UCLA

Contemporary Music Score Collection

Title
Manjushage

Permalink
https://escholarship.org/uc/item/2hn7r2gx

Author
Wan, Yuk Bun

Publication Date
2020

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University of California
曼珠砂華
(Manjushage – Red Spider Lily)
Dedicated to Štěpán Filípek and Katelyn Bouska

For Cello and Piano (5:00)

Barry Yuk Bun, WAN

尹鈺斌
Morelia & Ustí nad Labem 2019
Program note:

Manjushage (曼珠沙華) or red spider lily is a plant in the amaryllis family, Amaryllidaceae,
subfamily Amaryllidoideae. Originally from China, Korea, and Nepal. It flowers often in the
late summer and autumn. It has no leaves during blossom while no flowers when leaves
have grown.

Because of the nature, some legends have it that when you see someone that you may
never meet again, these flowers would bloom along the path. Perhaps because of these
sorrowful legends, Japanese often used these flowers in funerals. The popular Japanese
name Higanbana (彼岸花 Higan bana) for Manjushage literally means higan (the other
shore of Sanzu River) flower, decorative and enjoyable, flower of the afterlife in gokuraku
jyōdo (極楽浄土 gokuraku jyōdo). It is the only flower grows in the path of hell.

According to one of the most fascinating and romantic mythology, The flower fairy Manju
(曼珠) and the leaf fairy Shage (沙華) were in love; nonetheless, they could not meet each
other since when the flower is in blossom, leaf never show while the flower never show up
when the leaf has grown. They missed and crazy about each other but they were not
allowed to meet. After several millenniums of suffering, they decided to break the rule of
god and met up secretly. Finally, the god found out and they were penalized to become
humans and suffering in reincarnation; also, they were cursed that they would never be
together.

Every time in the reincarnation, Manju and Shage remember everything of the past life
when they smell the flowers in the path of the hell, they even swear that they would always
be together each time; nevertheless, according to the curse of the god, they are forced to
the reincarnation again and they will never be together, no matter how much they want to
be together.
 曼珠沙華
(Manjushage - Red Spider Lily)
Dedicated to Katelyn Bouska and Štěpán Filípek
senza misura (ca. q = 65-75)
Barry Wan
avoiding the metric accent
senza vib. molto vib.
Recalling The Shape and Characters of Manju (曼珠 or flower fairy)
? 44 U
Violoncello ∑ ∑ ∑ ∑ ∑ ∑ b˙ ™ gliss. bœ
o mp

“”j
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

b ww b wbw

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
w w -™ b œ
4 ∑ ∑ ∑
U
∑ bb˙˙˙ ™™ œ
&4
p f p dolce pp p f p dolce ppp mp pp
Piano
bw
w w
w U
{ 4
&4
PI
b˙˙ ™™ œ w
ø
b ˙˙ ™™ nœ b w
w-
ø
P III P III

=
From slow to very fast (non-misura tremolo)
senza vib. poco vib. sul tasto
8 ( h. ) sul tasto nat.

? œ æ æ b˙ ˙ g lis s
b˙ ™ . . æ
Vc. œ wæ œ™æ ‰ . b˙ bœ
œ œæ
p o mf p

˙™ b œœ ˙˙ b<n> b˙˙˙ “”

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

bb ˙˙ ™™ œœ bw
& Œ ∑
p mp p f p
Pno.
˙˙ j -˙
bœ œ j #œ Ó b˙
{& ∑ J œ ˙
˙
ø
Ó

= A tempo
q = 80
*5-8" Recalling The Characters of Shage (沙華 or leaf fairy)
molto vib.
13 sul pont. tailpiece sul pont.
nat. ,
? ææ Œ Œ
√ ,
œ œ#œ. 3 3 3 3 3

#œ œ œ#œ œ œ. ˙æ™ j‰ œ
œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. . œ. œ.
Vc. ˙ ˙ œ V ˙- ™
o p o mfpp mf
> >> > > >
fpp mf
“”
U
bw “”
œ œœ -œ
∏∏∏∏∏

œj b˙ w ,
w bœ-œ ™™ œj b œJ bœ nœ #<n>-œœ #œ œ. w ,
& Ó #w- ∑
mp p mf sempre
Pno.
*5-8"
√ >. >.
{& ∑ Ó™ ?

