2. Programme Note
Turning was written in memory of Linton Kerber, who tragically passed away in 2009.
The pitch translation of ‘Linton Kerber’ is found in the left hand of the opening phrase of the piano.
These pitches are the basis of the piece and can be found throughout much of the work.
The title refers to a gradual change of emotional states and to the extensive use of rotation. The latter is
employed in relation to both pitch and rhythmic series.
The work falls into three sections with a short coda. Within this form is an overall descent and ascent in
register; this is found mostly in the piano. Hoping to create an ethereal sound-world, the cello part in the
first section exclusively uses harmonics.
AMM
Performance Notes
Duration: 8.00 approx.
See score for notes regarding bars 137-139.
Piano: pedalling
‘Ped. sempre’ indicates hold down the sustain pedal throughout.
At rehearsal mark ‘G’, bar 98, to rehearsal mark J, bar 129, use full to half-pedal depending on the
acoustic. The sound should be blurred but not excessively muddy.
If half-pedal is used at rehearsal ‘G’ fully depress pedal at rehearsal ‘J’, bar 129 without clearing.
3. #R
#R
#R
#R= c. 96 crystalline, without metrical accentation
Anthony Michael Moles (2009, rev. 2010)
7XUQLQJ
In memory of Linton Kerber
Cello
Piano
con sord.
0 0 0
4. G
i
pp very delicately and with expression
5
I 5 5
5
I 5 5
5
I 5
5
I
5 5
I 5 5 5
I
5 5
0
5
I
5
G
i
Ped. sempre
L [I N] T [O N K] E R B E R
5
I 5 5
5
I 5 5
5
I 5
5
I 5 5
I
5 5 5
I 5 5 0
5
I 5
5. ( )
pp blend with piano resonance
Sul A
M
¯
0 ¾ ¾
( )
Sul D
¯
¾
¾ „
G
i
5
I 5
5
I 5 5
5
I 5 5
5
I
5 5
I 5 5
I
5 5 5
I
0
5 5
G
i
5
I 5
5
I 5 5
5
I 5 5
5
I 5 5
I
5 5
I 5 5 5
I
0
5 5
6. M
( )
Sul G
¾
¾
¯
¾ 0 M ¾M =
G
i
p
5
I
5
5
I 5
5
I 5 5
5
I 5 5
5
I
5 5
I 5
5
I
5 5
= 0 0
G
i
5
I 5
5
I 5 5
I 5 5
5
I 5 5 5
I
5 5
I 5 5
I 5 5
= 0 0
A
( )
Sul C
p balance the left hand of the piano
¯
I
I
( )
Sul G
¯
I
I
( )
I
I
¯ ( )
Sul D
I
I
¯
7. ( )
Sul A
I
I
¯
I
I
( )
Sul D
¯
I
I
I
I M
G
i
pp sotto voce
5
5 5 5
5
5
5 5
5 5
5 5
5 5
5 5
5 5
5
5
5
5
5
5
5
5
5
5
5
0
5
5 5
5
G
i
p come prima
5
5 5
5
5 5 5
5
5
5 5
5 5 5
5 5 0
5
5
9. ¾
I
¾
I ¾
I
¾
I
¾
I
¾
I
I M
G
i
5
5
5
5 5
5
5
5
5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5
5
5
5
5
0
5
5
5
5
G
i
5
5 5
5
5 5
5
5
5 5 5
5 5 5
5 5
0
5 5
( )
Sul G
¯
¾
I
¾
I
( )
Sul C
¯
¾
I ¾
I
( )
Sul G
¯
¾
I
¾
I
( )
¾
I ¾
I
¯
¾
I
¾
I
10. ( )
Sul D
¯
¾
I ¾
I
( )
¯
E
¾
I ¾
I
E „
I M
G
i
5
5
5
5
5
5 5
5 5
5
5
5 5
5 5
5 5
5 5
5 5
5
5
5 5
5 5
5 5
5 5
5
0
5
5
5
5
G
i
5
5
5
5 5
5 5
5
5 5 5
5 5
5 5 5
0
5 5
sim.
