Kaija Saariaho Forty Heartbeats for orchestra Score The music pages of this piece may be performed in any order, so this score is supplied as loose sheets Chester Music Hire & Distribution Newmarket Road, Bury St. Edmunds, Suffolk, 1P33 3B Telephone: (01284) 705705 Fax: (01284) 703401Kaija Saariaho Forty Heartbeats for orchestra for Esa-Pekka and Magnus in June 1998 ‘on the occasion of their 40° birthdays ‘The order of the 12 pages is to be decided by the conductor, who also determines the tempi (except for the few quotations, in which the original tempi are marked). ‘One or more of the pages can appear, if wanted, several times, but all pages must be played atleast ‘once. The fragments can be separated by silence. ‘The titles of the 12 parts are (in the order they were written): Five beats for surrounding cities First beat for being born Two beats for two daughters ‘Three beats for three composers Five beats for surrounding nature Five beats for life force Four beats for two times two sisters Four beats for three friends ‘One beat fora good night's sleep with one beat in slow motion (One beat for life in us ‘Three beats for two instruments Five beats for life surrounding us Instrumentation. Flute (doubling Piccolo) Oboe Clarinet in BP Bassoon, ‘Trumpet 2 Horns in F ‘Trombone Tuba Percussion (at least 2 players) Percussion 1 Percussion 2 Crotales Teangle Vibraphone 2 Suspended Cymbals Xslophone 2 Temple Blocks Tanwar Bass Drumm Metal Plate Timpani Harp Piano StringsPerformance Notes The score is transposed, with all transposing instruments written in their usual transpositions. Crotales sound two octaves higher than written. Double Bass always sounds an octave lower than written. ‘The harp sounds should always be allowed to ring as long as possible. When vibrato markings ae not specified, players can use their usual vibrato, Molto wibato always ‘means a rapid and narrow vibrato, unless otherwise specified. ‘Tremolo should always be as dense as possible. Glissandi should always be played very evenly, without vibrato and accentuation. ———> change very gradually from one sound or one way of playing (etc: to another Strings SP. always estremamente sul ponticello ST. sul tasto N. normal (used with S.P. and 8.T., otherwise ord.) WF Add bow pressure to produce a scratching sound, in which the audible pitch is totally replaced ‘by the noise and move back from noise to tone again. itgnew will produced by alternating rapidly the finger pressure between light harmonic ( ) and normal (e). The resulting sound should bea rapid alteration ofa harmonic and a normal sound. ‘When playing long sustained tones the bow changes should always be made imperceptible and independently of the other players. During long slurs which include several long sustained notes, a change of note should preferably not coincide with a change of bow. Percussion Vibraphone always to be played with Pedal ‘The choice of mallets is left ro the musicians. Whether hard or soft, always choose mallets which give as much resonance as possible.FIRST BEAT FOR BEING BORN © Copyright 2003 Chester Mase LudFIVE BEATS FOR LIFE SURROUNDING US Seegiaaepmive = moetFIVE BEATS FOR LIFE FORCEFIVE BEATS FOR SURROUNDING NATUREFIVE BEATS FOR SURROUNDING CITIES o « o oFOUR BEATS FOR THREE FRIENDS i sine Ss cltes © 8FOUR BEATS FOR TWO TIMES TWO SISTERSONE BEAT FOR A GOOD NIGHT’S SLEEP WITH ONE BEAT IN SLOW MOTIONONE BEAT FOR LIFE IN USTHREE BEATS FOR TWO INSTRUMENTSTHREE BEATS FOR THREE COMPOSERSTWO BEATS FOR TWO DAUGHTERS