Gabriel Mălăncioiu

for soprano, clarinet, violin, cello and percussion

 Performance notes

The soprano and the violin player will be dressed completely in white.

The clarinet, cello and the percussion player will be dressed completely in black.

The conductor will be dressed half white / half black.

This score is protected by S.A.C.E.M. and U.C.M.R.-A.D.A.

Before any public performance a declaration must be sent to your national author’s society.

© Gabriel Mãlãncioiu

www.gabrielmalancioiu.org
 Placement
Percussion (Gran Cassa, Tam Tam)

Backstage

Clarinet Violin Cello

Percussion-from the backstage (Bongos) Soprano-from the backstage

Violin Percussion Soprano

Clarinet Violin Cello

Clarinet Violin Cello Soprano

Clarinet Violin Cello Soprano Percussion-from the backstage

Clarinet Violin Cello Soprano Percussion (Timpano)

Percussion-from the backstage Violin Soprano

Clarinet Violin Cello Soprano Percussion

Conductor
 to SonoMania Ensemble

Complementarium
Score in C in memoriam Jonathan Harvey
 A q=60
Gabriel Mălăncioiu


2013

    
breath silently throughout

Clarinet 
 p
STEEL mute 
         
Violin
                                         
ppp liscio

                      

sul pont.

ord.

Violoncello   


liscio p ppp

 e.=120      
 
8
     
        
  
    
  
Cl.             
ppp p 
      

  
 
                
  
  
   
         
Vln.

p ppp p f
 
       
 
ord. sul pont.

      


Vc.            
p ppp
© Gabriel Mãlãncioiu
         
2
16        
    
   
    

         

Cl. 
ppp
   poco stacc.

     
                  
                             
Vln.
  
mp
   
sul tasto
      
sul tasto sul pont.
      

              

Vc. 
p


   B q=60      
24    
    
      
       

Cl. 
        
mf

      the left

move as in a ritual towards

            
side of the percussion player
Vln. 
ff

    
sul pont.
         
   
Vc.

mf
enters the stage, as in a ritual
from the backstage
to the right side of the percussion player


f p f p
   
f
       

S. Solo

a o a ho e ri u
from the backstage enters the stage, as in a ritual
to the right side of the hall
Tam-Tam

   
muta in Bongos
Perc. 
f
  e.=120        
        
3

         
32 ff p ff p

S. Solo 
                     
       
uo u e a uo u e a
Bongos
with hands        
                         
Perc.                  
p

    C    
40        without
 
mute     

Vln.        


    
ff p
     
p

         

S. Solo
nasal sound
with voice
         
f p

                         
ta ga da ha ta ta ga ta ga ha ta ta ga da ha ta ta ga da ta ga da ha ga ta
Perc. 
                       
                    
f p
         
4
         
         
              
48

          
 
Vln.              
p ppp

                  
S. Solo                     
             
Perc.            

 D q=60

56  + voice multiphonics + voice

Cl. 
     
    
    
                          
f  f
scratch tone
apply very hard
 move as in a ritual towards
molto sul tasto
pressure to the bow
ord. sul tasto molto sul tasto
the right side of the clarinet player   
      
Vln.
 

  
  
ff 
ff (noise)
scratch tone
apply very hard
pressure to the bow

   
molto sul tasto ord. sul tasto molto sul tasto
 
Vc.        

 ff (noise)  
move as in a ritual towards
ff the right side of the cello player
S. Solo     
move as in a ritual towards

muta in Tam Tam the backstage
Perc.     
ff
   e.=120      
       
5
E
67 multiphonics

Cl.  
                      
              
        p

  
scratch tone
ordinary mute
         
  

          
ord. sul tasto

  
Vln.
 
ff (noise)   f 
scratch tone scratch tone

 
ord. sul tasto molto sul tasto sul pont.
            
  
  
 
       
            
Vc. 
ff (noise)   ff (noise)

       
p ord.

S. Solo              
ha o e ia ra ue o u

          


79             
                
   

Cl.             
p

     
 
poco stacc.
     

           
 

  

               
Vln.
   
p


sul tasto
  
molto sul tasto
         
                            
Vc.
    



    F q=60
     
6

 
89 frull.

Cl. 
      
 
 
     
   
f

       
p pp

       

                                 

Vln.

ff pp
scratch tone

 
sul pont.
   
Vc.         
f (noise) ff
from the backstage move as in a ritual towards
  
muta in Timpano
Tam-Tam 3 3 3 3 the right side of soprano

Perc.            
f
 G e.=120  
   

96

        
 
Cl.

            
        
Vln.        

 
                 

  
        

               
molto sul tasto

Vc.        

    
pp

        
p
S. Solo   
ha o e ia ra ue o ha o e ia ra u ue o Timpano



with hands
      
     
Perc.
pp
           
105

          
7

Cl.                  
                
                
Vln.                  
           
                
Vc.      
parlando

      
p

S. Solo               
  
ta ga da ha ia ga da ta ga ha ta ga da ha
                            
                   
Perc. 
       
       

115

Cl.              
            
             
Vln.              
             
