Aerial
Aerial
AERIAL
FOR PIANO AND ORCHESTRA
FRONT COVER
Gerco de Ruijter, Untitled 2007. Inktjetprint on aluminium
ANTHONY FIUMARA
AERIAL
FOR PIANO AND ORCHESTRA
2009
AERIAL SCORING
The adjective ‘aerial’ for me stands for weightlessness, for lifting off, and for the Piccolo
unbroken view of the horizon. 2 Flutes
2 Oboes
When I went to Ralph van Raat with my initial ideals, he was happily surprised by 2 Clarinets in B-flat
the title. Did I know that flying was a hobby of his? No I didn’t. Van Raat actually Bass Clarinet in B-flat
took flying lessons in motorized planes and almost has his license. Since then he 2 Bassoons
regularly sends me a photo of himself, grinning broadly, in a plane over Holland.
4 Horns in F
That evening, we talked a lot about music and what was on our minds: not only
the (post) minimal music of Steve Reich and John Adams, but also about Iannis 2 Percussionists:
Xenakis, jazz and pop. I played him the track O Superman by Laurie Anderson Glockenspiel
and he played me Keith Jarrett and Chick Corea on electric piano. We jumped Vibraphone
from one topic to the other, all the while listening to music from a wide genre- Tubular Bell (sounds as written)
broadband. Marimba
The electric pianos ended up in the first part of the concerto. In the prelude-like Celesta
part with the same title as the concerto, Ralph imitates a delay on the acoustic Harp
grand. In electric music, a delay is an echo machine that takes every attack and
repeats it rhythmically. The orchestra in the opening part is actually the reverb of Piano
the piano. In the background, harp and celesta play a continuous little motive,
like a strummed guitar in the distance. Strings
Laurie Anderson’s O Superman forms the basis of the second part (Here Come
the Planes). I pilfered a few motives from the song and recombined them with my
own material. It became a kind of simple music – a melody over a chaconne in PERFORMANCE NOTE
the low instruments. A chaconne is a repeated bass line above which the melody
slowly develops. In the first part, the pianist acts as if he performs on an instrument with a built
in delay device. He plays (1) a ‘main melody’ consisting of measured upward
The final part (R & R, which is in part a play on Ralph’s initials) is the fastest. The arpeggios, in different octaves and at different starting points. This main melody
piano starts and is heard alone for the first time. It doesn’t take long, however, has to be performed f throughout, with accents on all the notes. The echoes of
before it is joined by the steadily strengthening orchestra. In this part, it is as if this main melody form the (2) ‘delayed notes’: ghost notes that gradually form
the sound of the plane slowly comes into focus only to disappear from sight in chords, that thin out again towards the end of a phrase. The delayed notes
the final bars. should start mf after each main note (like a sforzando). The delayed notes make
a small decrescendo towards the end of the phrase, like a real echo. As a result,
Aerial is not a ‘concerto,’ in the sense that the piano and orchestra should face the chords in each phrase consist of both dynamically strong and weaker notes.
each other in competition (as in the original meaning of the word ‘concertare’).
It is more like that they amplify and complete one another, in a sonorous overall The ‘delay notation’ has normal black noteheads for the main melody, and
sound. I like that. smaller white noteheads for the echoing delayed notes:
COLOFON
Aerial was commissioned by Marcel Mandos and Noord Nederlands Orkest, with To be perfomed as:
financial support of the Nederlands Fonds voor Podiumkunsten+.
AERIAL
1. Aerial Anthony Fiumara
q = 100 2 3 4 5 6
Piccolo
Flute 1
Flute 2
Oboe 1
Oboe 2
Clarinet in Bb 1
Clarinet in Bb 2
Bass Clarinet
in Bb
Bassoon 1
Bassoon 2
Horn in F 1
Horn in F 2
Horn in F 3
Horn in F 4
hard mallets
Glockenspiel
motor off
Vibraphone
P >
pp
Celesta
pp
Harp
(LH: loco)
For the ‘delay-notation’ of the piano in Part 1: see performance notes
always let the sound ring
Piano f
Violin I
mp poco mf mp poco
mp poco mf mp
poco
mp mf
Violin II poco mp
poco
mp
mp
mf
poco
poco
mp mf mp
Viola poco poco
mp mf mp
poco poco
Violoncello mp mf mp
poco
poco
mp mf mp
poco
poco
mp
mp mf
Contrabass poco mf
poco
mp mf
poco mp poco
mf
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Glock.
pp
pp
pp pp
Hp.
mf
mp poco mf
Vln. I
mf mp poco mf
mp mf sempre sim.
poco
Vln. II mf
mp mf sempre sim.
mf poco
mf mp poco mf sempre sim.
