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PROMETHEAN EDITIONS

CHRISTOS HATZIS

Coming To

Violin and Piano


Christos Hatzis

Coming To

Violin and Piano

PROMETHEAN EDITIONS

WELLINGTON


Coming To (PE119), for Violin and Piano by Christos Hatzis (2010).

© Promethean Editions 2010

First edition © 2014 Promethean Editions Limited (201504)

Series Editor: Ross Hendy

Editor: Brad Jenkins

ISBN: 978-1-877564-19-2 (print)

ISBN: 978-1-77660-119-6 (ebook)

ISMN: 979-0-67452-208-3

Promethean Editions Limited

PO Box 10-143

Wellington

NEW ZEALAND

http://www.promethean-editions.com

No part of this publication may be reproduced in any form or by

any means without permission in writing from the Publisher.

PE119 – ii


Christos Hatzis (1953)

Christos Hatzis is well known in Canada and internationally for his works. Covering a

vast range of styles and genres, his works have been recorded, performed and broadcast

throughout the world.

Hatzis was born in Volos, Greece, and his early music study took place at the Hellenic

Conservatory of Greece in his home town. He continued his studies in the United States,

where he earned degrees from Eastman School of Music, Rochester, New York and SUNY at

Buffalo, New York. In 1982 he moved to Toronto, Canada, having decided that the country’s

multiculturalism was more suited to his own ethos. He became a Canadian citizen in 1985,

and joined the faculty of the University of Toronto in 1995.

Hatzis’ work has received a considerable amount of attention in recent years. With a large

number of presentations of his music in the Americas, Europe, the Middle-East and East

Asia every year, commissions by an international list of soloists and ensembles and several

recording projects by major labels, “Christos Hatzis is currently enjoying a growing international

reputation as one of the most important composers writing today” (CBC Records). The composer

is the recipient of several national and international distinctions, and a number of his works

are released on CD.

It is not unusual for a Hatzis work to become a signature piece for a soloist or an ensemble.

His Old Photographs and Dance of the Dictators have been performed by the Gryphon Trio

hundreds of times all over the world. There have also been an increasing number of all-Hatzis

programs during the past few years.

Hatzis’ music is inspired by proto-Christian spirituality, his own Byzantine music heritage,

world cultures and various non-classical music genres such as jazz, pop and world music. He

has created several works inspired by the music of the Inuit, Canada’s arctic inhabitants, and

his Inuit-inspired works, particularly the radio documentary Footprints in New Snow, have

PE119 – iii


promoted Inuit culture around the globe. His strongest inspiration is his own religious faith,

and his religious works have been hailed by critics and audiences alike as contemporary

masterpieces.

In addition to composing and teaching, Hatzis has written extensively about composition

and contemporary music. His writings have been published on Interface, Organized Sound

and Harmony, are increasingly translated into other languages and are frequently listed as

required reading for music courses in tertiary educational institutions.

Two of Hatzis’s works – String Quartet No. 1 (The Awakening) (PE117) and Constantinople

– have earned him Juno Awards for Classical Composition of the Year (2006 and 2008,

respectively) by a Canadian composer. In 2008 Hatzis also received the Jan Matejcek Concert

Music Award, awarded to the most performed and broadcast Canadian composer of the year.

In 2010 Hatzis was commissioned by virtuoso violinist Hilary Hahn to write a new work for

violin and piano. The resulting work, Coming To (PE119), appears on Hahn’s album In 27

Pieces: The Hilary Hahn Encores, which went on to win the 2015 Grammy Award for Chamber

Music / Small Ensemble Performance. A second commission from Hahn soon followed, with

Hatzis writing the hyper-virtuosic Dystopia (PE121) for solo violin.

In 2013 the Royal Winnipeg Ballet and Winnipeg Symphony Orchestra commissioned

Hatzis to score a major new ballet work, Going Home Star: Truth and Reconciliation. Hatzis

collaborated with award-winning aboriginal throat singer Tanya Tagaq, Steve Wood and the

Northern Cree Singers in creating the score for the groundbreaking production. The ballet’s

subject matter is close to the composer’s heart as it confronts the impact of the residential

school system on Canada’s aboriginal young people. Upon premiering in October of 2014,

Going Home Star received critical acclaim.

Most of Hatzis’ writings and other information about the composer can be found at

http://www.hatzis.com.