P III
bœ <n>w-
ø
˙™ œ -˙ ™ œ‰
J ˙-
>
œ ‰ Œ
J

*let the sound sustain until you are satisfy to finish this section.
2 19
3 3 3
? œ 3 3 3 3
œ
3 3 3 3
œ
3 3 3 3
œ
3
Vc.
. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #>œ. œ. œ. . >œ. œ. œ. >œ. œ. #œœ. œœ. œ. #œœ. œ. œ. œœ. œ. œ. . œœ. œ. œ. œœ. œ.
> >> > > > > >> > >> > > > >
f

3 3 mute strings with the edge of hand

& Œ ˙™ ‰ œœj ‰ ‰ j
œ. œ‰ Ó Ó ? ‰g
g Πg
g
>- >. > 3
f
Pno.
j j > j >œ. >œ+. ord.
>œ. >œ. >œ+. >œ+. >œ+. +. >œ+. bœ+.
œœ. #>œœ. ‰
3

=
{? ‰
œ
>-
Œ œ
#œ. ‰
>
œœ ‰ Ó
>.
3
œ-
>
œ
#œ.
>
‰ ‰œ
3
J
‰ ‰œ
J
3
‰ œ œ ‰
3
œ ‰ œ ‰ ‰œ œ ‰œ
J J
P I sempre
33

23
3 3 3 3 3 3 3 3
?
Vc. #œœ œœ œ. œœ œ. œ. œœ œ. œ. œ. œœ œ. œ. #œœ œ. #œœ œœ œ. œœ œ. œ. œœ œ. œ.
>. >. >. >. >. >. >. >. >. >.
? gg g
g
Pno. +
? œ>œ. >œ+. + bœ>œ+. œ+. >+ + + + >+ + +
œœœ. œ. œ œ œœœ. œ bœ
>+ + >+
œœœ. œ œœœ.
>+ + >+ + + >+ + +
œœœ. œ œœœ. œ. œ œœœ. œ. œ
{ œ œ œ
3
‰
3 3 3 3 3 3 3

= arco
pizz. sul pont. 6-12"
25 U « . . . . √
3 3 œbœ œ#œ attacca
Vc.
? œœ Œ Ó #w
w
#œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ ææ
>. >. >. >. >. >. >. >. >. >. >- œ o
ff
. . .
“” œb œ .
attacca
? g
g Œ
##www
w
nœnœ œ. ‰ Œ Ó
& J
ff f 6-12"
Pno. ord.
+ >+ >+ >+. >+. >+. >+. >+. >+. >+. U >- 6™ √
)
> Cluster
? bœœœ. œœœ. œœœ. bœœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
{ 3 3
& bbw
ww
w
P II
? ‰ 6™ )

= senza misura (ca. q = 65-75)

avoiding the metric accent
arco
Manju and Shage finally meet after millenia sul pont. con legno battuto arco
28 con legno tratto pizz. w œ œ senza vib.
, ææ ææ Œ Œ œ U
Vc.
? ∑ Ó Œ œ ˙ Œ ? Œ bœ Œ
&
œ w
p o pp mfp o mp pp

b ˙˙ ™™ U
, œ bw
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

bww œ w bwbw
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

w w b˙˙ ™™ ∑
&
Pno. p f p dolce pp p f mf p pp
pizz. pizz.
bw ˙ on key U w
{?
PI
w

