Recitation Book 00 Score Perusal

D AV I D M A S L A N K A
Recitation Book
FOR
S A X O P H O N E Q UA R T E T
MASLANKA PRESS
N E W YO R K
Recitation Book
for Saxophone Quartet
(2006)
C ontents :
1
Broken Heart: Meditation on the chorale melody Der du bist drei in einigkeit (You who are three in one) (430)
Prelude/Chorale: Meditation on the chorale melody Jesu meine Freude (Jesus my joy) (430)
Ecco moriro dunque (Look! My Death is Near!) - Gesualdo di Venosa, 1596 (130)
Meditation on the Gregorian Chant O Salutaris Hostia (O Salvations Victim) (4)
10
Fanfare/Variations on the chorale melody Durch Adams Fall (Through Adams fall) (10)
Program note
I have loved Italian madrigals since my student
days, and Recitation Book for Saxophone
Quartet feels something like a madrigal collection, but with a grand finale. My approach to
composing is vocal, and the singing quality of
saxophones is one of their fine strengths. The
movements in this piece are relatively brief and
intimate songs.
Much of my recent music draws its inspiration from the distant past. An old melody pushes open a door in my mind and a parallel world
or dream makes its way out. Each piece in this
set found its inspiration in that way.
The title Recitation Book implies a set of
lessons. I dont want to say explicitly what each
lesson means, but the titles of the pieces circle
around the theme of death, which for me implies the passing of the old, and the coming of
the new.
I have not only quoted a number of old melodies in Recitation Book, but two whole brief
pieces as well. This first is J.S. Bachs four-part
chorale Jesu, meine Freude, and the second is
an arrangement for the four saxophones of the
five-voiced madrigal Ecco moriro dunque by
Gesualdo di Venosa.
My acquaintance with the Masato Kumoi
Saxophone Quartet began several years ago
when I received a cd in the mail. When recordings come unbidden I am generally prepared
for something less than I want to hear. But this
rendition of Mountain Roads (my first com-
position for saxophone quartet) was the finest

performance of the piece that I had ever heard.
Since then the Kumoi Quartet has performed
the piece many times, and they have promoted it
widely among players in Japan. In 2004, Masato
Kumoi commissioned me to write another quartet especially for his group, and you will hear the
first performance of Recitation Book tonight.
In May of 2005, Masato Kumoi recorded a solo
alto cd (Simple Songs, Cafua Records), and included my Sonata for Alto Saxophone and Piano. This is a wonderful performance, and I am
deeply indebted to him for his brilliant play, and
the depth of his musical insight. I look forward
to many more years of our collaboration.
David Maslanka
Recitation Book
for Saxophone Quartet
Score in C
DAVID MASLANKA
Broken Heart: Meditation on the chorale melody Der du bist drei in Einigkeit (You who are three in one)
q = ca. 54
1
ten. in tempo
ten.
in tempo
5
ten.
10
ten.
Soprano
pp
Alto
Tenor
pp
Baritone
Faster
11 tempo
12
ten.
in tempo 14
13
15
16
18
17
19
20
q = ca. 84
S.
p
solo
mf
A.
pp
mp cresc.
T.
p
B.
21
22
23
ten. Slower
24
ten.
26
27
28
29
S.
ff
p pp
no dim.
no dim.
A.
f no dim.
ff
p pp
big
T.
ff
p pp
no dim.
ff
p pp
no dim.
B.
Copyright 2006 David Maslanka
in
30
Faster
31
q = ca. 116
32
33
34
35
Suddenly slower
accel.
36
S.
ff
A.
ff
T.
ff
B.
ff
37
q = ca. 96
40
38
39
41
S.
3
A.
T.
3
B.
( ff )
42
43
44
push forward
45
46
47
slowing
. . . a lot
Suddenly
in Tempo
48
S.
no dim.
A.
no dim.
no dim.
3
T.
no dim.
no dim.
B.
no dim.
no dim.
50
49
51
52
53
58
wait
54
S.
3
A.
T.
3
B.
ten.
55
accel...
56
57
59
60
q = ca. 84
61
S.
fff
pp
A.
fff
pp
fff
pp
T.
B.
62
63
64
65
fff
wait
S.
A.
pp
T.
B.
pp
4
1
q = ca. 116 - patiently
Prelude/Chorale: Meditation onJesu meine Freude (Jesus my joy)