¾
I
¾
I ¾
I ¾
I
¾
I ¾
I
¾
I
¾
I
¾
I
¾
I
11. ¾
I ¾
I
¾
I ¾
I ¾
I
E ¾
I ¾ 0 M
G
i 5
5
5
5
5
5
5
5
5
5
5
5 5
5 5
5
5
5
5
5
5
5
5
5 5
5 5
5 5
5 5
5
0 0
5
5 5
5
G
i
5
5
5
5 5
5
5 5
5
5 5
5 5 5
5 5 0 0 G
5
5
B
12. ¾ 4
4 ? 0 0
G
i
pp (both hands equal)
5
I
5 5 5
I
5 5
5
I 5
5
I
5 5
5
I 5 5 5
I
5
0
5
I
5
G 5
I 5 5
5
I 5 5
5
I
5 5
I 5 5 5
I
5 5
5
I
5
0
5
I 5
2
13. p blend with piano resonance
BMM
B 0
'
5
5
5
5
B
G
i
p
5
I
5 5 5
I
5
5
I 5 5
5
I
5 5
5
I 5 5
I
5 5
I
0
5 5
G 5
I 5 5
5
I 5
5
I
5 5 5
I 5 5 5
I
5
5
I
5 5
I
0
5 5
B
MM B
B
5
5
5 0
'
BM
M
5M
M =
G
i 5
I
5
5
I 5 5
5
I
5 5
5
I 5
5
I
5
5
I 5 5 5
I
0 0
5 5
G
mp
5
I 5
5
I 5 5
5
I
5 5 5
I 5 5
I
5
5
I
5 5 5
I
0 0
5 5
C
mp balance the L.H. of the piano
5
I
5
I
5
I
5
I
5
I 5
I
5
I
!
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I 5
I 5
B
MM B
G
i
p sotto voce
5
5 5 5
5
5
5 5
5 5
5
5
5
5
5
5
5 5
5
5
5
5
5
5
5
5
5
5
5 0
5
5
5
5
G
mp come prima
5
5 5
5
5 5
5
5 5
5 5
5 5
5
5 5
0
5
5
5
I
5
I
5
I
5
I
5
I
5
I
!
5
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5
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5
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5
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5
I
5
I
5
I
5
I B
I B
MM B
G
i 5
5
5
5
5
5 5
5
5
5
5
5
5
5 5
5
5
5
5
5
5
5
5
5 5
5 5
5
5
5
5
5
0
5
5
5
5
G 5
5 5
5
5
5
5 5
5 5 5
5 5
5
5 5
0
5 5
3
14. 5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
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I
5
I 5
I 5
B
MM B
G
i 5
5
5
5
5
5
5
5 5
5
5
5 5
5 5
5
5
5 5
5 5
5
5
5
5
5
5
5 5
5 5
5 0
5
5
5
5
G 5
5
5
5
5
5 5 5
5 5 5
5
5
5 5 5
0
5 5
5
I
5
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5
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5
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5
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5
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5
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5
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5
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5
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5
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5
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5
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5
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5
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5
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B
MM B
G
i 5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5 5
5 5
5
5
5
5
5 0
5
5
5
5
G 5
5
5
5 5
5
5 5 5
5 5
5 5
5
5 5
0
5
5
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5 0
' 0
'MM
G
i 5
5
5
5 5
5 5
5
!
