Lowry Romanza PDF
Lowry Romanza PDF
Lowry Romanza PDF
R om anza
For Four V iolas
Opus 15
VIOLA 1
- Though this piece uses mostly standard notation, there are a few markings that should be clarified. For
instance, when there is a particular voice that should be brought out, there will be small "brackets" placed
above the staff, indicating the beginning and ending of this solo passage.
3
Example:
- The piece makes frequent use of subito dynamics; to save space on the score, I have chosen not to write the
word "subito," but rather to precede the dynamic with an "S" enclosed in parentheses (this is important to note,
so that a subito forte will not be accidentally interpreted as a sforzando!).
- When playing pizzicato, the players should take great care to allow each note to have core, depth, and
resonance. In general, I have marked pizzicato passages up a dynamic level or two higher than surrounding
accompanimental textures; whether or not they are the primary voice, plucked notes should always be
brought out.
Viola 1 Commissioned by David Bynog for the American Viola Society
R om anza
for Four V iolas
Op. 15
Poco adagio, con rubato (h=60) CHRISTOPHER LOWRY (b. 1988)
2
3
f con bravura
quasi cadenza A On the forward edge poco rall.
rit.
(q=100)
7
6 3 mf mf
ff
ad libitum
Vla. 4
cresc.
5
f edgy
rit.
B Tempo I (h=60)
10
f fp cresc.
16
ff
Vla. 3
rit.
ff 3
cadenza, dim. p
con molto rubato
Slowly, senza tempo 2
1
pizz. espressivo
mf
Vla. 4
pp
p
23
D
3 pizz.
mf con vib.
rich and full arco
30
mp
E
36
3 3
cantabile
43
mp mp pp mp pp
50 F
mp n p legato 3 3 3
55
3 3 3 3 3 3 3
59
G
3 3
3 3 p 3
rit.
63
3 p mp p 3 3
Viola 1
5
molto rit. H Allegro (q.=120-126)
67
pizz.
/0
3 5 (s)f
3 mf ff
71
arco non legato
fff
f ff
74
cresc.
I
77
mf
81
f f
J
85
(s)mp
non cresc.
(s)ff
88
(s)mp
(s)mp (s)ff
K
91
(s)ff non dim. p
94
pizz.
(s)mp mp
L
98
leggiero
2 0
p (s)mp (play open string in
order to turn page)
Viola 1
6
M
104 sul pont.
107
110 to ord.
cresc. poco a poco
113 N
ord.
ff f sim.
116
ff
O
120
non legato mf
P
123
ff
Viola 1
7
L'istesso tempo (q.=q)
127
2
fff fff
quasi cadenza
slowly, con rubato
132 rall.
3
3
3
mp mf p
Q Tempo I (h=60)
134
mf
molto rit.
R Flowing (q=112)
con sord
138
mp p n
Viola 1
8
pp cresc. p
S
150
pizz.
p
155
T
resonant
mf p mp
161
167 arco
3
3
p n mf
U
173
3
3
V
179 poco sul pont.
pp
rit.
to ord.
182
6 6
cresc.
Viola 1
9
A tempo W
186 ord.
6 6
mp
mf
rit. molto rit.
191
5
1 3
3
mf
X A tempo rall.
195
mp 3
199
pizz.
p l.v.
p
-CDL
August 30, 2012; Baton Rouge, LA
CHRISTOPHER LOWRY
R om anza
For Four V iolas
Opus 15
VIOLA 2
- Though this piece uses mostly standard notation, there are a few markings that should be clarified. For
instance, when there is a particular voice that should be brought out, there will be small "brackets" placed
above the staff, indicating the beginning and ending of this solo passage.
3
Example:
- The piece makes frequent use of subito dynamics; to save space on the score, I have chosen not to write the
word "subito," but rather to precede the dynamic with an "S" enclosed in parentheses (this is important to note,
so that a subito forte will not be accidentally interpreted as a sforzando!).
- When playing pizzicato, the players should take great care to allow each note to have core, depth, and
resonance. In general, I have marked pizzicato passages up a dynamic level or two higher than surrounding
accompanimental textures; whether or not they are the primary voice, plucked notes should always be
brought out.
- The false harmonics at S should sound two octaves higher than the written bottom note.
Viola 2 Commissioned by David Bynog for the American Viola Society
R om anza
for Four V iolas
Op. 15
Poco adagio, con rubato (h=60)
CHRISTOPHER LOWRY (b. 1988)
con sord
mf f mf f
Vla. 1
3
f con bravura
A On the forward edge
poco rall.