Vla.
mf mp mf sempre sim.
poco
Vc.
mf mp mf sempre sim.
poco
mf mp mf sempre sim.
poco
tutti
Cb.
mp
poco
mf sempre sim.
Picc.
pp mp
Fl. 1
pp mp
Fl. 2
pp mp
Ob. 1
pp mp
Ob. 2
pp mp
Cl. 1
pp mp
Cl. 2
pp mp
B. Cl.
pp mp
Bsn. 1
pp mp
Bsn. 2
pp mp
Glock.
pp
Vib.
pp
pp
Hp.
Pno.
Vln. I sempre sim.
sempre sim.
Vln. II
Vla.
Vc.
Cb.
[3]
19 20 21 22 23 24
Picc.
pp mp
Fl. 1
pp mp
Fl. 2
pp mp
Ob. 1
pp mp
Ob. 2
pp mp pp
Cl. 1
pp mp pp
Cl. 2
pp mp pp
B. Cl.
pp mp pp
Bsn. 1
pp mp pp
Bsn. 2
pp mp pp
Glock.
pp
Vib.
pp
pp
Hp.
loco
(LH: loco)
Pno.
(LH: loco)
Vln. I
Vln. II
Vla.
Vc.
Cb.
Picc.
pp mp sempre sim.
Fl. 1
pp mp sempre sim.
Fl. 2
pp mp sempre sim.
Ob. 1
pp mp sempre sim.
Ob. 2
mp sempre sim.
Cl. 1
mp sempre sim.
Cl. 2
mp sempre sim.
B. Cl.
mp sempre sim.
Bsn. 1
mp
sempre sim.
Bsn. 2
mp
sempre sim.
Glock.
pp
pp
pp
Hp.
Pno.
(LH: loco)
Vln. I
Vln. II
Vla.
Vc.
tutti
Cb.
[5]
B 32 33 34 35 36
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Glock.
pp
pp
Cel. pp
pp
Hp.
loco loco
Pno. (LH: loco)
Vln. I
Vln. II
Vla.
Vc.
Cb.
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Glock.
pp pp
Vib.
pp pp
Cel. pp
pp
Hp.
Pno.
(LH: loco)
(LH: loco)
Vln. I
Vln. II
Vla.
Vc.
Cb.
[7]
44 45 C 47 48 49
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Glock.
Vib.
pp
Cel.
pp
Hp.
loco
Pno.
Vln. I
Vln. II
Vla.
Vc.
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Glock.
Vib.
Cel.
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
[9]
56 57 58 D 60 61
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Glock.
pp
pp
pp
Hp.
loco
Pno.
(LH: loco)
Vln. I
Vln. II
Vla.
Vc.
Cb.
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Glock.
pp
pp
Cel.
Hp.
Pno. (LH: loco)
Vln. I
Vln. II
Vla.
Vc.
Cb.
[ 11 ]
68 69 70 71 E 73
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Glock.
Vib.
pp
Cel.
pp
Hp.
loco loco
Vln. I
Vln. II
Vla.
Vc.
Cb.
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Glock.
Vib.
Cel.
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
[ 13 ]
80 81 82 83 F 85
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Glock.
Vib.
pp
Cel.
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Glock.
pp
Vib.
pp
Cel.
pp
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
[ 15 ]
G
92 93 94 95 96 98
Hp.
loco
(LH: loco)
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
H
99 100 101 102 104
Cel.
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 1
Bsn. 2
Hn. 1
pp
Hn. 2
pp
Hn. 3
pp
Hn. 4
Glock.
pp
pp
Cel.
Hp.
Vln. I
Vln. II
Vla.
Vc.
Cb.
[ 17 ]
111 112 113 114 115 116
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
p pp p
Hn. 2
pp p
p
Hn. 3
pp p sempre sim.
p
Hn. 4
Glock.