PE119 – iv


Coming To (2010)

Coming To (2010), for violin and piano, is an encore piece commissioned by American violin

virtuoso Hilary Hahn as part of her In 27 Pieces: the Hilary Hahn Encores project. Accordingly,

this short work incorporates the expressivity, dynamism and dexterity typical of Hatzis’s

writing for string instruments, and provides violinists with an opportunity to demonstrate

that their musicianship is of the highest calibre. Coming To is an enjoyable journey from

subdued microtonal meanderings to dramatic lyricism, with frequent intermingling of the

two states. The violin’s woozy surges, full of quarter-tones and fine timbral detailing, steadily

transform into expressive passages that demand quick hands in swapping between arco and

pizzicato techniques. The accompanying piano supports the story of the piece throughout,

emerging from delicate, harmonic padding to provide polyrhythmic background figures and,

finally, punchy rhythmic support as the work nears its manic climax.

The composer writes:

The task of composing a work under five minutes in duration presented me with the

challenge of developing a complete musical idea in a short period of time. To overcome

this challenge I looked for ideas in the structuring of music videos – a story is told within

the given time constraints but it unfolds at a leisurely pace, belying its actual clock time.

This is an exceptional composition for me, as I do not usually dabble in programmatic

music. In Coming To, the story goes something like this:

A young man, a ballet dancer, lies mortally ill in a hospital bed. In a hallucinatory state he sees

a beautiful woman next to his bed, playing a violin. Music initially emerges from the beeping

monitors the man is connected to. As the music gradually comes into focus the man rises from

his bed and performs a slow dance with the violinist. The dance becomes increasingly frantic

and exhausting. At its climax the man performs a virtuosic pirouette and collapses to the floor.

Coming To was commissioned and premiered by Hilary Hahn. It was sponsored by Chen Zhao

and Carri Abrahms, in honour of daughter Mila. It received its premiere performance by

PE119 – v


Hilary Hahn (violin) and Valentina Lisitsa (piano) at Memorial Hall, Cincinnati, Ohio, USA, on

13 October, 2011. A recording of the work by Hilary Hahn (violin) and Cory Smythe (piano)

appears on the Deutsche Grammophon release In 27 Pieces: the Hilary Hahn Encores (0289 479

1725 0).

Performance notes

Violin

• µ – raise note quarter of a tone

• B – lower note quarter of a tone

• All glissandi begin immediately and last for the entire notated duration.

• Material in the upper staff from mm.1–4 is optional.

• The violin tone should be subdued at the beginning of the work, gradually warming and

reaching its full expressiveness at m.29.

• At m.5 the violin should sound like a distant ambulance siren with its associated

“Doppler effect”. There should be a timbral transformation from diffused to clear, and

back to diffused, matching the dynamic envelope of each gesture.

• m.57: The line extending from the second note of each of the eight four-note arpeggio

groups indicates that the note should be sustained over the third and fourth notes.

The first two notes in the arpeggio should crescendo throughout but there should be a

corresponding decrescendo with the third and fourth notes.

Piano

• Tenuto markings should be understood as softer accents.

PE119 – vi


d

COMING TO FOR HILARY HAHN

Christos Hatzis

Violin

(1 player)

Piano

Ghostly Π= 60

œ o I

.

*

4

&


J œ ‰ Œ


II

4

Oœ O œ œ o œ o O YO œ œ

&


&

?

4

4



œ œ œ œ œ œ

* upper staff in the violin part from mm.1-4 is optional.


ad lib.


œ

œ

O œ


. œ o J œ ‰ Œ

Oœ O œ œ o œ o O YO œ œ


œ œ œ œ œ œ œ œ œ œ œ


O œ

3

&


. œ o J œ ‰ Œ

Œ

œ o

Œ

œ o Œ U Œ U

&

&

Oœ O œ œ o œ o O œ YO œ

(√)


œ œ œ œ œ œ œ œ

œ

œ

œœ

O œ

Ow

w

w

O œ

U

U œ

œ

4 6 4 6 4 6 4 6 4 4 4 4 4 4 4 4

U

Œ

U œ

œ

?


∑ Œ U Œ U &

5

&

4


œ œ œ œ Bœ




œ µ œ Bœ

π





œ


œ œ œ œ Bœ




œ µ œ Bœ

π





œ

&

&

4

4

blurry

Œ

œ

π

œ

J


œ.

J

œ . ‰ ‰ œ ‰


The pianist should use the sustain pedal to slightly blur

the harmonic progression between measures 5 and 11.

œ


œœ .

