b b b b b b b

9 4 cl perc pno vln vc cl perc pno vln vc 25 b b b b b b b b b 28 b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b b Resonance Frames - I Photon Waves b b Œ Œ 16 9 ˆ ˆ ˆ ˆ ˆ ˆ41 b b b b b b b b F F F Œ Œ b b b b

10 cl perc pno vln vc cl perc pno vln vc 2 6 b b b b b b b b b b F b Resonance Frames - I Photon Waves b n b b b n b b b Pizz p Arco b b b b b b b b b b b b b ḟ 5

11 6 cl perc pno vln vc cl perc pno vln vc 40 b b b 44 b b b b b b b b b b b b b b b b b b Pizz ḟ b n Arco Resonance Frames - I Photon Waves b b b b b b b b b b b b b b Pizz

12 cl perc pno vln vc cl perc pno vln vc B Pizz Resonance Frames - I Photon Waves B b b b b b b b 7

13 8 cl perc pno vln vc cl perc pno vln vc 55 n b b b b b b b b 58 n n Resonance Frames - I Photon Waves p b b p b b b b b b b b b b b b b Œ Œ Œ Œ Œ

14 cl perc pno vln vc cl perc pno vln vc 60 n n con sord 62 b b b w Ȯ O Resonance Frames - I Photon Waves b b b Arco Ȯ π n Œ con sord Œ Arco π Ȯ n n Ȯ Ȯ 9

15 cl perc pno vln vc 10 cl perc pno vln vc 64 Ȯ 66 b O O O Resonance Frames - I Photon Waves Ȯ b n b n Ȯ Ȯ b Ȯ

16 cl perc pno vln vc cl perc pno vln vc n n Ȯ Ȯ Resonance Frames - I Photon Waves n Ȯ b Ȯ Ȯ Ȯ 11

17 cl perc pno vln vc cl perc pno vln vc Ȯ n n Ȯ b Resonance Frames - I Photon Waves Ȯ Ȯ n n Ȯ Ȯ

18 cl perc pno vln vc cl perc pno vln vc Ȯ Ȯ Resonance Frames - I Photon Waves Ȯ Ȯ Ȯ Ȯ 1

19 perc vc perc vc 14 cl perc pno vln vc h k» 74 sul tasto b b π b b 95 b w Resonance Frames - II Willow II Willow b b b b Crotales w p b Ó b b b w b w b

20 perc vc perc vc perc vc perc vc perc vc 99 b w b b b b w 111 b w b 115 Ó b b b b Ó w b b w b Ó b b Ó IV Resonance Frames - II Willow 15

21 cl pno 16 cl perc pno vln vc 120 b Œ q» 188 Œ Œ Œ Œ n Œ Œ Œ 124 Œ Œ Œ Œ Œ Resonance Frames - III Zig Zag III Zig Zag b n b n b Œ Œ Œ Œ Œ Œ Œ b w Œ Œ b Œ Œ Œ Œ Œ

22 cl pno cl pno cl pno 127 n Œ Œ 10 n n Œ Œ 1 Œ Œ Œ n Œ Œ Resonance Frames - III Zig Zag Œ Œ Œ Œ Œ b Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ n Œ Œ b n b Œ Œ b Œ Œ Œ Œ Œ 17

23 cl pno cl pno cl pno b Œ Œ Œ Œ Œ 142 b Œ Œ Œ Œ Œ n Œ Œ Œ Œ Œ Œ Œ Œ Resonance Frames - III Zig Zag n Œ Œ b Œ Œ Œ Œ Œ b n b n Œ Œ Œ Œ Œ Œ Œ Œ

24 cl perc pno vln vc cl perc pno vln vc c c c ( ) ( ) Œ q» 6 c w c c w Œ Ó Ó IV UFO b n b b b b Ø b n b n b b n n sul ponticello sul ponticello n Œ b b b n n b Œ Resonance Frames - IV UFO Ø Ó Ó Œ Œ n b n b b n b b b Œ Ó Œ Ó Ó Ó b b b b b 19

