THOMAS ADES Traced Overhead for solo piano Op.15 (1995-96) FABER ff music© 1997 by Faber Music Led First published in 1997 by Faber Music Led ‘Amended impression January 2000 3 Queen Square London WCIN 3AU, ‘Musie processed by Christopher Hinkins Cover design by S & M Tucker Cover drawing The Rape of Ganymede after Michelangelo Printed in England by Halstan & Co Lid All rights reserved ISBN 0-571-$1700.5 Permission to perform this work in public must be obtained from the Society duly controlling performing rights unless there isa current licence for public performance from the Society in force in relation to the premises at which the performance is to take place Such permission must be obtained in the UK and Bire from Performing Right Society Ltd, 29-33 Bemers Street, London WIP 4AA, Traced Overhead was commissioned by Imogen Cooper and the Cheltenham International Festival with partial funding from: the Arts Council of England ‘The first performance of Traced Overhead was given by Imogen Cooper at the Pittville Pump Room, as part of the Cheltenham International Festival of Music on 20 July 1996 Duration: 12 minutes A recording of the work performed by the composer is included on a dise in the EMI Début series: ‘Life Story’ CDZ 5 69699 2 Time signatures (second movement ‘The lower number of the time signature denotes the number of equal divisions of the semibreve, For example: page 7 bar 4 =5 ciple quavers in the prevaling tempo page 1Obar2. = 9 septuple quavers All tre corde & una corda markings are a lib, ‘To buy Faber Music publications or to find out about the full range of titles available please contact your local retailer or Faber Music sales enquities: ‘Tek: +44 (0)1279 82 89 82 Fac +44 (0)1279 82.89 83, Email: sales@fabermusic.com Website: wwusfabermusic.com1 Sursum. II Aetheria ILL Chori. The first movement takes its title from the Latin adverb for ‘upward’, which also functions as an imperative (as in ‘sursum corda’, commonly translated as ‘lif up your hearts’) The ascent is continued through the second movement, a record of ‘things of the middle air’, and up through layer upon layer of the third.Traced Overhead ‘THOMAS ADES: Ops I Sursum Velocissimo quasi senza peso al fine J= 60-63 ie a (Ped.) MN ‘quasi sempre ‘©Copyright 1997 by Faber Music Ld7 PP (80) gator te | = H 3 (pep) quasi sempre dim. l soci (Ped). quasi sempre 0 ‘quai sempre — % % ‘quasi sempre ancora pid dim quasi niente 3 (Ped. quasi sempreTI Aetheria Giusto e chiarissimo © = 148 fiscco i Bp poco dolce, nom cantabile ee Ped PPP_pp caniabile | PPP come sopra > ——— pp mena canta(pp) =P po pitt camabile —— Ped (d= 144-148) dim. degli orcad (orcony (mpy—~ foe =o, fi Us| re teal em = EY PEP f = pp === PP =— | pp —= = Pipe —pP=| (peantabie, legasssimo 2 ———— 4————*_—~, ee Ped. / leggierssimo _ - (forza (mf) ee ae a Rg oP Se Aads ar # oS aS f, I (pep) =F (Ppp) re eel oe J pp —nf me — Pp eee Lea?) senza Ped.Unplayed melody Bp legatis. SE_VOv_ %— %(lay)| “pp marcatissimo the bass throughout ery soft and gentle Ye senza Ped.rempo 1°, poch. meno mosso. Quasi allontanandosi ra gre eeepee, qua i, a eae) * owsias( Ped, pp Cantab-)6 (ub.) ppp does. nom suonato - -cantab é — rr pp) ee wt == tre conde % senza Ped (oub,yPed. ———___/A__~~ a) Raddolcendo al fine ——— feardao.) Tig - Fred, __1 7 pea. pocoa fi oT (canta Te = pitt a pit lontano_—— a senza Ped, te, = ia ——t eee ‘ue, poco a poce tc10 poco pi ralentando - dai) 6: [sub, J = 112 giusto } . rall. quasicomtinuando - dipoco- -dimolto _ al _ — — pas ——— toc — Sed 2 cd c _ ~~ s = (dim. sempre) = prep os (pean) ed res seated =n 1256 (2112) motorit,- - - - - Dam - - - - - = - - - Pasa. SSS” 2 ro ‘attacca PPI (gqupe semere pepe) sap canta, loaning. nora qi \ = pppp ma chiar, sonore (Ped,)_/“*\__, Ped. sempre poco sf (bactuto doppio) ’ eee eee eo Ppp rapidis., quasi non arpegg. Ped. sempre-+Bp cantab.; poch. pis lontano od I 0 ea) oe 8: , Ped. sempre-+ BRE Ped. sempre + sry13 eee Ped. sempre + PEP ——— - — Ped. sempre + ~~ vo.FP 2 pp es mp ep pp 9 pmolie expr. = Ped. sempre + AR Ancora poch. pit largamente (J = 28-30) = pepe dim ——: —— obs Fa ———S imp poco espres.;e dim. ? ae __ quasi ancora pit cantab. eee : aes Ped.-+ asFEE RS OTLquasi calmandosi_ —_[adagio . a ees Gr op (nao caad,) molio espr. % Ped.-+ se a ae lontanissimo- - - - - - ~~ pocoapocoawvicinandosi- - - - - - Gienea ce) Intempo J Ped A)<= + = dinuove poco pocoallontanandost =... - - . - - dimolto 3 > Sy Es ETD LTR __Aempo det into) ep) | ‘perdendosi, chiaro \# 1(F) sempre Ped i ca—) gape Ped. sempre-+ Ped. sempre-+(poco a poco cree.) (ei) aaaeaa ———— 1 ™ Sissi ger aeeee a near seriediminuendo mp ancora pit cantab, —— Gast senza eres sempre) = 30) ve y~—>— bed qnad semper! tenes crew chiar poe) acne =» engi oe beep cee rif bz atr e we % % Ped, Kk A # Nya" quasi calmissimo = quasi cantab, > ——— mre P troeene ppp sempre ——_ ome — 2. A A. _ eeeas, aaeeenasen A A——ssempre = — una cordaoF ee FR (al — Sh o————e x = bo i =a 3 jal 2 — a7 Ped. sempre—+ of =. PER one ‘mf sonorissimo ‘cantab. posi. da molio lontana PREP) atfondaro, quasi eco Ped. sempre->rapido poss, ay P Spud, @ngoscioso Ped. sempre-+ poco pesante Se eeaeereeseee prep masse, FO Ped. sempre» 3 =i ——;———. (non trem.) 5 = catenaceaieat conacenara © 2 —<——= cs |e ——— —s— os oscuro possibile 3; —__,, ? I es Pea, ——_——*L2B (d= 30 sempre ) t fa md, 3 > 3 (pppp vempre, sempre legariss., senza decenti) (eantabile) ¢ 5 quasi ) Fae ———————————— Ped. Ped,m4 1816 afondaio possibile, teneramente di molto b sole pip quasi sub Ped. % och. 7 = er re ve aa a cn ‘quasi ancora pip 7 % % ee 7 quasi dim. al niome m4} ee (quasi iub.>) ore ‘— omit pedal changes if m.s, chord cannot be sustained manually ———\ Ped. a vei. a