œ ≈ ‰

R

˙

˙

‰ Œ ‰

œ

J

œ œ

Coming To © 2010 Promethean Editions Ltd

This Edition © 2014 Promethean Editions Ltd PE119 – 1

ISMN: 979-0-67452-208-3


7

&

&

&


œ

R ≈ ‰

œ œ œ œ Bœ


œ œ œ


œ mœ

π

œœ

œ nœ

œ

œ . ‰ ‰ j œ

œ


œœ

œ œ œ

r œ

œ ≈ ‰

œ œ œ œ œ œ œ œ œ œ œ œ

4 6 4 p


4 6 ˙ œ œ œ œ œ œ œ œ ˙˙ œ


œ œ

4 ∏ π

4 6 ˙

˙

˙ 4 ∏

9

&

4

œ


œ œ œ œ Bœ



π


œ œ œ œ œ œ


œ œ Bœ





µ œ µ œ nœ

π


œ œ œ œ

&

4

Œ

œœ

œ œ

J ‰

œ

œ

J .


œ œ . ‰ Œ

œ

œ

œ

&

4

œœ . œ

‰ ‰

j œ œœ œ

œ œ ≈ œ

r

œ ≈ ‰

œ œ œ

j

œ œ œ ‰ œ

11

&

&

&

œ œ œ Wœ

œ œ œ œ œ

p

π

œ

œ œ

œ

œ œ œ W

œ

œ

œ

œ œ œ

p

œ œ œ œ œ œ œ

π

œ

œ œ œ œ Bœ




µ œ µ œ nœ


4 6 4 5 5

∏ p ∏

m U w.

4 6 mw.

,

4 4 6 4 U

w.




œ µ œ µ œ nœ

molto rit.



,

œ œ œ

PE119 – 2


13

&

Π= 60 poco accel.

4 j

œ ‰ œ - œ ≈ mœ

œ œ œ

p

Π= 64

œ


j

œ


œ œ

3

œ œ œ

j

œ ‰ œ - œ ≈ œ

œ

4 6 4 6 4 6

&

&

4

4

‰ œ œ œ œ œ œ œ - œ œ -

.

π p


>

œ œ mœ

œ - œ œ - œ œ - - œ œ œ œ Œ

p


‰ œ œ œ œ œ œ œ - œ œ.

π p


16

&

j

w œ .


œ œ

3

œ œ œ

j

œ


œ- œ ≈ œ œ œ œ

&

&

4 6 4 6 4 6 4 4 4 4 4 4

‰ œ œ œ œ œ œ mœ


- œ œ œ œ œ œ œ - œ œ œ œ

π

p


Œ


œ œ œ œ œ œ œ œ œ - .

π


18

&

œ j

œ .


œ œ œ œ

œ

œ œ œ œ mœ

œ œ œ

4 6 4 6 4 6

&

&

œ œ œ œ œ œ œ œ œ- œ.

p


œ œ œ œ mœ


œ œ œ œ œ

m œ ≈ œ œ œ œ nœ

π


œ

PE119 – 3


20

&

4 6 bw

œ ‰. r Y Y Y

4 6 4 6

π

œ

F

4

j

œ


œ - œ ≈ Wœ

œ œ Xœ &

&


- œ bœ

- œ œ œ œ œ ≈ œ

p

Ó


œ œ b œ œ . ‰

π


œ œ œ œ œ œ œ œ.

p

π


Y Y Y

Y Y Y

4

4

‰ œ œ œ œ œ œ œ - œ œ.

Œ

F

3 3 3

œ œ œ œ œ œ œ - œ œ

F

22

&

Y Y Y

j

œ œ œ ‰

3

œ œ œ œ œ

j

œ

‰ -

œ œ Xœ

œ œ œ

4 6 4 6 4 6

&

&

Y Y Y

Y Y Y

‰ œ œ œ œ œ œ œ-

π

F

œ œ.

3 3 3

Œ œ œ œ œ œ œ œ œ - œ

π

F

‰ œ œ œ œ œ Xœ

œ - œ œ.

π F

Œ

3 3

œ œ œ œ œ œ œ 3

- œ œ

π

F

24

&

Y Y Y

w

j

œ

‰ œ

œ

œ œ ≈ œ œ œ œ

&

&

Y Y Y

Y Y Y

4 6 4 4 6 ‰ œ œ œ œ œ œ œ - œ œ.


œ œ œ œ œ œ œ - 4 π F

4 6 œ œ œ œ π F

3

œ 3 3

Œ ? œ œ - j

4 & œ œ œ œ œ œ œ

3

3

π F

π

‰ œ œ œ œ œ œ œ- œ œ.

