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  • Ruach (For 2 Flutes (Doubling On Piccolo and Alto Flute), Transposed Score) (2004)

    Caricato da

    Christian Asplund
    109 visualizzazioni26 pagine
    Movements are titled after letters of the Hebrew alphabet. Quotes in footnotes and interpretations of Hebrew letters are taken from Friedrich Weinreb’s VOR BABEL, Die Welt der Ursprache, translated by Owen Clark and Rebecca Clark. The movements are as follows (haven't figured out how to get Hebrew letters to show up yet): d (Daleth: Door) h (He – Window) w (Waw: Hook) z (Zayin: Sword) x (Cheth: Enclosure) m (Mem: Water) n (Nun: Fish) ( (Ayin: Eye) p (Peh: Mouth) r (Resh: Face) # (Shin: Tooth) t (Taw: The Cross) Ruach is a Hebrew word meaning, variously, spirit, wind, sound, tone, voice, vowel. The Ruach is the part of the tripartite soul that animates the nephesh, or body, and binds it to the neshamah, that part of the soul that comes directly from God. Weinreb describes ruach in terms of its role in language as the vowels, which have no written representation, and which give voice to the consonants that provide the form of language. Each of the Hebrew letters has a symbolic meaning and a number that it represents. The sequence of Hebrew letters symbolically outlines both the creation of the universe and the conception and birth of a person. Quotes below and in footnotes throughout the score are from Weinreb. "Daleth/4: the door of decision[,] conveys that when our experiences carry us to the limits of usual perceptions and expectations, we face the possibility of going outside of them." "He/5: the window of life. He lets us know that rather than leave the confines of our world, we may let in the light of what cannot be expressed here." "Waw/6 binds the worlds. Waw, as man of the 6th day, is the hook which can bind worlds in a way not possible previously. The story of the Bible likewise binds our world to eternity." "Zayin: man as weapon. Zayin, man acting in the gratuitous fashion of God, is the weapon to fight the utilitarianism which is the enemy to God." "Cheth/8: the enclosure of self-satisfaction. Cheth/8 represents the temptation to believe that our struggles can end while we are yet in this life. It is a small step from the light let in by the opening of he/5 to the darkness of being closed off to all but our own devises and understanding." "Mem/40: time passes. Mem is 4 on a new level; it is the full duration of movement, hence time." "Nun/50: the fish swims in time. Nun/50 brings life to time just as the window of he/5 brings light into the house. Man risks drowning in time, which means losing his individuality in conforming to the demands of this world." "Ayin/70: the eye sees. The form of ayin/70 shows the connection of waw/6, man and zayin/7, this present world. Ayin takes in everything that can be seen." "Peh/80: the mouth speaks. From peh, the mouth, comes forth the word, whose poetry and harmony can bring redemption." "Resh/200: the full head of man appears. With resh/200, the head, man's full face, first appears." "Shin/300: the tooth digests our experiences. Shin/300,... has 2 forms, dependent upon how man "speaks" his "6's and7's", how man encounters life." "Taw/400: all ends in the sign of the cross. [It] is truly the end, and also the purpose of suffering."

    Titolo originale

    Ruach (for 2 flutes (doubling on piccolo and alto flute), transposed score) (2004)