2
Soprano
p very smoothly
Alto
p
Tenor
p
Baritone
p
8
10
11
12
13
14
15
S.
p
fading...
A.
T.
B.
16
17
18
19
20
21
S.
fade
A.
T.
B.
Prelude/Chorale: Meditation on Jesu meine Freude (Jesus my joy)
22
23
5
24
25
26
27
28
30
29
31
S.
fade
A.
T.
B.
32
33
39
40
34
35
36
37
38
S.
A.
T.
B.
41
42
43
S.
A.
T.
B.
44
45
46
47
54
55
48
50
49
52
51
53
S.
A.
T.
B.
56
57
58
60
59
61
S.
fade
A.
T.
B.
62
63
hold
in tempo
back 64 but slowing
65
66
Jesu, meine Freude (Bachs realization) 69

68
pause
67 q = ca. 52
S.
pp
A.
pp
T.
pp
B.
pp
70
71
73
72
pause
75
74
pause
76
pause
77
pause
78
slowing
79
pause pause pause
S.
A.
T.
B.
h = ca. 52 - freely and expressively

1
Ecco morir dunque (Look! My death is near!)

take Gesualdo di Venosa, 1596
take
3 time
time 6
10
gradually
11 slowing...
12
Soprano
p
pp
pp
pp
pp
mf
pp
Alto
mf
pp
Tenor
mf
pp
Baritone
13
take
time
14
15
mf
16
17
18
20
19
pp
21
S.
f
p sub.
mf sub.
mf sub.
mf sub.
A.
T.
B.
f
mf
Ecco morir dunque (Look! My death is near!)
22
23
24
26
25
30
27
28
29
slowing...
brief pause go right on
31
S.
p
mf
pp
A.
p
mf
pp
p
T.
p
pp
p
B.
p
pp
Meditation on O Salutaris Hostia (O Salvations Victim) - Gregorian Chant

1
e = ca. 108 - smoothly

2
10
11
12
Tenor
p
13
14
15
16
17
18
hold
Slower
back 19
23
22
20 Tempo21I.
24
25
S.
p
T.
26
27
28
29
30
31
32
S.
T.
33
34
35
36
37
38
hold
back 39 Slower
40 Tempo I.
43
42
41
44
9
45
S.
p
A.
pp
T.
B.
p
46
47
48
49
50
51
53
52
S.
A.
T.
B.
54
55
56
57
58
hold
back 59 Slower
S.
A.
T.
B.
60
a good pause
before Fanfare
10
Fanfare/Variations on Durch Adams Fall (Through Adams Fall)
10
q = ca. 88
Soprano
ff 3
Alto
ff
Tenor
ff
Baritone
ff
12
11
14
13
16
15
S.
3
A.
T.
B.
20
17
S.
18
3
21
19
3
A.
T.
B.
22
breath
pause Variations: Durch Adams Fall (Through Adams Fall)
only
25 q = e, q = ca. 176
26
24
23
11
S.
3
3
3
A.
no dim.
ff
T.
ff
B.
ff
27
28
30
29
31
32
33
S.
ff
A.
3
ff
T.
3
B.
3
3
3
3
3
3
3
3
3
3
( ff )
34
35
36
37
38
39
40
S.
ff
A.
ff
3
T.
3
3
3
3
B.
12
41
42
43
44
(in tempo)
46 sim.
45
47
S.
3
sim.
A.
sim.
T.
3
B.
f
48
49
50
51
52
53
S.
A.
T.
3
B.
(f)
54
55
56
57
58
59
60
S.
A.
T.
3
B.
(f)3
61
13
in tempo (same tempo)

62
63
64
65
66
67
S.
sfz
sfz
sfz
sfz p
sfz p
sfz
sfz
sfz
A.
sfz p
T.
sfz p
B.
sfz
68
70
69
71
72
73 as before
sfz
74
S.
p
sfz
ff
sfz
ff
( ff )
sfz p cresc. grad.

as before
A.
p
( ff )
sfz p cresc. grad.

as before
T.
p
sfz
sfz
( ff )
ff
f sub.
sfz p cresc. grad.

as before
B.
75
f sub.
76
ff
77
sfz p cresc. grad.
78
80
79
81
S.
sfz
sfz
sfz
sfz
sfz p
sfz
A.
sfz
sfz
T.
p
sfz
sfz
B.
sfz
mf
16
111
112 sim.
113
114
S.
p
A.
p
T.
p
B.
115
116
117
118
119
S.
ff
A.
ff
T.
ff
B.
ff
120
121
122
123
S.
fp
fp
fp
fp
fp
A.
p
T.
fp
fp
B.
p
17
124
125
126
127
S.
ff
A.
ff
mf
T.
f
ff
B.
128
129
130
131
S.
f
A.
p
(p)
T.
ff
p sub.
B.
p
132
ff
133
134
S.
A.
T.
B.
p
cresc.
135
18
136
137
138
139
S.
A.
T.
B.
140
very sudden cresc./dim., out of rhythm
141
142 B. Sx.
Sop. Sx.
S.
p sub.
ff
ff
A.
p sub.
ff
T.
(no
trill)
S. Sx.
p sub.
ff
B.
143
144
145
146
breath A lot slower (q = ca. 80)