Vib.
pp
Cel.
pp
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
sempre sim.
Hn. 2
sempre sim.
Hn. 3
Hn. 4
Glock.
pp
Vib.
pp
pp
Cel.
pp
Hp.
Pno.
(LH: loco)
(LH: loco)
Vln. I
Vln. II
Vla.
Vc.
tutti
Cb.
[ 19 ]
123 124 125 126 J 128
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Glock.
pp
pp
Cel.
Hp.
loco loco
loco)
Pno. (LH:
(LH: loco)
Vln. I
Vln. II
Vla.
p legatissimo e sostenuto,
Vc.
sempre senza vibrato
p
Cb.
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Glock.
Vib.
pp
pp
Cel.
pp
Hp.
loco
Pno.
Vln. I
Vln. II
Vla.
Vc.
tutti
Cb.
[ 21 ]
135 136 137 138 139 140 attacca
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Glock.
pp
Vib.
Cel.
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
pizz.
Cb.
p always let the sound ring
Oboe 1
Oboe 2
(sounds as written)
Tubular Bells
pp
Celesta
Harp loco
p always let the sound ring
flautando
ppp
Violin I,1
metà, div. in 2 flautando
ppp
Violin I,2
metà
flautando
Violin II ppp
metà, div. in 2
flautando
ppp
Violin II
metà
(legatissimo e sostenuto,
tutti sempre senza vibrato) div. unis. div.
Violoncello
(p)
tutti (pizz.)
Contrabass
( p always let the sound ring)
18 19 20 21 22 B 24 25 26 27 28 29
Tub. B.
pp
Hp.
legato
Pno.
mf
Vln. I,1
Vln. II,1
unis. sempre sim.
Vc.
Cb.
[ 23 ]
30 31 32 33 34 C 36 37 38 39
Tub. B.
pp
Hp.
3 3 3 3 3 3 3 3 3 3
Pno.
Vln. I,1
Vln. II,1
Vc.
Cb.
40 41 42 43 44 45 46 D 48 49
Tub. B.
Hp.
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
sempre sim.
Pno.
Vln. I,1
Vln. II,1
Vc.
Cb.
Hp.
3 3 3 3 3 3 33 3 3 3 3 3 3 3 3 3 3 3 3
Pno.
Vln. I,1
Vln. II,1
Vc.
Cb.
60 61 62 63 64 65 66 67 68 69
Hp.
3 3
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Vln. I,1
Vln. II,1
Vc.
Cb.
[ 25 ]
70 F 72 73 74 75 76 77 78 79
Tub. B.
Hp.
3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3
Vln. I,1
Vln. II,1
Vc.
Cb.
80 81 82 G 84 85 86 87 88 89
Tub. B.
Hp.
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3
Pno.
Vln. I,1
Vln. II,1
Vc.
Cb.
Tub. B.
Hp.
3 3 3 3 3 3 3 3 3
3
Pno.
Vln. I,1
Vln. II,1
Vla. vle div. in 2
pp
Vc.
Cb.
Picc.
3 3 3
pp
Tub. B.
Vib.
pp 3 3 3
Hp.
3 3 3 3 3 3
Pno.
Vln. I,1
Vln. II,1
Vla.
Vc.
Cb.
[ 27 ]
110 111 112 113 114 115 116 117 118 J
Picc.
3 3 3 3 3 3 3 3 3 3
Tub. B.
Vib.
3 3 3 3 3 3 3 3 3 3
Hp.
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Pno.
più f
Vln. I,1
Vln. II,1
Vln. II,2
pp
Vla.
Vc.
Cb.
120 121 122 123 124 125 126 127 128 129
Picc.
3 3 3 3 3 3 3 3 3 3
Vib.
3 3 3 3 3 3 3 3 3 3
Hp.
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Pno.
Vln. I,1
Vln. II,1
Vln. II,2
Vla.
Vc.
Cb.
Picc.
3 3 3 3 3 3 3 3 3 3
Tub. B.
Vib.
3 3 3 3 3 3 3 3 3 3
Hp.
3 3 3 3
3
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3
Vln. I,1
Vln. II,1
Vln. II,2
Vla.