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    Movements are titled after letters of the Hebrew alphabet. Quotes in footnotes and interpretations of Hebrew letters are taken from Friedrich Weinreb’s VOR BABEL, Die Welt der Ursprache, translated by Owen Clark and Rebecca Clark. The movements are as follows (haven't figured out how to get Hebrew letters to show up yet): d (Daleth: Door) h (He – Window) w (Waw: Hook) z (Zayin: Sword) x (Cheth: Enclosure) m (Mem: Water) n (Nun: Fish) ( (Ayin: Eye) p (Peh: Mouth) r (Resh: Face) # (Shin: Tooth) t (Taw: The Cross) Ruach is a Hebrew word meaning, variously, spirit, wind, sound, tone, voice, vowel. The Ruach is the part of the tripartite soul that animates the nephesh, or body, and binds it to the neshamah, that part of the soul that comes directly from God. Weinreb describes ruach in terms of its role in language as the vowels, which have no written representation, and which give voice to the consonants that provide the form of language. Each of the Hebrew letters has a symbolic meaning and a number that it represents. The sequence of Hebrew letters symbolically outlines both the creation of the universe and the conception and birth of a person. Quotes below and in footnotes throughout the score are from Weinreb. "Daleth/4: the door of decision[,] conveys that when our experiences carry us to the limits of usual perceptions and expectations, we face the possibility of going outside of them." "He/5: the window of life. He lets us know that rather than leave the confines of our world, we may let in the light of what cannot be expressed here." "Waw/6 binds the worlds. Waw, as man of the 6th day, is the hook which can bind worlds in a way not possible previously. The story of the Bible likewise binds our world to eternity." "Zayin: man as weapon. Zayin, man acting in the gratuitous fashion of God, is the weapon to fight the utilitarianism which is the enemy to God." "Cheth/8: the enclosure of self-satisfaction. Cheth/8 represents the temptation to believe that our struggles can end while we are yet in this life. It is a small step from the light let in by the opening of he/5 to the darkness of being closed off to all but our own devises and understanding." "Mem/40: time passes. Mem is 4 on a new level; it is the full duration of movement, hence time." "Nun/50: the fish swims in time. Nun/50 brings life to time just as the window of he/5 brings light into the house. Man risks drowning in time, which means losing his individuality in conforming to the demands of this world." "Ayin/70: the eye sees. The form of ayin/70 shows the connection of waw/6, man and zayin/7, this present world. Ayin takes in everything that can be seen." "Peh/80: the mouth speaks. From peh, the mouth, comes forth the word, whose poetry and harmony can bring redemption." "Resh/200: the full head of man appears. With resh/200, the head, man's full face, first appears." "Shin/300: the tooth digests our experiences. Shin/300,... has 2 forms, dependent upon how man "speaks" his "6's and7's", how man encounters life." "Taw/400: all ends in the sign of the cross. [It] is truly the end, and also the purpose of suffering."

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    © All Rights Reserved
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    109 visualizzazioni26 pagine

    Ruach (For 2 Flutes (Doubling On Piccolo and Alto Flute), Transposed Score) (2004)

    Caricato da

    Christian Asplund
    Movements are titled after letters of the Hebrew alphabet. Quotes in footnotes and interpretations of Hebrew letters are taken from Friedrich Weinreb’s VOR BABEL, Die Welt der Ursprache, translated by Owen Clark and Rebecca Clark. The movements are as follows (haven't figured out how to get Hebrew letters to show up yet): d (Daleth: Door) h (He – Window) w (Waw: Hook) z (Zayin: Sword) x (Cheth: Enclosure) m (Mem: Water) n (Nun: Fish) ( (Ayin: Eye) p (Peh: Mouth) r (Resh: Face) # (Shin: Tooth) t (Taw: The Cross) Ruach is a Hebrew word meaning, variously, spirit, wind, sound, tone, voice, vowel. The Ruach is the part of the tripartite soul that animates the nephesh, or body, and binds it to the neshamah, that part of the soul that comes directly from God. Weinreb describes ruach in terms of its role in language as the vowels, which have no written representation, and which give voice to the consonants that provide the form of language. Each of the Hebrew letters has a symbolic meaning and a number that it represents. The sequence of Hebrew letters symbolically outlines both the creation of the universe and the conception and birth of a person. Quotes below and in footnotes throughout the score are from Weinreb. "Daleth/4: the door of decision[,] conveys that when our experiences carry us to the limits of usual perceptions and expectations, we face the possibility of going outside of them." "He/5: the window of life. He lets us know that rather than leave the confines of our world, we may let in the light of what cannot be expressed here." "Waw/6 binds the worlds. Waw, as man of the 6th day, is the hook which can bind worlds in a way not possible previously. The story of the Bible likewise binds our world to eternity." "Zayin: man as weapon. Zayin, man acting in the gratuitous fashion of God, is the weapon to fight the utilitarianism which is the enemy to God." "Cheth/8: the enclosure of self-satisfaction. Cheth/8 represents the temptation to believe that our struggles can end while we are yet in this life. It is a small step from the light let in by the opening of he/5 to the darkness of being closed off to all but our own devises and understanding." "Mem/40: time passes. Mem is 4 on a new level; it is the full duration of movement, hence time." "Nun/50: the fish swims in time. Nun/50 brings life to time just as the window of he/5 brings light into the house. Man risks drowning in time, which means losing his individuality in conforming to the demands of this world." "Ayin/70: the eye sees. The form of ayin/70 shows the connection of waw/6, man and zayin/7, this present world. Ayin takes in everything that can be seen." "Peh/80: the mouth speaks. From peh, the mouth, comes forth the word, whose poetry and harmony can bring redemption." "Resh/200: the full head of man appears. With resh/200, the head, man's full face, first appears." "Shin/300: the tooth digests our experiences. Shin/300,... has 2 forms, dependent upon how man "speaks" his "6's and7's", how man encounters life." "Taw/400: all ends in the sign of the cross. [It] is truly the end, and also the purpose of suffering."