pause freely, expressively
only
147
148
149
S.
3
mp
A.
p
T.
pp
B.
pp
150
ten.
152
151
slowing
154
153
in tempo
A bit faster
155
19
156
S.
3
dim.
fade
mf
A.
mf
dim.
mf
dim.
pp
cresc.
pp
cresc.
cresc.
T.
3
B.
158
157
159
160
161
162
163
slowing
S.
cresc.
sim.
ff
mf
dim.
mf
dim.
mf
dim.
A.
sim.
T.
sim.
B.
Slower (q = ca. 60)
164
165
166
167
mf dim.
take
time
168
169
170 Tempo I. (q = ca. 80)

3
171
S.
p
pp
mp
A.
p
T.
p
B.
p
20
173
172
174
no vib.
slowing a bit
3 175
S.
3
no vib.
A.
no vib.
T.
no vib.
B.
176 in tempo
slowing a bit
178 in tempo
177
slowing
179
S.
pp
A.
p
T.
B.
p
180
q = ca. 76
181
pause 182
183
184
185 pause
186
187
pause
188
S.
mf
pp
mf
pp
mf
pp
mf
pp
mf
pp
mf
pp
mf
pp
mf
pp
A.
T.
B.
189
190
191
pause
192
193
pause
194
195
196
198
197
pause
199
21
q = ca. 176
S.
mf
pp
mf
pp
A.
T.
pp
mf
ff
B.
mf
pp
ff
200
201
202
203
204
205
206
S.
ff
ff
A.
ff
ff
T.
3
3
B.
207
3
3
208
209
210
3
3
3
3
3
3
( ff )
3
211
212
213
S.
3
A.
T.
3
B.
22
214
215
216
sim.
218
217
S.
3
sim.
A.
sim.
T.
3
B.
f
219
(f)
220
221
222
224
223
S.
A.
T.
3
B.
(f)
225
226
227
228
229
230
stacc.
S.
sfz p cresc. grad.
stacc.
A.
sfz p cresc. grad.
stacc.
T.
3
sfz p cresc. grad.

stacc.
B.
(f) 3
sfz p cresc. grad.
231
234
233
232
23
235
236
237
238
S.
f
sfz
sfz
sfz
sfz
sfz
sfz
sfz
ff
A.
ff
T.
ff
sfz
B.
240
239
ff
241
242
( ff )
243
244
245
S.
A.
T.
B.
246
sim.
247
248
249
S.
sim.
A.
T.
sim.
B.
250
24
251
252
254
253
255
256
257
258
(no trill)
259
S.
ff
breathe ad lib.
A.
ff
breathe ad lib.
T.
ff
(no trill)
B.
ff
261
262
263
264
265
sim.266
267
268
269
270
271
272
273
S.
(no breath)
(no breath)
(no breath)
(no breath)
A.
T.
sim.
B.
274
275
276
277
S.
A.
sim.
T.
B.
278
260
holding back suddenly

quite a bit... in tempo
280
279
281
25
283
282
S.
A.
T.
B.
284
285
286
287
288
S.
ffp cresc. grad.
A.
T.
B.
289
290
slowing gradually
291
292
293
294
295
296
297
3 298
S.
ff
ffp cresc.
ff
ffp cresc.
ff
ffp cresc.
A.
T.
3
3
B.
ff
ffp cresc.
Missoula, MT 2/22/06

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D AV I D M A S L A N K A

Meditation on the Gregorian Chant O Salutaris Hostia (O Salvations Victim) (4)

position for saxophone quartet) was the finest

q = ca. 116 - patiently

Prelude/Chorale: Meditation onJesu meine Freude (Jesus my joy)

Jesu, meine Freude (Bachs realization) 69

h = ca. 52 - freely and expressively

Ecco morir dunque (Look! My death is near!)

brief pause go right on

Meditation on O Salutaris Hostia (O Salvations Victim) - Gregorian Chant

e = ca. 108 - smoothly

Meditation on O Salutaris Hostia (O Salvations Victim) - Gregorian Chant

Fanfare/Variations on Durch Adams Fall (Through Adams Fall)

in tempo (same tempo)

sfz p cresc. grad.

sfz p cresc. grad.

sfz p cresc. grad.

sfz p cresc. grad.

Fanfare/Variations on Durch Adams Fall (Through Adams Fall)

very sudden cresc./dim., out of rhythm

breath A lot slower (q = ca. 80)

Slower (q = ca. 60)

170 Tempo I. (q = ca. 80)

sfz p cresc. grad.

sfz p cresc. grad.

holding back suddenly

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