Vc.
Cb.
140 141 142 L 144 145 146 147 148 149
Picc.
3 3 3 3 3 3 3 3 3 3
Tub. B.
Vib.
3 3 3 3 3 3 3 3 3 3
Hp.
3
3 3 3
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Pno.
Vln. I,1
Vln. II,1
Vln. II,2
Vla.
Vc.
Cb.
[ 29 ]
150 151 152 153 154 M 156 157 158 159
Picc.
3 3 3 3 3 3 3 3 3 3
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tub. B.
Vib.
3 3 3 3 3 3 3 3 3 3
Hp.
3
3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Pno.
Vln. I,1
Vln. II,1
Vln. II,2
Vla.
Vc.
Cb.
Fl. 1
pp
Fl. 2
pp
Ob. 1
pp
Ob. 2
pp
Cl. 1
Cl. 2
B. Cl.
mp
Bsn. 1
mp
Bsn. 2
mp
Hn. 1
mp cantabile
Hn. 2
mp cantabile
Hn. 3
mp cantabile
Hn. 4
mp cantabile
Tub. B.
mp
Vib.
3 3 3 3 3 3 3 3
Hp.
mp
6
Pno. 6
6
loco
mp cantabile
Vln. I,1
loco
mp cantabile
Vln. I,2
p 3 3
Vln. II,1 mp cantabile
mp cantabile
Vln. II,2
p
mp cantabile
Vla.
p
mp
div.
Vc.
mp cantabile
Cb.
mp
[ 31 ]
168 169 170 171 172
Picc.
3 3 3 3 3
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
pp
Cl. 2
pp
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Vib.
3 3 3 3 3
Hp.
6 6 6 6
6
6
6
6 6 6 6 6
Pno. 6 6 6 6
6 6 6 6
Vln. I,1
Vln. I,2
3 3 3 3 3 3 3 3 3 3
Vln. II,1
Vln. II,2
Vla.
Vc.
Cb.
Picc.
3 3 3 3 3
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Vib.
3 3 3 3 3
Hp.
6
6
6 6 6 6
6 6 6 6 6 6 6 6 6
Pno. 6
6 6
6 6
Vln. I,1
Vln. I,2
3 3 3 3 3 3 3 3 3 3
Vln. II,1
Vln. II,2
Vla.
Vc.
Cb.
[ 33 ]
178 O 180 181 182
Picc.
3 3 3 3 3
Fl. 1
p
Fl. 2
p
Ob. 1
p
Ob. 2
p
Cl. 1
p
Cl. 2
p
B. Cl.
mp
Bsn. 1
mp
Bsn. 2
mp
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tub. B.
Vib.
3 3 3 3 3
Hp.
6 6
6 6 6
6 6
6
6
6 6
Pno. 6 6 6 6 6
6
6 6 6
Vln. I,1
Vln. I,2
3 3 3 3 3 3 3 3 3 3
Vln. II,1
Vln. II,2
Vla.
Vc.
Cb.
Picc.
3 3 3 3 3
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Vib.
3 3 3 3 3
Hp.
6
6 6 6 6
6 6 6
6
6 6
Pno. 6 6 6 6 6 6 6
6 6
Vln. I,1
Vln. I,2
3 3 3 3 3 3 3 3 3 3
Vln. II,1
Vln. II,2
Vla.
div.
Vc.
Cb.
[ 35 ]
188 189 190 P 192 193 194
Picc.
3 3 3
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Tub. B.
pp
Vib.
3 3 3
Hp.
6 6
6
3 3 3 3 3 3 3 3
6 6 6 mf
6 6 6
Pno.
6 6 6
Vln. I,1
Vln. I,2
3 3 3 3 3 3
Vln. II,1
Vln. II,2
pp subito
Vla.
pp subito
unis.
p subito
Vc.
Cb.
p subito
Hp.
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Pno.
flautando
ppp
Vln. I,1 flautando
ppp
Vln. I,2
flautando
ppp
Vln. II,1
flautando
ppp
Vln. II,2
Vla.
Vc.
Cb.
205 206 207 208 R
Pno.
