Dedicated to Andra Dārziņš

french horn
"Sāļie Ritmi"

Sonatine for wind quintet

Jānis Kristofers Vītols 2023 op.5

    
Feroce, Volante, con fuoco e spirito ( = 125)

      
simile

  
        

  
3

 

Horn in F


hn.


cl.

                          
14

F Hn.

A
            
 
                     
22
3

  
F Hn.



cantabile

 
                  
29


    
  
F Hn.

 
                  
          
   
36

     
F Hn.

   


                  
B 

     
40

 
F Hn.





              
47

F Hn.
                  
      

    3   
C

            
               
53

F Hn.
           

  


       
            
D

         
60
pizz. pizz. poco a poco cresc.


3

      
F Hn.

   

             5         3 3 3 3 
  

                
66 molto vibrato

F Hn.

 
 
3
with a scratchy intense feeling
                                          
2

  
70

F Hn.

3 3 3 3 3 3 3 3 3 3 3 3

       accel.
   
piu mosso pesante ( = 80)

  
E

         

73 molto vibrato simile

      
F Hn.

             
3
 sub.


                 
78

   
F Hn.

 
3 3 3 3

            
  
81

  
F Hn.
 

This part should come as a oasis in the middle of crazyness with the bassoon and french horn
starting the fifth and the flute, followed by the rest of the instruments that gradualy fade in.
this part is free, except for the first entrance (F) where everyone should join gradually and
not at once.

the first motive is only mandatory the first time, after that we can use notes of the given motive/s, and/or a few
other microtonal and oriental souding notes or effects that follow the origial feeling and
theme of the starting motive. use

the balck lines and boxes in this part of the piece are guides to improvisations and is NOT traditional box notation!

ca.3' 30''
Orientale, luminoso e molto meditatvo, ( = ca. 70)
F
every 5-10 seconds waves of mezzo forte (ppp-mf-ppp), or any other effects
as long as you dont play any other notes than d sharp and

84   
g sharp; hold the fifth until the triads start

F Hn.
 


  

.
Fl.

  

.
Ob.

   
 
.
B♭ Cl.

every 5-10 seconds waves of mezzo forte (ppp-mf-ppp), or any other effects
as long as you dont play any other notes than d sharp and


g sharp; hold the fifth until the triads start

 
Bsn.
 


 87  
3

             
ca. 50''- 1'
F Hn.

            
first motive

Fl.     
 

    
       
first motive

Ob.    
 

             
 
first motive

 
B♭ Cl.

              
 
 

Bsn.

102      
F Hn.

effect; fingering d while letting go and

pressing of the b key every 32' note with taste

    second
  motive
              
Fl.                  
    


Ob. 
    
B♭ Cl.   

    
Bsn.
 

107  
F Hn.

Fl.           
effect; whole or half note double trill with glissandi


        
second motive

Ob.  



second effect; spectral multiphonics, go up or down in the harmonic


spectrum in a quiet fasion. some short ca. 1sec bursts or waves of


motive

  
f or stronger dynamics are allowed.



B♭ Cl.

 
 


Bsn.
4 Play this motive, the notated part. starting quietly and slowly, then, poco a poco, when the black line starts
play the notes in different octaves louder and faster. towards the end the feeling should be this savage
improvisotary feeling thats tending towards some kind of a climax but in stead just results in a few
seconds of silence, as notated; the intensifiation curve should be mathematicaly linear and quite predictable.

  
G subdolo misterioso (ca. = 70)
  
120 poco a poco cresc. e acc.


3 3 3 3

        

F Hn.




Fl.      


    
Ob. 


    
  
.
B♭ Cl.


  
 
3 3 3 3 3 3 3 3

                    

Bsn.

124 

3 3 3 3 3 3 3 3

                 

F Hn.

  
.
Fl.


            
. 3 3 3 3

Ob.




3 3 3 3 3 3 3 3

                       
B♭ Cl.



3 3 3 3 3 3 3 3

                       
Bsn.
 15''-20'' 5

126 
ca.

     
starting example

   
3 3 3 3 3 3

          

F Hn.

      
                  
starting example


3 3


3 3

Fl.

3 3

       
    
starting example

             
3 3 3 3

Ob.

3 3

starting example

 
               
3 3
3 3 3 3

           
B♭ Cl.

      
starting example

   
3 3
3 3 3 3

              
Bsn.

133                 

molto loco

F Hn.

cresc. 

Fl.                 
cresc. 

Ob.                 
cresc. 


B♭ Cl.                  
cresc. 

                
Bsn.

cresc. 
6 Two bars before the fermata, at the 4/4
contact each other. Conclude a tempo
and where the first beat of the bar is.


The stops and goes have to be timed exactly keep playing as if nothing

149   
between all the players.

  
has happened

F Hn.    
4 beats

 



   
Fl.       


  

    
Ob.        


  

    
    
B♭ Cl.    


  

        
Bsn.
 

ca. 35'' - 40''

157       
H

     
first motive

  
F Hn.

  

every 5-10 seconds waves of mezzo forte (ppp-mf-ppp), or

any other effects, as long as you dont play any other notes


than d sharp and g sharp; hold the fifth until the

             

wholenotes start

Fl.

every 5-10 seconds waves of mezzo forte (ppp-mf-ppp), or
any other effects, as long as you dont play any other notes


than d sharp and g sharp; hold the fifth until the

           

wholenotes start

Ob.



             
 
.
B♭ Cl.

effect; helicopter toungingthrow in some small rythmic motives,

as shown in example motive ca. every 5 seconds.

            
  
example motive
3

     
Bsn.


effect; timbral trill, play a trill between the start so slowly so the public doesnt notice the motive, 7
same note, using different fingerings then when the slanted note staffs come, start to play much wilder,
for the respective note just like you played the first triad tutti part; a mathematially
exponential development curve and not a linear curve sould be aimed for.

        
second
deserto (ca. = 65)


motive
170 poco accel. e cresc.

F Hn.
()         
 

Fl.                 

       
Ob.
        
       
B♭ Cl.           

                



Bsn.

186    
  
ca.7''

    
molto acc. e loco

F Hn.

          
Fl. 

    
Ob.
      
   
B♭ Cl.          
          
Bsn.
 

 con
                                    

192 fuoco e pesante ( = 70)

        
F Hn.
3 3
sub.

                       
         
bassoon and clarinet

    
198 look at each other.

5 5 
F Hn.
3 3 3
3
8
J

 Tempo
     
                 

primo con spirito ( = 125)

 
201

  
3

    
   
 
F Hn.

         
K

              
       
208


pizz. pizz.

        
3 3
F Hn.
3


     
                          
214 3

F Hn.
  
cantabile

  
                     
222

      
F Hn.

              
          
              
227 rit.



F Hn.

 

          
           
    

232

          
F Hn.

  
L

      3   
A tempo, delicato e misterioso ( = 125)

              
       
238

F Hn.

 
    

play with confidence, but no one should Sigulda; nometne, sakums Dunte.
expect this note, no loud breaths or big 20 - 07 / 2023
movements. strictly in time.