    Copyright:

    © All Rights Reserved
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    di 26

    Ruach

    12 Miniatures For Two Flutists

    Transposed Score
    by Christian Asplund
    Provo: February 2004
    Performance Notes:

    Alto flute parts are transposed (i.e. written a perfect fourth higher than sounding)
    in this score. Piccolo parts are written an octave lower than sounding. A concert
    pitch score also exists under separate cover.

    This piece requires two flutists, each of whom needs a flute, a piccolo, and an alto
    flute.

    Flutists may play different parts in different movements.

    Program Notes:
    Movements are titled after letters of the Hebrew alphabet. Quotes in footnotes and
    interpretations of Hebrew letters are taken from Friedrich Weinrebs VOR BABEL, Die
    Welt der Ursprache, translated by Owen Clark and Rebecca Clark. The movements are
    as follows:
    d (Daleth: Door)
    h (He Window)
    w (Waw: Hook)
    z (Zayin: Sword)
    x (Cheth: Enclosure)
    m (Mem: Water)
    n (Nun: Fish)
    ( (Ayin: Eye)
    p (Peh: Mouth)
    r (Resh: Face)
    # (Shin: Tooth)
    t (Taw: The Cross)
    Ruach is a Hebrew word meaning, variously, spirit, wind, sound, tone, voice, vowel. The Ruach
    is the part of the tripartite soul that animates the nephesh, or body, and binds it to the neshamah,
    that part of the soul that comes directly from God. Weinreb describes ruach in terms of its role in

    language as the vowels, which have no written representation, and which give voice to the
    consonants that provide the form of language. Each of the Hebrew letters has a symbolic
    meaning and a number that it represents. The sequence of Hebrew letters symbolically outlines
    both the creation of the universe and the conception and birth of a person. Quotes below and in
    footnotes throughout the score are from Weinreb.
    "Daleth/4: the door of decision[,] conveys that when our experiences carry us to the limits of
    usual perceptions and expectations, we face the possibility of going outside of them."
    "He/5: the window of life. He lets us know that rather than leave the confines of our world, we
    may let in the light of what cannot be expressed here."
    "Waw/6 binds the worlds. Waw, as man of the 6th day, is the hook which can bind worlds
    in a way not possible previously. The story of the Bible likewise binds our world to eternity."
    "Zayin: man as weapon. Zayin, man acting in the gratuitous fashion of God, is the weapon to
    fight the utilitarianism which is the enemy to God."
    "Cheth/8: the enclosure of self-satisfaction. Cheth/8 represents the temptation to believe that our
    struggles can end while we are yet in this life. It is a small step from the light let in by the
    opening of he/5 to the darkness of being closed off to all but our own devises and understanding."
    "Mem/40: time passes. Mem is 4 on a new level; it is the full duration of movement, hence time."
    "Nun/50: the fish swims in time. Nun/50 brings life to time just as the window of he/5 brings
    light into the house. Man risks drowning in time, which means losing his individuality in
    conforming to the demands of this world."
    "Ayin/70: the eye sees. The form of ayin/70 shows the connection of waw/6, man and zayin/7,
    this present world. Ayin takes in everything that can be seen."
    "Peh/80: the mouth speaks. From peh, the mouth, comes forth the word, whose poetry and
    harmony can bring redemption."
    "Resh/200: the full head of man appears. With resh/200, the head, man's full face, first appears."
    "Shin/300: the tooth digests our experiences. Shin/300,... has 2 forms, dependent upon how man
    "speaks" his "6's and7's", how man encounters life."
    "Taw/400: all ends in the sign of the cross. [It] is truly the end, and also the purpose of
    suffering."

    (Daleth: Door)*

    Transposed Score
    and Expressive
    Sweeping

    Flute

    q = c. 90 Smooth yet precise.

    mf


    Fl.