π F

œ œ œ œ- œ

? œ œ œ œ

œ

3 3

3

π F

PE119 – 4


26

&

Y Y Y

3

3

œ œ œ œ œ œ œ

œ

Œ

œ œ

œ

J ‰

œ

Y œ œ œ Yœ

œ

4 6 4 6 4 6

&

?

Y Y Y

Y Y Y

‰ œ œ œ œ

œ œ - œ œ œ.

π F

œ œ

œ

œ

œ

œ œ - œ œ œ

π

F

3 3 3


œ

œ

œ

œ œ

œ œ

œ œ

. œ

π

œ

π


œ

F

œ

œ œ

œ œ

œ

F

3 3 3

28

&

Y Y Y

4 6 X w

œ .

X X X W

j


4 6 4 6

œ

œ

f

g œ

â

ƒ

g œ

â

œ œ œ œ œ

3

&

?

Y Y Y

Y Y Y

‰ œ œ

œ œ

œ œ

œ œ

œ œ

œ œ

œ œ

. œ ‰


π

π

F

3 3 3 3

œ œ œ œ œ œ œ œ œ œ œ œ j œ


>

f

p

X X X W

X X X W 8 4 8 4 8 4

> œ

œ

œ œ œ œ œ œ ƒ p

>

3 3

œ

œ

œ œ œ

œ

J

œ

J

œ

ƒ P

œ

R ≈ ‰ Œ

3

œ œ

œ Œ

J

œ

f

31

W œ

& œœœâ

g

œ

œ


3

œ

r

W œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ

spiccato

W œ . œ . œ . œ. œ . R œ>

6


&

?

W

W

> œ

œ

œ œ œ œ œ œ ƒ

> œ

œ

œ

J

œ

ƒ

3 3

œ

J

œ

P

p

œ

œ

Œ

œ

œ

J

f

œ œ Wœ

X

œ œ œ

f

3

œ

œ œœ œ Wœ

Xœœ

œ œ

6

6


œ W œ ≈

. œ

. œ œ

œ.

œ


œ.

œ


≈ ≈

W œ> .

ç

œ . ≈ ≈ œœ>

ç

PE119 – 5


34

&

&

?

W

W

W

ord.

6

spicc.

3

œ œ œ œ œ œ W œ.

œ .

œ . œ œ œ

fl fl â

ç

‰ ≈

?

œ˘ œ˘ œ ä

œ â

ç

W ä

œ

‰ ≈ r

œ œ œ

œ œâ . œâ

f ç ç

f

ord.

ç

ç

&


â

ƒ


â

> œ

œ

œ œ œ œ œ œ ƒ

>

œ

J

œ

ƒ

œ

œ

3 3

œ

J

œ

P

œ

œ

p

œ

œ œ œ Yœ

3

œ Xœ

œ

R

œ ≈ ‰ ‰

œ Xœ

œ

J

œ

f

3

œ

œ

œ œ œ

Œ œ

f

3

3

œ

37

W

œ œ œ œ Wœ

œ œ œ

&

6

Ï

&

W

? W

œ

ƒ

œ

œ

ƒ

œ


W

W œ

œ


3 3

3

6

œ œ œ œ œ œ œ œ œ œ Wœ

œ œ Wœ

6

œ . œ œ .

3

6

œ œ œ Xœ

œ

3


œ œ . F

≈ ‰ œ

œ

3

F


- spicc.

®œ œ œ œ

œ . œ . œ - œ ≈ œ+ œ + œ + > œ

P

œ ≈ œ .

P

œ

œ ≈ œ .

œ

3 3

W

œ .

œ . ≈ œ .

≈ œ .

œ

≈ œ .

œ

pizz.

œ¯

œ¯

œ

≈ W

g œ

R

arco

œ> œ

+

spicc.

œ

+

‰ œ

+ œ . œ . œ . œ .

3 3

W œ

œ œ

W œ

œ œ

≈ œ Wœ

œ - œ . ≈ œ ≈ œ . œ .

‰ œ

œ

40

&

W

‰ ®

ord.

œ .

œ W œ .

œ W œ .

œ œ œ œ œ. Wœ

œ œ . œ-

. . ≈

œ

g œ

pizz.

g œ

W

g œ.

arco

œ œ œ . œ œ.

œ œ . œ œ.

œ œ .

œ œ .

&

?

W

W

≈ œ . œ . ≈ ≈ œ

œ . W œ . œ

fl

œ j

œ œ .

œ .


≈ ≈ ≈

œ . œ < œ. œ < œ.

≈ ≈ ≈

œ œœ< œœ< ≈ W œœ

œ W .

<

‰ œ W . œ .

œ

œ-

≈ œ œ .


œ . ≈ œ.