(q=100)
senza sord
7
ff mf mf
rit.
Vla. 4
(Vla. 1)
6 3 5
ff ad libitum f edgy cresc.
quasi cadenza
3 3
ff espressivo f mf cresc.
15
ff
Vla. 3
rit.
3
ff cadenza, dim.
con molto rubato
17 Slowly, senza tempo Flowing (q=112)
pizz.
Vla. 4
(Vla. 3)
p pp
p
Copyright © 2011-12 Christopher Lowry
Viola 2
4
C
20
3 3 3 3 3 3 3
3 mf
p sim.
25 D
mf 3
31 pizz.
mp
36 E
arco
pizz.
3
mp mp
42 arco
mf
3 3
47
dim. 3 3
mp n
52 F
pizz.
p legato
mf
G
3
57
3
3
mf
rit. molto rit.
63
arco
mfp
mf 3
fp
Viola 2
5
69 H Allegro (q.=120-126)
non legato
arco
pizz.
/0
mp
(s)f ff f
72
ff
75
cresc.
I
78
mf
81
J
84
(s)f
ff
K
88
2
ff non dim. p
93 arco
pizz.
mp pp
97
2
mp
100
L
pizz.
(s)mp leggiero mp
Viola 2
5a (fold-out)
M arco
col legno sul pont.
104
p pp
107
110 to ord.
cresc. poco a poco
N
113
ord.
fff fiery!
O
117
2
ff non legato
121
mf
P
L'istesso tempo (q.=q)
124
ff fff
130
3
3
rall.
Vla. 1
3
mp mf p
quasi cadenza
slowly, con rubato
Viola 2
6
Q Tempo I (h=60)
molto rit.
134 (con sord)
mp
mf mp
mp mf
(Vla. 1)
mf
R Flowing (q=112)
139 arco
pizz.
p p mp
3
(Vla. 1)
mp p n
145 S
3
3 mp
151
3
mf
T
157
p
163
169 U
mp slightly separated
Viola 2
7
174
V
179
pp p cresc.
rit. A tempo
184
mf
rit.
W molto rit.
189
mp
mf mp fp
X A tempo rall.
195
mp p
201 pizz.
p
pp l.v.
-CDL
August 30, 2012; Baton Rouge, LA
CHRISTOPHER LOWRY
R om anza
For Four V iolas
Opus 15
VIOLA 3
- Though this piece uses mostly standard notation, there are a few markings that should be clarified. For
instance, when there is a particular voice that should be brought out, there will be small "brackets" placed
above the staff, indicating the beginning and ending of this solo passage.
3
Example:
- The piece makes frequent use of subito dynamics; to save space on the score, I have chosen not to write the
word "subito," but rather to precede the dynamic with an "S" enclosed in parentheses (this is important to note,
so that a subito forte will not be accidentally interpreted as a sforzando!).
- When playing pizzicato, the players should take great care to allow each note to have core, depth, and
resonance. In general, I have marked pizzicato passages up a dynamic level or two higher than surrounding
accompanimental textures; whether or not they are the primary voice, plucked notes should always be
brought out.
Viola 3
Commissioned by David Bynog for the American Viola Society
R om anza
for Four V iolas
Op. 15
Poco adagio, con rubato (h=60) CHRISTOPHER LOWRY (b. 1988)
con sord
mf f mf f
Vla. 1
3
f con bravura
(q=100)
7 senza sord
ff mf mf
rit.
(Vla. 1) Vla. 4
ff
6 3 cresc.
5
ad libitum f edgy
quasi cadenza
rit.
16
3
ff cadenza, dim. p
con molto rubato
17 Slowly, senza tempo (q=112)
3 3 3 3
p sim.
pizz.
Vla. 4
pp
p
22
3 3 3 3 3 3 3 3
sempre p
D
26
3 3 3 3 3 3 3 3
p sim.
30
3 3 3 3 3 3 3 3
34 E
(s)mp p più p
40
mp
3
F
48 arco
pizz.
mp pp mp pp p mp mf
53
3
Viola 3
5
59 G
p 3 3 3
legato
63 rit.
mp p
3 3 3
mfp
H Allegro (q.=120-126)
molto rit.
pizz.
68 arco
/0
mp (s)f ff f non legato
fp
72
ff
75
cresc.
I
78
mf
81
J
84
(s)f V.S.