    A. Fl.


    Fl.
    5

    A. Fl.

    Alto Flute

    Plain and distinct

    Christian Asplund
    Provo: February 2004

    ff

    *"Daleth/4: the door of decision[,] conveys that when our experiences carry us to the limits of
    usual perceptions and expectations, we face the possibility of going outside of them."

    hH

    Transposed Score

    (He - Window)*


    Alto Flute

    Mysterious. Airy.
    7 q = c. 118-134

    mp

    Alto Flute

    10


    A. Fl.

    A. Fl.

    A. Fl.

    A. Fl.

    16


    A. Fl.

    13

    mp

    A. Fl.

    Christian Asplund
    Provo: February 2004

    *"He/5: the window of life. He lets us know that rather than leave the confines of our world, we may let in the light of what cannot be expressed here."

    19

    A. Fl.

    A. Fl.


    22

    A. Fl.

    A. Fl.

    A. Fl.

    Slower q = c. 80
    Take piccolo

    Picc.


    32


    Picc.

    mf

    A. Fl.

    Vamp until other flutist is ready


    (as few times as necessary).

    mf
    espressivo

    A. Fl.

    29 Piccolo

    25

    A. Fl.

    35


    Picc.
    A. Fl.


    Picc.
    39

    A. Fl.



    Picc.

    Picc.
    48

    A. Fl.


    Picc.
    51

    A. Fl.

    43

    A. Fl.


    Picc.
    55

    A. Fl.

    58

    Picc.
    62


    Picc.
    A. Fl.

    68

    65


    Picc.
    A. Fl.

    Picc.

    A. Fl.

    A. Fl.


    Picc.

    71

    A. Fl.

    75

    Picc.

    A. Fl.

    A. Fl.

    79

    Picc.

    Picc.
    86

    Picc.

    A. Fl.

    83

    A. Fl.

    (Waw: Hook)*

    Transposed Score

    Alto Flute

    Mysterious and Marked


    90 q = c. 80-115

    Alto Flute


    (e)

    93

    A. Fl.

    A. Fl.

    96

    A. Fl.

    (e)

    Christian Asplund
    Provo: February 2004

    (e)

    mp

    (e)

    A. Fl.

    mf

    A. Fl.

    A. Fl.


    (e)

    (e)

    (e)

    99

    (e)

    Switch Parts

    *"Waw/6 binds the worlds. Waw, as man of the 6th day, is the hook which can bind worlds
    in a way not possible previously. The story of the Bible likewise binds our world to eternity."

    (Zayin: Sword)*

    Transposed Score

    q = c. 95-110

    102

    Flute

    Non vibrato. Smooth and somewhat breathy.

    mp

    Christian Asplund
    Provo: February 2004

    Precise and marked.


    Alto Flute

    Fl.
    105

    A. Fl.


    Fl.
    108

    A. Fl.

    Sweetly


    Fl.
    111

    A. Fl.

    mp


    Fl.
    114

    A. Fl.

    *"Zayin: man as weapon. Zayini, man acting in the gratuitous fashion of God, is the weapon to fight the utilitarianism which is the enemy to God."

    10


    Fl.
    117

    A. Fl.

    120

    123

    126

    rit.

    Fl.

    128

    A. Fl.


    Fl.
    A. Fl.


    Fl.
    A. Fl.

    Fl.
    A. Fl.

    Transposed Score

    11

    (Cheth: Enclosure)*

    Christian Asplund
    Provo: February 2004


    Alto Flute



    q = c. 108-132

    131

    mf

    mp

    Alto Flute


    A. Fl.

    134

    A. Fl.

    138


    A. Fl.

    140

    A. Fl.

    mp

    mf


    A. Fl.

    A. Fl.

    Switch Parts

    *"Cheth/8: the enclosure of self-satisfaction. Cheth/8 represents the temptation to believe that our struggles can end while
    we are yet in this life. It is a small step from the light let in by the opening of he/5 to the darkness of being closed off
    to all but our own devises and understanding."

    12

    (Mem: Water)*

    Transposed Score

    142 q = c. 110-155

    Alto
    Flutes

    . .

    145

    148

    A. Fl.


    . .

    . .

    153

    158

    A. Fl.

    . .

    . .

    A. Fl.

    . .



    A. Fl.

    . .

    . .

