Michael Gandoli Resonance Frames Music to oin six ilms by Pamela Larson M51 Music michaelgandolicom
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
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
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
Rev 012604 Bb Clarinet Percussion Piano Violin Violoncello cl perc pno vln vc 5 4 4 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
2 cl perc pno vln vc cl perc pno vln vc 10 r R 14 b b b Resonance Frames - I Photon Waves r 12 16 12 16 16 12 12 16 12 16 b b b 12 16 R R r r b b b p R r r p b b b
cl perc pno vln vc cl perc pno vln vc 18 b b 22 b 16 ˆ41 16 ˆ4 1 16 ˆ4 1 16 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 4 2 4 2 4 2 4 2 4 2 4 2 16 6 ˆ42 16 6 ˆ4 2 16 6 ˆ4 2 16 6 ˆ42 16 6 ˆ42 16 6 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 ˆ41 16 9 ˆ4 1 16 9 ˆ4 1 16 9 ˆ41 16 9 ˆ41 16 9 ˆ4 1 b b b b b b b b b b b b b b b b b
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 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 2 4 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 b b b b b b b b b b b Resonance Frames - I Photon Waves b b 16 12 12 16 Œ Œ 16 9 ˆ4 1 16 9 ˆ41 16 9 ˆ41 16 9 ˆ4 1 16 9 ˆ4 1 16 9 ˆ41 b b b b b b b b 16 12 F 12 16 F 12 16 F 16 12 Œ Œ b b b b
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
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
cl perc pno vln vc cl perc pno vln vc 48 51 B Pizz Resonance Frames - I Photon Waves B b b b b b b b 7
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
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
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 4 4 4 4 4 4 n b n Ȯ Ȯ b Ȯ 8 6 6 8 6 8 8 6 8 6 6 8
cl perc pno vln vc cl perc pno vln vc 69 6 8 6 8 6 8 8 6 6 8 6 8 72 n n Ȯ Ȯ Resonance Frames - I Photon Waves n Ȯ b Ȯ Ȯ Ȯ 11
cl perc pno vln vc cl perc pno vln vc 12 75 78 Ȯ n n Ȯ b Resonance Frames - I Photon Waves Ȯ Ȯ n n Ȯ Ȯ
cl perc pno vln vc cl perc pno vln vc 81 84 Ȯ Ȯ Resonance Frames - I Photon Waves Ȯ Ȯ Ȯ Ȯ 1
perc vc perc vc 14 cl perc pno vln vc 91 88 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
perc vc perc vc perc vc perc vc perc vc 99 b w b b b 10 107 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
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
cl pno cl pno cl pno 127 n ΠΠ10 n n ΠΠ1 ΠΠΠn ΠΠResonance Frames - III Zig Zag ΠΠΠΠΠb ΠΠΠΠΠΠΠΠΠΠΠn ΠΠb n b ΠΠb ΠΠΠΠΠ17
cl pno cl pno cl pno 18 16 19 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
cl perc pno vln vc cl perc pno vln vc 148 145 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
cl perc pno vln vc cl perc pno vln vc 20 151 ( ) ( ) b Πn b b n Π15 ( ) b b n n n n b b n Resonance Frames - IV UFO b b n b loco n n Πb Πb n b b n b b b b b b b b (gradually move bow to ord) b (gradually move bow to ord)
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
cl perc pno vln vc cl perc pno vln vc 22 159 162 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 > > > > > >
cl perc pno vln vc cl perc pno vln vc 165 Ó 168 > > > > > > Resonance Frames - V Spin > > > Ó Ó > > > > > > > > > 2
cl perc pno vln vc cl perc pno vln vc 24 171 174 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 > > > > > >
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
cl perc pno vln vc cl perc pno vln vc 26 18 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) 9 8 8 9 8 9 9 8 9 8 9 8 > > > Œ Œ Œ Œ
cl perc pno vln vc cl perc pno vln vc 189 191 q k»q» c126 4 4 4 4 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
cl perc pno vln vc cl perc pno vln vc 28 194 b > b > > > > > 198 b > b > > > > > > > > > > > 6 8 8 6 8 6 6 8 6 8 6 8 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
cl perc pno vln vc cl perc pno vln vc 201 205 b b b b Resonance Frames - VI Desert Dash n n Arco Arco 29
cl perc pno vln vc cl perc pno vln vc 0 209 21 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)
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
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)
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
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
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
cl perc pno vln vc cl perc pno vln vc 6 249 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