P III
∑ Ó w
w
ø
P III
∑ Ó
b˙
 sul pont. con legno
slap the side
35 molto vib. pizz.
with finger tips
arco
osc¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯ traggo
ad lib. +-4/1 tone *5-8" 3
œ b˙gliss.w U √ ,
? Œ <n>œ ‰ Œ Ó w w
Vc.
w œ b œ ¿j ¿ J œ bœ bw
o mp mf o p o
”
“U
- on key “”
∏∏∏∏∏
bb ˙˙˙ ™™™ b -œ œ œ œ w

∏∏∏∏∏
on key
b œj œ ™ b œ
œ ˙˙ œ bœ b ww ,
& Œ J J nœJ bw ∑ Ó ∑
Pno. mp mf p
pizz. bonwkey pizz. on key
U √
*5-8"

{
? Ó Œœ ∑ ∑ w Œ bœ
w ˙ bw
PI ø “‘
q=85
= poco rubato
arco
senza vib. molto vib. poco vib. molto vib.
(nat.)
sul pont. nat.
43 sul pont. ˙
IV
? ≤
≥ U
Vc. w œ ˙™ ˙ Œ œ ˙™ bœ ˙ gliss. b˙ ˙™ Œ Œ
˙O ™™ ˙O
o mp o o mf o pp pp mp
molto espress.
“” on key
-
bw “˙™” b ˙˙˙ mute strings with
the edge of hand

& Œ ∑ ∑ ∑ Ó ? Œ g
g ∑
Pno. pp p pizz. pp + ++
p
U œ 
œbœ
ord.

{
? ∑ ∑ Ó Œ
PI
∑ ∑ ∑
ø
Œ ˙™ Ó
˙
ø
= rit.
51 œ gliss. -œ ™ b œ. sul tasto molto vib.

J œ ˙™ * 5-10" √
Vc.
? Œ Œ ˙- bœ gliss. b˙ æ
˙ wæ
o p mp
“˙” * 3-8" √
œ
? ? g
g U
œ
∑ & Ó ˙ ∑ & Ó
Pno. mp p
? b˙˙+ + ord.

{ ∑ ∑
P I + III
∑ ˙
w
“‘
&

= P I + III
*dying out gradually until you are
A tempo q=70-85 satisfy to the next section
56 sul pont.

Vc.
? æ Œ ∑ &
˙æ™
pp o
œbœ œ œ œ œ œ œ
<n> œ b œ œ œ œ œ simile legato

& ‘
mp dolce
Pno.
7 7 7 7

œ œ œ œ œ œ œ œ œ œ œ
{
& bœ œ
P I sempre
œ ‘
 58 sul tasto
4
Vc. & œ œ j ‰
bœ œ.
mf >
f
m.d. m.s.
œ œ
œ bœ
&
œ bœ œ œ œ œ œ œ
<n> œ b œ œ œ œ œ
Pno. &
mf

=
Vc.
{
&
59
b

& bœ
œ œ œ œ

œ
3
7

bœ œ
ææ
7 œ œ œ
œ œ œ

bœ
æ
œ 7

œ.
j
7

‰
œ œ œ

>
mf œ bœ
œ bœ
&
b œ œ bœ œ œ œ œ œ œ œ
<n> œ œ œ œ
Pno. &

=
Vc.
{
& bœ œ
60

& œ
œ œ 7

œ bœ œ
7 œ œ œ

œ
œ œ œ
œ

œ
J
bœ
7 7

œ
j
œ œ œ

. b œ.
œ œ œ
œ
&
œ bœ œ œ œ œ œ œ
<n> œ b œ œ œ œ œ
Pno. &

=
{
&

61
b œ œ œ œ

3
œ
7

æ æ
7 œ œ œ
œ œ œ

?
œ

b-œ
7

nat.
-
b˙
<n>˙
7

sul pont.
>. nat. 3
b œj œ œ
œ ‰‰ œ œ
œ œ œ

Vc. & œ bœ œ ææ
bœ œ - .J
œ œ œ
œ
&
œbœ œ œ œœœœ
<n> œ b œ œ œœ œ bœœœ ™™
™ œœ
Pno. & ∑ & Œ Œ œœœ
mf

{
& bœ œ
œœ 7 7 œœœ œœœ
œ
7 7 œ œ œ >˙˙
b˙ ?
bœ
œœ œœ
 sena misura
The God has found out they are meeting in secret and curses them
5-9" 5

. æ U
>. , adstarting
lib: play the pich-class below with any register freely.
63 from the lowest rester with double stop and accenct from time to time. Accending, crescendo and
œ bœæ™ œ j accelerando (from slow to very fast) gradually, exposing it until you feel the energy is full with the piano.