œ.

œ


œ.

œ

œ¯

œ¯

œ

PE119 – 6


43

&

&

?

W

W

W


œ . œ œ.

œ œ . œ œ . œ œ . œ œ . œ œ Xœ

≈ œ œ œ - W œ

. ≈ œœœ .

œœœ œ≈

.

‰ Wœ œ

œ


œ

œ

F

œ

œ

f

f

3


œ œ œ œ Wœ

œ œ œ œ œ Wœ

œ œ> œ Xœ

œ œ

j


6 6

6

ƒ Ï p

œ œ W

W œ

3

ƒ

œ

œ œ 3

œ

ƒ

œ W

œ œ

œ œ œ œ œ

W

œ

> œ X Ï

Xœ 3 3

3 3

œ œ X ‰


œ œ œ ‰

Wœ œ> œ œ

Ï

X

X

X

œ ® Wœœ œ œ œ . œ œ . œœ . -

œ . œœ .

F .

‰ Wœœ

≈ œœ


Wœ.

œ - œ .

œ

F

â

œ≈ œ œ œ ≈

- œ œ œ ≈

. œ- œ . œâ

16 4 16 4 16 4

46

&

&

?

W œ . œ œ . Wœ

W œ .

œ W œ .

16 4 œ

16 5

16 4 œ Wœ œ

W œœ

16 5

œ œ< Wœ

œ . > >

16 4

œ œ Wœ œ . œ< Wœ

>

œ

œ

>

spicc.

œ˘ œ.

ƒ

W ä

œ

W œ . W œ . X œ . œ . W œ . X œ . œ. ≈

9:6

W> ä

œ Wœœ

ä

œ

R

ord.


œ˘ œ. W œ . W œ . X œ . œ . W œ . X œ . œ. ≈

16 3 16 3

16 5 ƒ


≈ ≈

œ ≈

16 3

Wœ œ ≈


Wœ œ

â


œ

â â


â

spicc.

W ä

œ

9:6

W> ä

œ Wœœ

ä

œ

R

ord.


49

&

&

?

U ä

4 œ œ

&

Ï P

16 3 3

8 2 4 ,



œ œ W œ > . œ œ


œ œ Œ

j

>

- gœ + gœ + gœ +

p

16 3 ≈ W W 8 2 4 œ

> œ

W W ä

W > U

≈ œ

W> ä ,

œ œ ≈ ‰ Œ Ó

œœ

R

>

Ï

16 3 œ ≈ Wœ 8 2 ≈ œ ≈ œ 4 U ,

r ≈ ‰ Œ Ó

œ

â


ω

â

œ> œ

â

PE119 – 7

Π= 44

,

ad lib.

œ


œ œ

œ

W

œ

J

‰ Œ


52

&

&

j

œ

ritard. Π= 44

pizz.


˙˙ ‰ ≈ œ X œ

+ œ +

Œ

œ + œ + œ + œ + œ +


f

3

Π= 64

arco

3

4

8 œ + œ œ Wœ

œ œ . œ . œ .

œ Wœ

f

4

8


6

œ œ œ œ œ Wœ

œ œ œ

3


U

54 œ-

œ

j

œo

& œ j

œ

o

Π= 44

pizz.

+ +

J œ œ œ œ œ 4 2

+ Wœ

œ œ œ œ . œ . œ .

œ Wœ

œ œ Wœ

œ œ œ œ œ œ

arco

3

œ -

j

œ

3

ƒ F

ƒ

3

6

f

j œ œ

W U œ

P

X

senza misura

I II III IV

57

œ œ œ

œ

œ

œ œ


œ

& X


B œ

B œ



b œ

b œ

µ œ œ

B

µ œ

B œ



n œ

b œ


µ œ B œ

µ œ



m œ

n œ

µ œ Bœ



µ œ µ œ

pp cresc.







µ œ µ œ nœ





œ µ œ œ nœ

œ Bœ

œ mœ

œ µ œ œ

& 4 8

58

&

&

?

‰ = 44

4 X œ . œ

8

. W œ . œ . W œ.

œ. œ. œ . œ . œ . œ . œ . 6

œ . œ . W œ .

œ W œ œ X œ . œ.

. . . œ . œ. œ . œ.

6

6

f

6

4

8

4

8



accel.

œ . œ . œ . œ . œ . œ .

‰ = 54

W œ . œ . œ . œ . œ. œ . j œ ‰

6

â

6

Ï



W œ . ä

œ œ J

J

ƒ

œœ

W . Ï

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PE119 – 8


PROMETHEAN EDITIONS

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