Viola 3
6
87
ff
ff
K
91
p
94
(s)pp mp
97
2
(s)p
pizz.
100
col legno
mf p
M
pizz.
104 arco
mf mp
109
2 cresc. poco a poco
N
114
ff f sim.
Viola 3
7
O
118
ff non legato
P
124
ff
6 6 6 6 6 6 6 6
130
6 6 6 6 con sord
132
Vla. 1
rall.
3
3
mp mf p
quasi cadenza
slowly, con rubato
Viola 3
8
Q Tempo I (h=60)
134 (con sord)
mp mf mp mf
(Vla. 1)
mf
molto rit.
R Flowing (q=112)
138
pizz.
mp p mp dim.
(Vla. 1)
mp p n
142
p
146
150 S
T
arco
154
p mp 3
mf cantabile
158
3 mp 3 3
164
mp 3
Viola 3
9
170 U
mp slightly separated
176
V
poco sul pont.
181
pp
rit.
to ord.
ord.
184
cresc. 6 6 6 6
mf
A tempo W rit.
188
3
mf
mf mp
fp mp mp
199
pizz.
pp p l.v.
-CDL
August 30, 2012; Baton Rouge, LA
CHRISTOPHER LOWRY
R om anza
For Four V iolas
Opus 15
VIOLA 4
- Though this piece uses mostly standard notation, there are a few markings that should be clarified. For
instance, when there is a particular voice that should be brought out, there will be small "brackets" placed
above the staff, indicating the beginning and ending of this solo passage.
3
Example:
- The piece makes frequent use of subito dynamics; to save space on the score, I have chosen not to write the
word "subito," but rather to precede the dynamic with an "S" enclosed in parentheses (this is important to note,
so that a subito forte will not be accidentally interpreted as a sforzando!).
- When playing pizzicato, the players should take great care to allow each note to have core, depth, and
resonance. In general, I have marked pizzicato passages up a dynamic level or two higher than surrounding
accompanimental textures; whether or not they are the primary voice, plucked notes should always be
brought out.
Viola 4 Commissioned by David Bynog for the American Viola Society
R om anza
for Four V iolas
Op. 15
Poco adagio, con rubato (h=60) CHRISTOPHER LOWRY (b. 1988)
con sord
mf f mf f
Vla. 1
3
f con bravura
(q=100)
7 senza sord
cresc.
5
ff f edgy
rit.
(Vla. 1)
6 3
ff ad libitum
quasi cadenza
rit. B Tempo I (h=60)
10
3
3
cresc.
f fp
ff
16
Vla. 3
rit.
ff cadenza,
3
dim. p
con molto rubato
pp slow roll mf rich and full
lontano p
22
D arco
28
3 3 3 3 3 3 3 3 3 3
p sim.
33 E
3 3 (s)mp p più p
40
mp
arco
48 F
pizz.
mp n 3 legato 3
mp pp mp pp mp mf p
54
3 3 3 3 3 3 3
3
G
59
3
3
mf
rit.
molto rit.
64
p 3 3
fp mp
Viola 4
5
H Allegro (q.=120-126)
70
/0
(s)f non legato
ff
73
76 I
bold!
cresc. fff each note strongly articulated
80 2
J
85
(s)mp non cresc.
(s)ff
88
(s)mp (s)mp
(s)ff
K
91
p
(s)ff non dim.
94
(s)pp
97
pizz.
mp
L
arco
col legno
100
(s)mp leggiero p
Viola 4
5a (fold-out)
pizz.
103
mf
106 M pizz.
p mp like bells cresc. poco a poco
N
112 arco
ff f
123
P
ff
(Vla. 1)
mf
R Flowing (q=112)
139 pizz.
dim. p
p mp
(Vla. 1)
mp p n
143
S arco
147
3
mp
151
mf
157 T
p
164
Viola 4
7
U
170 ad lib. pizz.
5
(s)mp mf
(arco) V
179
p mp pp pp
rit. A tempo
184
cresc.
mf mp
X A tempo rall.
195
p
mp
200 pizz.
pp p l.v.
