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Peters Contemporary Chamber Series

PANUFNIK Heartfelt for String Quartet

Score and Parts

EP 73489

ROXANNA PANUFNIK

Heartfelt for String Quartet (2019/20)

EDITION PETERS L E I P Z I G · L O N D O N · NEW YORK

PROGRAMME NOTE When the Sacconi Quartet approached me to write a new piece for them, they were involved in a wonderful multi-media experience for audiences who were connected to the performers’ heart monitors, via wi-fi, to create a multi-sensory listening experience. This captured my imagination and seemed an obvious source of writing – since music, for me, is all about the heart. The court musicians of 17th century Uzbekistan used to set the tempo of their performances by feeling their pulse. This would ensure that their music would have a ‘stately’ start, however ebullient their dance music became. Whilst listening to some examples, I imagined a grand and regal caravan of camels and carriages travelling down the Silk Road. In Uzbek Processional, each stage of the convoy has its own music – for this I use Shashmaqam dance rhythms and snatches of authentic melodies. The speed of the first (Nasr) is determined by one player measuring their pulse and tapping their foot to enhance the 2/4 march. Pizzicato tremolos evoke the combined sound of the plucked dutar and the chan (a hammer dulcimer). The speed quickens in Talqin as the combination of 3/4 and 3/8 give it a dance-like feel. Nasrulloee starts in an orderly fashion, combining a triple time (6/4) with 2/4 and 4/4, but it struggles to hold together as participants – animal and human – try to go astray. This leads to the delicate Ufar waltz, evoking the ladies of the caravan in their ornate silks. All four dances are super-imposed for the ending. Initially loud and proud, the music becomes quieter as the caravan disappears into the distance and we are left with a lonely wind blowing over the plains... The second movement, Lament for a Bulgarian Dancing Bear was inspired by Witold Szabłowski’s evocative and sometimes harrowing book Dancing Bears. It describes rescues of maltreated animals from their exploitative owners when bear dancing became illegal in Bulgaria. Throughout the piece runs the slow rhythm of an Eastern European brown bear’s heartbeat on just one note (F-sharp). Above this is a traditional Bulgarian folk melody which would have been played by the bear-keeper on a gadulka – a stringed instrument with a distinctive ‘reedy’ sound due to the sympathetic strings that run undernearth the main melodic ones. This sound is recreated by the quartet by employing a leather mute and playing sul ponticello (with the bow near the bridge) with light pressure in the left hand. The movement ends happily as the bear’s heartbeat elevates in joy as he is rescued. I am deeply grateful to Dr Razia Sultanova for her excellent book Shashmaqam as a Cultural Phenomenon; Bristol Zoo, vet Michelle Barrows and Koda the bear; Angel Stankov and Elena Stankova for introducing me to the gadulka and its beautiful, plaintive music; the Sacconi Quartet for commission the piece, and to the Friends of the Sacconi Quartet and the Vernon Ellis Foundation for funding the commission. Heartfelt is dedicated to the Sacconi Quartet and lasts approximately eleven minutes. Roxanna Panufnik, January 2020

Commissioned for the Sacconi Quartet by the Friends of the Sacconi Quartet and the Vernon Ellis Foundation First performed at the Sacconi Chamber Music Festival in Folkestone, 15th May 2020

for the Sensational Sacconis

Heartfelt Roxanna Panufnik

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