Vc.
            
            f    
S. Solo                                     
ia ga da ta ga ha ta ga da ha ia ga da ta ga ha ta ga da ha ia ga da ta ga ha ta ga da ha ta ga da hata
with voice

f
   
          
ta ga da ha ta ta ga ta ga hata
Perc.
                           
              f
    
       
8
122         
   
without mute

      

Vln. 
       

pp
  
   
move as in a ritual towards
pp the right side of the hall
S. Solo             
ta ga da ha ta ga data ga da ha ta

     
pp
        
                                  
ta ga da ha ta ta ga data ga da ha gata ta ga da ha ta ta ga da ha taha ta ta ga da ha ta ta ga data ga dataha ta


Perc. both hands
                      
      pp f
  


       
128        

            
            

Cl.

  
            
                 
Vln.
      
 
                
                                       
ta ga da ha ta ta ga da ha ta ha ta tada ha ta ta ga da ta ga da ta ha ta ta da ha ta ta ga da ha ta ha ta ta ga da ha ta

Perc.
          
 
mf

mp
 
p
       
         
9

  
135

               
Cl.
               
  
      
ff

                  

Vln.
                 
 
ff

  
scratch tone sul tasto

         
sul pont.
Vc.        
ff (noise) 
move as in a ritual towards
             ff the backstage

                            muta in Gran Cassa

ta ga data ga data ta ga data ta ga da ha ta ta ga da ha taha ta tada ha ta ta ga data ga data ha ta

Perc.
     
 
pp


        
               
    
141

               

    

Cl. 
           
  

 
pp

 
ff

                        

Vln. 
                     

pp
 ff
move as in a ritual towards
 
the right side of the hall
     
f
         
S. Solo                
iu uo u uo u uo u uo
raise hands up hands down
         
10
149                                
        
  
 
 


Cl. 

     
     
 
f p f p f p f p f p f

  
 
         
 
   

      

  

 
 
Vln.
     
  f
p

p f p f p f p f

scratch tone
sul pont.

            
    
Vc.
      
ff (noise)

 q=60 H  q=70 
157       
  
 
    
Cl.

 

move as in a ritual towards

 
the left side of soprano
 
Vln.
 
 
ord. sul pont.

     
                           
Vc.

p
from the backstage

hard mallets
    
                  
Gran Cassa

Perc.  

fff
    
11

     
poco a poco accel.
166       
Perc.                                                        
  


       
179        the rim  ord.
on         the rim 
on

                                          

 
Perc.


          
188 
ord.   on the rim ord.   on the rim ord.  on the rim ord.  
on the rim ord.   on the rim 
Perc.                       
pp


        
198 
ord.   
on the rim  ord.   
on the rim  
ord.  
on the rim ord.     on the rim 
Perc.                         
p

        


207 
ord.     
on the rim  ord.   
on the rim  ord.       
on the rim 
ord. 
Perc.                          
mp

       


216   
on the rim ord.      
on the rim  ord.     
on the rim  ord.        
on the rim 
Perc.                                   
       
12


227           
Vln. 
ppp

 
ppp ff ff

S. Solo       
a u u

  
ord.        
on the rim  
ord.        
on the rim 
ord. 
on the rim 
Perc.                                  
mf

  q.=110  

239        
Vln. 
ppp

      
 
p ppp

        
S. Solo 
o a u a

      
ord.          
on the rim 
ord.        
on the rim

Perc.                             
f
        
          
13

   
253

Vln. 
 
ff p

    
ff

 
ff
S. Solo    
u a u a

    
ord.        
on the rim 
ord.  
on the rim 
ord.  
on the rim

Perc.                                          

ff

     
264           move as in a ritual towards
the right side of the clarinet player  
 

Vln. 
ff p ff p
move as in a ritual towards
   
the right side of the cello player

S. Solo  
o


ord.  
on the rim  
ord.            
Perc.                           
subito pp
   I    
14

      
q=60
        

273

Cl.

   
fff p

      
sul pont.
  
ord.

              
   
 
  
Vln.

fff pp fff p

    
             
 sul pont.
 
ord.

       
Vc.
   
fff pp fff p

         
fff p

S. Solo       
ha o e ia ra ue o ha o e ia ra u ue o

move as in a ritual towards

Tam-Tam

the right side of soprano
   
fff
Perc.
     
             

fff
        
       
15


282

Cl. 
move in circle around


Soprano and Violin
p

 

sul tasto ord.

     
                 
Vln.
p  ppp


sul tasto

Vc.
        move in circle around


Soprano and Violin
p

p with purity
      
   
p

3

S. Solo      
e
 ho a e o a o


move in circle around
Perc. Soprano and Violin
16

   q=50
  q=60   q=40  q=60 
291  with voice
f     with voice
mp    with voice
pp 



move in circle around move in circle around
Cl. Soprano and Violin Soprano and Violin
           
o u a e o u a e o u a
raise hands up hands down raise hands up hands down raise hands up

with voice
pp
 
    
Vln.   
a
raise hands up

with voice

with voice with voice
f mp pp

Vc.
    move in circle around     move in circle around      
Soprano and Violin Soprano and Violin
o u a e o u a e o u a
raise hands up hands down raise hands up hands down raise hands up

               

pp

S. Solo  
a o a o a
raise hands up

with voice

with voice with voice
f mp pp

Perc.
    move in circle around     move in circle around      
 Soprano and Violin Soprano and Violin
o u a e o u a e o u a
raise hands up hands down raise hands up hands down raise hands up