-CDL
August 30, 2012; Baton Rouge, LA
CHRISTOPHER LOWRY
R om anza
For Four V iolas
Opus 15
— Christopher Lowry
ABOUT THE COMPOSER:
Hailing from Nashville, Tennessee, Christopher Lowry (b. 1988) has extensive
experience as a performer and a composer. A classical violist, Lowry is an active soloist,
orchestral musician, and chamber musician. He holds a Bachelor’s degree in viola performance
and composition from Vanderbilt University’s Blair School of Music and is currently working
toward his Master’s degree at Louisiana State University. Lowry has received prizes in several
competitions, including First Place in the Junior Viola Division of the 2007 American String
Teachers Association (ASTA) National Solo Competition and awards in the Nashville
Philharmonic Orchestra Concerto Competition (2012), Vanderbilt University Concerto
Competition (2008), Curb Youth Symphony Concerto Competition (2007), and Eastern Music
Festival Concerto Competition (2006). Lowry is also a member of the Ars Nova String Quartet,
which participated in the Aspen Music Festival’s Center for Advanced Quartet Studies (2011)
and the Robert Mann String Quartet Institute (2012), and was the professional quartet-in-
residence for the 2012 Rendezvous Music Festival in Moscow, Idaho, and the McCall
SummerFest in McCall, Idaho. Lowry’s primary viola teachers have been Elias Goldstein,
Kathryn Plummer, John Kochanowski, Daniel Reinker, and Mary Helen Law.
Christopher Lowry’s music has been performed by the Nashville Symphony Orchestra,
Nashville Philharmonic Orchestra, Vanderbilt University Wind Symphony, Middle Tennessee
State University Orchestra, New York All-State String Orchestra, Quad City Youth Symphony,
and the Curb Youth Symphony, among others. His orchestral work Celebration Overture, Opus
1 No. 1, has seen much success, having been performed twelve additional times since its
premiere in December 2006. His Suite for Viola and Piano, Opus 5, won the TN State Round of
the 2010 MTNA Composition Competition and Honorable Mention in the New York Art
Ensemble Competition; his composition Cascades, Opus 8, won First Place in the 2010 Anton
Stadler Basset Clarinet Composition Competition, and it will soon be published by Edition
Lyrique and recorded by clarinetist Marc Maylor. His string orchestra piece The American
Dream – An Anthem, Opus 10, was premiered December 2011 at the Eastman School of Music
as part of the New York State School Music Association Winter Conference. Most recently, his
composition Livewire! Opus 7, for flute, clarinet, and horn, won the Collegiate Division of the
2012 National Association for Music Education (NAfME) Composition Competition, and it was
premiered June 2012 at the John F. Kennedy Center for the Performing Arts in Washington, DC,
by members of “The President’s Own” U.S. Marine Band. Lowry’s primary composition
instructors have been Michael Kurek, Michael Slayton, Michael Alec Rose, Stan Link, and Carl
Smith.
Additional Notes and Performance Instructions
- Though this piece uses mostly standard notation, there are a few markings that should be clarified. For
instance, when there is a particular voice that should be brought out, there will be small "brackets" placed
above the staff, indicating the beginning and ending of this solo passage.
3
Example:
- The piece makes frequent use of subito dynamics; to save space on the score, I have chosen not to write the
word "subito," but rather to precede the dynamic with an "S" enclosed in parentheses (this is important to note,
so that a subito forte will not be accidentally interpreted as a sforzando!).
- When playing pizzicato, the players should take great care to allow each note to have core, depth, and
resonance. In general, I have marked pizzicato passages up a dynamic level or two higher than surrounding
accompanimental textures; whether or not they are the primary voice, plucked notes should always be
brought out.
Commissioned by David Bynog for the American Viola Society
R om anza
for Four V iolas
Op. 15
Poco adagio, con rubato (h=60) CHRISTOPHER LOWRY (b. 1988)
2
con bravura
3
f
con sord
mf f mf f
con sord
mf f mf f
ad libitum
senza sord
ff
mf
senza sord
ff
mf
senza sord
cresc.
ff f edgy
Copyright © 2011-12 Christopher Lowry
6
poco rall. rit. B Tempo I (h=60)
9
mf f
3 3
mf espressivo
ff
mf
f
5
f
12
fp cresc.
f mf cresc. ff
fp cresc.
3
3
fp
cresc.
ff
16
ff
rit.
3
ff cadenza, dim. p
con molto rubato
Flowing
(q=112) C 7
17 Slowly, senza tempo
1 2
mf espressivo
3 3
p3 3
sim. 3 3
3 3
p3 3 3 3
senza vib.
pizz.
sim.
con vib.
mf rich and full
pp lontano p slow roll
23
3
3 3 mf mf
3 3 3 3 3 3 3 3 3 3
sempre p
D con vib.
28
pizz. rich and full
mf
3
3 3 3 3 3 3 3 3 3 3
p sim.
arco
3 3 3 3 3 3 3 3 3 3
p sim.