    Christian Asplund
    Provo: February 2004

    Switch Parts

    *"Mem/40: time passes. Mem is 4 on a new level; it is the full duration of movement, hence time."

    Flutes

    (Nun: Fish)*



    162

    13

    q = c. 98

    mf

    Christian Asplund

    Provo: February 2004



    sim.

    165

    Fl.

    pp

    172

    Fl.

    mf


    f
    170

    Fl.




    168

    Fl.

    *"Nun/50: the fish swims in time. Nun/50 brings life to time just as the window of he/5 brings light into the house. Man risks
    drowning in time, which means losing his individuality in conforming to the demands of this world."

    14

    174

    Fl.

    182

    Fl.

    180

    Fl.

    178

    Fl.

    176

    Fl.

    184

    Fl.

    A bit faster

    186

    Fl.

    188

    Fl.

    15


    Fl.



    190

    192

    Fl.

    16

    Fl.

    196

    Fl.

    198

    Fl.

    205

    Fl.

    203

    Fl.

    194

    (Ayin: Eye)*

    Luminous

    Flute

    208 Sing lower pitch

    Flute

    215

    Fl.

    Fl.


    Fl.

    Fl.

    229

    235

    Christian Asplund
    Provo: February 2004

    pp

    Fl.
    Fl.

    223

    Fl.

    Sing lower pitch


    Fl.

    17

    pp

    *"Ayin/70: the eye sees. The form of ayin/70 shows the connection of waw/6, man and zayin/7, this present world. Ayin takes in everything that can be seen."

    18

    (Peh: Mouth)*

    Trasnposed Score


    Alto Flute

    241

    e = c. 95 With Intensity.

    Christian Asplund
    Provo: February 2004

    Triangle notehead on first space = exhale audibly (not into flute)


    Triangle notehead on fourth space = inhale audibly (not into flute)

    mp

    Flute


    A. Fl.

    245

    exhale audibly
    (not into flute)

    inhale audibly
    (not into flute)

    Fl.




    A. Fl.
    249

    Fl.


    A. Fl.

    exhale audibly
    252 (not into flute)

    mp

    inhale audibly
    (not into flute)

    pp


    Fl.

    *"Peh/80: the mouth speaks. From peh, the mouth, comes forth the word, whose poetry and harmony can bring redemption."

    254


    A. Fl.

    Fl.

    258

    A. Fl.
    260

    Fl.

    A. Fl.
    Fl.

    256


    A. Fl.

    Fl.

    19

    20
    Transposed Score
    Dolcissimo q = c. 72-88
    261

    Piccolo

    mp

    Alto Flute

    Picc.
    264


    A. Fl.

    Picc.

    270

    A. Fl.


    Picc.

    Christian Asplund
    Provo: February 2004

    267

    A. Fl.

    (Resh: Face)*

    *"Resh/200: the full head of man appears. With resh/200, the head, man's full face, first appears."

    Piccolo

    Piccolo


    Picc.

    Picc.
    282

    Picc.


    Picc.
    285

    278

    Picc.

    21
    Christian Asplund
    Provo: February 2004

    (Shin: Tooth)*

    q = c. 100

    274

    3 3
    3 3

    Picc.

    3
    6
    *"Shin/300: the tooth digests our experiences. Shin/300,... has 2 forms, dependent upon how
    man "speaks" his "6's and7's", how man encounters life."

    22

    287

    Picc.

    Picc.

    289

    Picc.

    Picc.

    290

    Picc.

    Picc.


    Picc.
    292

    Picc.



    294

    Picc.
    Picc.


    Picc.
    296

    Picc.

    Picc.

    298

    Picc.

    Picc.

    23

    297

    Picc.

    3 3

    dim. poco a poco al fine

    3
    3

    24

    301

    Picc.

    Picc.

    Picc.
    303

    Picc.

    ,
    ,

    25

    (Taw: The Cross)*


    Cross to opposite sides of the stage (this movement only). Flutist on stage left should
    move to edge of stage right. Flutist on stage right should move to edge of stage left.

    simple. profound. optimistic


    q = c. 90-118

    Flute

    306

    Christian Asplund
    Provo: February 2004

    mp

    Flute


    Fl.
    309

    mp

    Fl.

    Fl.

    Fl.

    312

    Switch Parts

    (attacca)

    *"Taw/400: all ends in the sign of the cross. [It] is truly the end, and also the purpose of suffering."

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