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5 5
5
5
5
5
5
0 0
5
5
5
5
G 5
5 5
5
5 5
5
5
5
5 5 5
5 5
5
5
0 0
5
5
D
5 4
4 ? 0 0
G
i
p (both hands equal)
5
I
5 5 5
I 5 5
I
5 5 5
I
5 5
5
I
5
5
I 5
5
I
0
5 5
G 5
I 5 5
5
I
5
5
I 5 5
5
I
5 5
5
I 5 5
I
5 5
I
0
5 5
4
15. mp blend with piano resonance
BM
M
B 0
'
5
5
5
5
B
G
i
mp
5
I
5 5
I 5 5 5
I
5 5 5
I
5
5
I
5
5
I 5 5
5
I
0
5 5
G 5
I 5
5
I
5 5
5
I 5 5
5
I
5
5
I 5 5
I
5 5 5
I
0
5 5
BMM
B
B
5
5
5 0
' 0
'
5MM
=
G
i
mf
5
I
5 5
5
I 5 5 5
I 5 5
I
5 5
I
5 5
5
I
5 5 0 0
5
I 5
G 5
I 5 5
5
I
5 5
5
I 5
5
I
5
5
I 5 5
5
I
5 5 0 0
5
I
5
E
mf balance L.H. of the piano
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
B
I
BM
M
B
G
i
mp sotto voce
5
5 5 5
5 5
5 5
5 5
5 5
5 5
5 5
5 5
5
5
5 5
5
5
5
5
5 5
5
0
5
5
5
5
G
mf come prima
5
5 5
5
5
5
5
5
5 5
5
5 5 5
5 5
0
5 5
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
B
I 0
'
5MM =
G
i 5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5 5
5 5
5
5
5 5
5
5
5
0
5
5 5
5
G 5
5
5
5
5
5 5
5
5 5
5
5 5
5 5 5
0
5 5
5
16. 5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
BMM
B
G
i 5
5
5
5 5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5 5
5 5
5
0
5
5
5
5
G 5
5
5
5 5
5
5 5
5
5
5
5 5 5
5 5 0
5
5
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5 0
'
B
5
=
G
i 5
5
5
5 5
5 5
5
5
5 5
5 5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5 0
5
5 5
5
G 5
5 5
5
5 5
5
5
5
5 5
5
5 5
5
5 0
5
5
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
B
I
BMM
B
G
i 5
5 5
5 5
5 5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5 0
5
5
5
5
G
5
5 5
5
5
5
5 5
5
5 5
5
5 5
5 5
0
5 5
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
5
I
B
I 0
'
G
i 5
5
5
5
5
5 5
5 5
5 5
5
5
5 5
5
5
5
5
5 5
5
5
5
5
5
5
5
5
5
5
5
0
5
5
5
5
G 5
5
5
5 5
5
5 5
5
5
5
5 5
5 5 5
0
5 5
6
17. Meno mosso c. #R
#R
#R
#R= 76
0
'
5MM
=
pp
legatiss.
Sul G
5
M gliss. 5
M 5
5
5
M
5
M
ff
B
BM B '
senza sord.
Q
G
i
0 G
ppp
(loco)
5M 5M 5
5
5
M
5M
f
B
B
B
B
M
M
B
B
'
'
Q
G 0
(bring out the L.H.)
pp
5M 5M 5
5
5
M
5M
ff
B
B
B
B
M
M
B
B
'
'
F Slowly, freely ad lib. c. #R
#R
#R
#R= 48
accel. poco a poco
(c. #R
#R
#R
#R= 58)
rall. poco a poco
(c. #R
#R
#R
#R= 48)
a tempo
mp
expressivo, quasi cadenza
5
I 5 5
5
I
5 5
5
I 5
5
5
5
I
ff
5
5
5
5
5
5
I
5
5
5
5 5
5
I
5
5 5
I
mp
5 5 B 5M
=
G 0 0 0
(Sempre ped.)
0 0 0
accel. poco a poco
rall. poco a poco a tempo
ppp
echo
flautando
5
I 5
5
I
5 5
5
I 5
5
5
5
5
5
I
p
5
5
5
5
5
5
I
5
5 5
5
I
5
5
5
5 5
I
ppp
5 5 B 5M
=
G 0 0 0
0 0 0
accel. poco a poco
rall. poco a poco a tempo
ppp
sul pont.