8 arco E
cantabile
33
mp 3
arco
pizz.
3
mp mp
3 3
(s)mp p più p
3 3 (s)mp p più p
39
3
mp
arco
pizz.
mp mf 3
44
mp pp
mp pp
3 dim. 3 3
mp mp pp mp pp
mp mp pp mp pp
9
F
50
mp n p legato 3 3 3
pizz.
p legato
n
3
mp mf
arco
pizz.
3
p mp mf
arco
pizz.
mp n mp mf p 3 legato 3 3
55
3 3 3 3 3 3 3 3 3
3
3 3 3 3 3 3 3
3
60 G
3 3
p 3
3
3
mf
p 3 3 3
legato
3
mf
molto rit.
rit.
10
64
p 5
mp p 3 3 3 3 3
mf
arco
mfp
mf 3
fp
mp p 3 3 3
mfp
fp
p 3 3
fp
H Allegro (q.=120-126)
non legato
arco
69
pizz.
/0
(s)f ff fff f
arco non legato
pizz.
/0
mp f
ff
(s)f arco
pizz.
/0
mp (s)f ff f non legato
/0
(s)f non legato
mp
72
ff
ff
ff
ff
11
75
cresc.
cresc.
cresc.
cresc.
I
78
mf
mf
mf
fff bold!
each note strongly articulated
f
2
12
84 J
f (s)mp
(s)f ff
(s)f
(s)mp
(s)mp
non cresc.
(s)ff
(s)ff
ff 2
ff
non cresc. (s)mp
(s)ff (s)ff
(s)mp
(s)ff non dim.
p
non dim. p
p
ff
non dim. p
(s)mp (s)ff
13
93
(s)mp
pizz.
mp
(s)pp
(s)pp
96
pizz.
mp p
arco
2
pp mp
mp 2
(s)p
pizz.
mp
99 L
(s)mp leggiero
(s)mp leggiero
mf
arco
(s)mp leggiero
14
col legno
102
mp p
col legno
p
col legno
pizz.
p mf
arco
sul pont.
105 M
pp
arco
sul pont.
pp
pizz.
arco
mf mp
p
108
cresc. poco a poco
cresc. poco a poco
pizz.
2 cresc. poco a poco
mp like bells
cresc. poco a poco
111 to ord. 15
ord.
to ord.
ord.
arco
114 N
ff
f sim.
fff fiery! 2
ff f sim.
sim.
ff
f
O
118
ff non legato
ff non legato
ff non legato
non legato
ff
16
121
mf
mf
fff 2
ff
ff
ff
ff
fff
L'istesso tempo (q.=q)
128
fff
fff
6 6 6 6
6 6 6 6
ff vibrant!
ad lib.
130
17
6 6 6 6
6 6 6 6
quasi cadenza
rall. 3
slowly, con rubato
132
3
3
mp mf p
3
6 6 6 6
Q Tempo I (h=60)
molto rit.
134
mf
con sord
mp
mf mp mf mp
con sord
mp mp
mp
mf mf
con sord
mp mf mp mf mp
18 R Flowing (q=112)
139
mp p n
pizz. arco
p
p mp 3
pizz.
p mp dim. p
pizz.
p dim. p
mp
pp cresc.
3
S
147
pizz.
p p
3
mp
arco
3 mp
19
151
3
155 T
mf p mp resonant
mf p
arco
cantabile
mf p mp 3 3
p
160
mp 3 3 mp 3
20
arco
166
3
3
p
(s)mp
U
172
3
n mf
mp slightly separated
mp slightly separated
5 ad lib.
pizz. arco pizz. arcopizz. arcopizz.
mf
177
3
(arco)
arco
p
21
181
V poco sul pont.
pp cresc.
pp p cresc.
poco
sul pont.
pp cresc.
mp pp cresc.
pp
rit. A tempo
to ord. ord.
185
6 6 6 6
mf
mf
to ord.
ord.
6 6
6 6 mf
mf mp
rit. molto rit.
22 W
5
1 3
189
mp mf
3
mp
mf fp
mp
mf mp
mf
3
fp
mf mp
fp
X A tempo rall.
195
p
mp
3
p
mp
mp
mp
p
mp
200
pizz.
p l.v.
pizz.
p
l.v.
pp
pizz.
p
pp l.v.
pizz.
pp p l.v.
-CDL
August 30, 2012; Baton Rouge, LA