Vc.
? bœ bœ œ
œ œ œ œ™ œJ œ # œ œ œ œ #œ
Œ ææ # œ( )
>.
f

b œœ-œœ , from slow to very fast (as fast as possible), exposing it until you feel the energy is full with the cello.
bœ œ œ Œ
& œbœb œ <n>œœ
œ
Pno.
bœ œ Uj # œœ
{? <n>œ Œ

PI
‰
“‘3
œ œœ
œ. f

P I sempre

=
* you can choose the top note in any register
following the piano and dim. gradually
sul pont. keeping the sustain from the cluster
65 j æ for a while

Vc.
? œ¿ *
‰ ˙˙æ™™ ∑
œœ
w-
>.
fff mp o
ad lib
Waiting for the sound fill in the entire hall playing as fast as possible and
(ca. 5-8" it depends on the live acoustic) fading out as the cluster dies. keeping the sustain from the cluster
for a while

& #)) œ #œ œ #œ œ #œ ∑
( œ œ )
Pno. *Cluster mp o
? n) œ
{ #)
fff
( #œ œ #œ œ #œ œ œ
) ∑

=
9-11" 9-11"

arco
pizz. (pizz.) sul tasto nat. sul pont.
68 senza vib. molto vib.
« œ bœ II
? j ‰ Œ J ‰ J ‰ w
Vc. œ
> o o
f mp
ff subito

pizz.
(act. sound)
& ∑ ˙
( ˙)

f subito p mp
Pno.
gliss over strings touch 5th part. nodes

{? with finger

j lis s
œ g
“‘
.

P I sempre
w
w
o
 9-11"
6
*Slow gliss. and fading out gradually
“”
II
70 Oo gliss. ‚ 2-3"
√
Vc.
? #‚œ ∑
ppp mf o

mute strings with the edge of hand 2-3"

From very slow to very fast and then return √
& bh ∑
h
ppp poco f ppp
Pno.
b œ+ + + + + + + + + + + + + + + + œ+ + + + + + + + + + + + + + + + let ring
√
{
?
(P I sempre )
∑ &

=
senza misura (ca. q = 65-75)
avoiding the metric accent
They are forced to suffer through infinite re-incarnation
72 arco sul pont.
? √
Vc. ∑ b˙ bœ Œ ∑
b w~ œ ˙™
o p o o fp o
ord.
m.s. & m.d.
“”w
m.s. & m.d.
mute strings with “”

∏∏∏∏∏∏
bw bb∫ ww
the edge of hand
ww
∏∏∏∏

ww
w
& w w ∑ ∑
bh nw

Pno. p f p dolce pp p f pp p f

=
{
&
PI
∑ b˙˙ ™™
P III
œ
∑
++

bœ œ
+
˙™
ø
+
œ ∑

con legno battuto *

77 œ bœ arco
‚œ O˙ O˙ √
~w
? ∑ J œ Œ ‰ j œ Œ Œ
Vc. J ¿
p pp slap the side
f. t.
mp pp p o
gliss over strings
with finger
“”
- ˙ *
∏∏∏∏

& ∑ ∑ bbww
w Ó j liss.
œ g
√
∑
pp
p
Pno. p dolce pp

pizz

{
& b ˙˙ ™
™
P III
œ
U
<n>w
ø
Ó Œ
œ
∑

*holding the note and pedal until

√
∑

you feel like it is enough for ending