M
M
M
5M
M
M
M
55MM
M
M
M
5
5
M
M
M
5
5
p
M
M
M
5
5
MM M
M
M
5
M
M
M
5
ppp
M
M
M
5
M
M
M
B
M
M
M
5M =
Q
G 0 0 0
Q
0 0 0
Q
7
18. accel. poco a poco
rall. poco a poco a tempo
mf
ord.
5
5
I 5
5 5
5 5
5
I 5
5
5
5
I 5
5 5
5 5
5
I
5
5
ff
5
5
5
5
I
5
5 5
5
I 5
5 5
5
I
mf
5
5 5
5 B
B 5
5MM =
G 0 0 0
0 0 0
accel. poco a poco
rall. poco a poco a tempo
mf
5
5
I 5
5 5
5
I 5
5 5
5
5
5
I 5
5 5
5
ff
5
5
I
5
5
5
5
I
5
5 5
5
I
5
5
5
5 5
5
I
mf
5
5
5
5
B
B
5
5M
M =
Q
19. G 0 0 0
Q
G
i
0 0 0
Q
i
G Resolute c. #R
#R
#R
#R= 136
31. wait for piano resonance to emerge
and die away somewhat
J Slower than Tempo I, without metrical accentation, crystalline c. #R
#R
#R
#R= 56
32. 0
Q
( )
Sul C
p blend with piano resonance
¯ ( )
Sul G
¯
M ¾
( )
¾
¾M
¯
Sul D
( )
¯
¾M
¾ ¾
G
i
0
Q
ff ppp
5
5 5 5 k
5 k
5
5 5
ff ppp
5
5
5 5 k
5 k
5
5 5 5
5
5 5
0
Q
(8va)
G
i
(Sempre ped.)
grace notes very quick
k
5
k
5
5
5 5 5 5 5
k
5
5
5
k
5
5 5 5 5 k
5
5
5
k
5
5 5
33. ( )
Sul A
¯
F
F
F
F
F
5
F
F
F
F
F
( )
Sul D
¾M
C. 5 secs
4
sim.
¾ ¾M
¾ ¾M
G
i
accented notes ff, others ppp
k
5 k
5
5 5
5
5 k
5
5 5 k
5
5
5 5 5
5 5
4 4
5
5 k
5
5 5 k
5
5 5
5
5
G
i
5 5
k
5
5
5 5 5 k
5
5
5
k
5
5
5
5 5
4 4
k
5
k
5
5
5 5 5 5 5
k
5
5
5
M
34. ¾ ¾M
¾ ¾ M
C. 7 secs
4
G
i
k
5 k
5
5 5 5
5
k
5
5 5 5
5
5
5
k
5
5 5 5
5 k
5
5
5 5
= 4 4 4
G
i
k
5
5 5 k
5
5 5
5 5
k
5
5
5
k
5
5 5
5 5
k
5
5
5 k
5
5
5 5
= 4 4 4
Play in pantomime: absolutely silent!*
*) Cellist 'mimes' these three bars; under no circumstances should he or she make a sound. Both players freeze immediately after the pianist's
final notes; the pianist should freeze with hands just above the keyboard, the cellist freezes mid-bow (mimed). Should the cellist choose not
to mime, omit the boxed notes; pianist still freezes.
¾ ¾
¾M ¾
¾ ¾
¾ ¾
35. ¾ ¾
¾M ¾
allow piano resonance to emerge
and decay - at least 9 secs.
FREEZE!*
?
Q
G
i
5
5 k
5 k
5
5 5 5
5
k
5
5 5 5
5
k
5
5 5
5
5
k
5
5
5 5 5
5
5
?
Q
G
i
k
5
k
5
5
5 5 5
k
5
5
5
5 5 k
5
5 5
5 5
k
5
5
5 k
5
5
5
k
5
5
5
FREEZE!*
Stanmore, N.S.W., 11.09 (rev. 2011)
5 5
?
Q
11
