Dedicated to Andra Dārziņš

Bassoon
"Sāļie Ritmi"

Sonatine for wind quintet

 
 
Jānis Kristofers Vītols 2023 op.5

     
Feroce, Volante, con fuoco e spirito ( = 125)

 
3


             
 
Bassoon

  

      
   
 
bsn.

    
cl.

        
   
10

Bsn.


             
             
16
A

   
3 3
Bsn.

                         
    
24

  
Bsn.

                    
 cantabile

                 
32


Bsn.

                      
           
38


Bsn.

   
              


        
                    

B pizz. 


42

     
Bsn.

 C  


            
     

        
          
50

Bsn.

    
                         


  
   
60 pizz.


3 3
Bsn.


  
                    
    

      
D poco a poco cresc.

     
64
pizz.
Bsn.
3 3 3
 

  


    


            
           
68 molto vibrato


3 3 3 3

Bsn.

with a scratchy intense feeling

 
                            
2

 
               
70

3  
              
Bsn.

 
3 3 3 3

           
3 3 3
E piu mosso pesante ( = 80)
72 molto vibrato

   
Bsn.
3 3 3 3

                       
76 accel. simile sub.

      

Bsn.

 
              
80

      
Bsn.

 

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

84  
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 ca. 50''- 1'

Bsn.

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

Fl.    
 

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

   
.
Ob.
 

 .
               
 
first motive
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

F Hn.  

 100
3

Bsn.
     

Fl.       

Ob.       

     
B♭ Cl.   

     
F Hn.
 

106 
Bsn.

effect; fingering d while letting go and

second
pressing of the b key every 32' note with taste

  motive
               
Fl.                  


 effect; whole or half note double trill with glissandi

        
second motive

Ob. 


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

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

 
f or stronger dynamics are allowed.


B♭ Cl.


 


F Hn.

109    
Bsn.

 


Fl.           

  


Ob.   

   
   


B♭ Cl.

   

 


F Hn.

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.

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


122

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

3 3 3 3 3 3 3 3
Bsn.

   
.
Fl.

Ob.  
.
 

  
  
.

B♭ Cl.

  
  
           
3 3 3 3

F Hn.

124
                       
3 3 3 3 3 3 3 3
Bsn.

  
.
Fl.

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

Ob.


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

B♭ Cl.


    
3 3 3 3 3 3 3 3

                   
F Hn.
 126
5

        
starting example
3 15''- 20''
        
3

 
3 3 3 3 ca.
Bsn.

      
                   
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

  
F Hn.

133              
molto loco
   
Bsn.

cresc. 

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

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

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

                  
F Hn.

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

   
between all the players.

   
has happened
150 4 beats
Bsn.

 



   
Fl.      


  

    
Ob.       


  

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


  

        
F Hn.
 

effect; helicopter toungingthrow in some small rythmic motives,

157 
as shown in example motive ca. every 5 seconds.

            
H example motive

       
ca. 35'' - 40'' 3
Bsn.

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.

      
first motive

     
  
F Hn.


 
 start so slowly so the public doesnt notice the motive, 7
then when the slanted note staffs come, start to play much wilder,
just like you played the first triad tutti part; a mathematially

170      
exponential development curve and not a linear curve sould be aimed for.

        
deserto (ca. = 65)

Bsn.

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

       
       

Ob.

B♭ Cl.                 

effect; timbral trill, play a trill between the

 
second

     

same note, using different fingerings
motive
for the respective note

F Hn.
 ()        
 

185            

poco accel. e cresc. molto acc. e loco
ca.7''
Bsn.

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

   
         

Ob.

              

B♭ Cl.

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

 
                   
I

 
con fuoco e pesante ( = 70)

             

192

     
Bsn.
3 3

sub.

3

                             
198

 3
5 5

 
Bsn.
3 3 3
8

       
bassoon and clarinet J

             
                  

look at each other. Tempo primo con spirito ( = 125)
200


3

 
Bsn.

 3

         
 
    3  3

                
205

      
pizz. pizz.

 
Bsn.


                 
               
212

     
Bsn.

cantabile

                      
         
222

Bsn.

       
                
228 rit.

Bsn.

 


                      
   
      
         
231

 
Bsn.

  

          
       
L

       
A tempo, delicato e misterioso ( = 125)

    
pizz.
238

  
Bsn.

Sigulda; nometne, sakums Dunte.
20 - 07 / 2023