25 cl perc pno vln vc cl perc pno vln vc ( ) ( ) b Œ n b b n Œ 15 ( ) b b n n n n b b n Resonance Frames - IV UFO b b n b loco n n Œ b Œ b n b b n b b b b b b b b (gradually move bow to ord) b (gradually move bow to ord)

26 cl perc pno vln vc cl perc pno vln vc 155 ( ) b b b 157 b b (gradually move bow to ord) (gradually move bow to ord) n n b n Arco ord Arco ord b Resonance Frames - IV UFO b b n loco b n b n n Ó b F p w w 21

27 cl perc pno vln vc cl perc pno vln vc q» h k» 6 attacca > > > Resonance Frames - V Spin h k» 6+ (q»190) Œ V Spin Tin Cans (Sm Med Lg) > > > Œ Œ > > > Ó > > > Ó > > > > > >

28 cl perc pno vln vc cl perc pno vln vc 165 Ó 168 > > > > > > Resonance Frames - V Spin > > > Ó Ó > > > > > > > > > 2

29 cl perc pno vln vc cl perc pno vln vc Ó > > > > > > Resonance Frames - V Spin n n n n n n Ó n > > > > > > n nn n n nn n n nn n n nn n n nn n n nn n Ó > > > > > >

30 cl perc pno vln vc cl perc pno vln vc 177 Ó > > > 180 b b b b b b b b b b b b > > > Resonance Frames - V Spin > > > Ó Ó > > > > > > n n b b n n b b n n b b n n b b n n b b n n b b > > > 25

31 cl perc pno vln vc cl perc pno vln vc b b b b b b b b b b b b Ó 186 > > > n n n n n n n n n n n n > > > Resonance Frames - V Spin > > > Ó Ó > > > n n n n n n e» e (q k»c126) > > > Œ Œ Œ Œ

32 cl perc pno vln vc cl perc pno vln vc q k»q» c Xylophone 4 4 > > > > > > Resonance Frames - VI Desert Dash n VI Desert Dash > > > > > > attacca n n n nn n 4 n n n nn n 4 n n n nn n 4 n n n nn n 4 n n n nn n 4 n n n nn n 4 P b > > > > > b P n 27

33 cl perc pno vln vc cl perc pno vln vc b > b > > > > > 198 b > b > > > > > > > > > > > Resonance Frames - VI Desert Dash e» e (q k» c 84) Pizz Pizz b b n P b > > > > > b > > > > > P n > b n b b n b n

34 cl perc pno vln vc cl perc pno vln vc b b b b Resonance Frames - VI Desert Dash n n Arco Arco 29

35 cl perc pno vln vc cl perc pno vln vc b n b n b n (senza pedale) Arco Arco Resonance Frames - VI Desert Dash b n b b b b b b (con poco pedale) b b b b b b b b b b b b b b (con poco pedale)

36 cl perc pno vln vc cl perc pno vln vc 216 b b b b 219 b b Pizz b Pizz b b b b b Pizz n Pizz n Resonance Frames - VI Desert Dash b n b n b n (senza pedale) Arco Arco b n b b 1

37 cl perc pno vln vc cl perc pno vln vc 2 22 n n n Arco Arco 226 n (on the string) n n Resonance Frames - VI Desert Dash n n n (on the string)

38 cl perc pno vln vc cl perc pno vln vc 229 b b b b 22 b b Resonance Frames - VI Desert Dash b b b b b b b b b b b b n n n n n b b n b b b b

39 cl perc pno vln vc cl perc pno vln vc 4 25 n n n 28 b b b b b b b b b b n Resonance Frames - VI Desert Dash n n b b b b b b b b b b b b b b b b b b b b

40 cl perc pno vln vc cl perc pno vln vc 242 b b b b b b b b b b 245 b b b b b b b b b b n n n b b b b b Resonance Frames - VI Desert Dash b b b b b n n n 5

41 cl perc pno vln vc cl perc pno vln vc b b b b b 252 b b b b b Resonance Frames - VI Desert Dash b b b b b b b b b n n n Ø Ø Ø Ø Ø

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