Vln. I,1
Vln. II,1
210 211 212 213 214 215
Pno.
cut off the sound
Vln. I,1
Vln. II,1
[ 37 ]
3. R & R
q = 92 2 3 A 5
Piano f
½P>
6 7 9 10 11
Pno.
12 13 14 15 16 17
Pno.
18 19 20 21 22 23
Pno.
24 25 26 27 28 29
Pno.
meno f
30 31 33 34
Pno.
f
mp
Vln. I tutti, div.
mp
tutti
Vln. II
p
tutti
Vla.
mp
tutti
Vc.
mp
35 36 37 38 39
Pno.
div. unis. div. unis.
Vln. I
div. unis.
Vln. II
sim.
div. unis. div. unis. div. unis.
Vc.
arco
Cb.
mp
41 42 43 44 45 46
Pno.
div.
unis.
Vln. I
Vln. II
Vc.
Cb.
sim.
47 48 49 50 51 52
Pno.
Vln. I
Vln. II
Vc.
Cb.
[ 39 ]
53 54 55 E 57 58
Picc.
p
Fl. 1
p
Fl. 2
p
Ob. 1
p
Ob. 2
p
Cl. 1
p
Cl. 2
p
B. Cl.
p
Bsn. 1
p
Bsn. 2
p
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Vib.
Mar.
Hp.
più f
Pno.
(LH loco)
Vln. I
Vln. II
Vc.
Cb.
sim.
Picc.
sim.
Fl. 1
sim.
Fl. 2
sim.
Ob. 1
sim.
Ob. 2
sim.
Cl. 1
sim.
Cl. 2
sim.
B. Cl.
sim.
Bsn. 1
sim.
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Vib.
Mar.
Hp.
sempre sim.
Pno.
Vln. I
Vln. II
Vc.
Cb.
[ 41 ]
65 66 67 68 69 70
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Vib.
Mar.
Hp.
Pno.
Vln. I
Vln. II
Vc.
Cb.
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Vib.
Mar.
Hp.
Pno.
Vln. I
Vln. II
Vc.
Cb.
[ 43 ]
77 78 79 F 81
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Hn. 1
mp
Hn. 2
mp
Hn. 3
mp
Hn. 4
mp
Vib.
mf
l.v.
Mar.
mf
Hp.
mf
loco
Pno.
mp
Vln. I
mf
mp
Vln. II
div.
mf
mf
Vc.
mp
Cb.
mp
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Mar.
Hp.
Pno.
Vln. I
sim.
Vln. II
Vla.
sim.
Vc.
Cb.
[ 45 ]
88 89 90 91 92 93
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Vib.
Mar.
Hp.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Vib.
Mar.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
[ 47 ]
100 101 102 103 G 105
Picc.
mf
Ob. 2
mf
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Vib.
Mar.
Pno.
ff
(LH loco)
Vln. I
Vln. II
Vla.
Vc.
Cb.
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
mf
Cl. 2
mf
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Vib.
Mar.
Vln. I
Vln. II
Vla.
Vc.
Cb.
[ 49 ]
112 113 114 115 116 117
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Vib.
Mar.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
Picc.
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
Bsn. 1
Bsn. 2
Hn. 1
p
Hn. 2
p
Hn. 3
p
Hn. 4
p
Vib.
Mar.
Hp.
Pno. f
div.
Vln. I mf
mp
Vln. II mf
mp
Vla. mf
mf
Vc.
mf
Cb.
mf
[ 51 ]
I
124 125 127 128 129
Cel. mp
Pno.
Vln. I
Vln. II
tutti
Vla.
Vc.
Cb.
130 131 132 133 134 135 136
Cel.
Pno.
Vln. I
Vln. II
Vla.
Vc.
Cb.
As a composer Fiumara took private lessons with Richard Rijnvos. He has written
a number of works for soloists and for ensembles. For Orkest De Volharding,
he arranged Short Ride in a Fast Machine by John Adams, as well as Steve
Reich’s City Life, the latter published by Boosey & Hawkes. In 2008 the Dutch
Radio Chamber Filharmonic Orchestra performed Aperture in the Amsterdam
Concertgebouw.
CONTACT
Anthony Fiumara
P.L. Takstraat 2-B
1073 KK Amsterdam
+31 (0)6 270 666 59
fiumara@[Link]
[Link]fi[Link]