D AV I D M A S L A N K A

Out of This World

FOR
A LT O S A XO P H O N E ,
V IOLONCEL LO, & PI A NO

O U T O F T H I S WO R L D
for Alto Saxophone, Violoncello, & Piano

D AV I D M A S L A N K A

Out of This World

FOR
A LT O S A XO P H O N E ,
V IOLONCEL LO, & PI A NO

( 2013)

PER FOR M I NG SCOR E I N C

M ASL A N K A PR E SS
N E W YO R K

Copyright 2014 by Maslanka Press

Version 1.0
All rights reserved. No part of this work may be reproduced in any form
or by any means without permission from the publisher. Individuals who
purchase the music may create a physical or electronic copy for personal
backup or ease of use.
David Maslanka and Maslanka Press are members of the American Society
for Composers, Authors and Publishers (a s c a p). Public performances of
this work must be licensed through a s c a p. See www.ascap.com for more
information.
First published in 2014 by Maslanka Press.
m a sl a n k a pr e s s
420 West Fifty-sixth Street #10
New York City, n y 10019 us a
www.maslankapress.com
This is the initial release of this work. Any errata may be found on this
works page at www.maslankapress.com.
mp-2013.09-1.0-ps
Designed, engraved, and printed in the United States.

Contents

Commission iv

Program Note

Out Of This World

Total Duration: 930

Out of This World was commissioned by Jason Kush and the

Three Rivers New Music Consortium, whose members include:
Fran Balog
Cory Barnfield
Griffin Campbell
Cynthia Cripps
Joe DAleo
Dannel Espinoza
Xin Gao
Philippe Geiss for SaxOpen World Saxophone Congress 2015
Gary Keller
Joseph Lulloff
Branford Marsalis
Amy Mikalauskas
Otis Murphy
Sean Murphy
Brian Perez
Russell Peterson
Joseph Scheller
Matt Swallow
Benjamin Tiller
Dale Underwood
University of Miami Frost School of Music

iv

Program note
Seamus Heaneys poem, Out of this World, is dedicated to
the memory of the Polish poet, Czeslaw Milosz, who in his long
life, experienced the devastation of Eastern Europe through two
World Wars and Communist rule. In this poem, Heaney contemplates the enduring nature of sacred symbols:
Like everybody else I bowed my head
during the consecration of the bread and wine,
lifted my eyes to the raised host and chalice,
believed (whatever it means) that a change occurred.
I went to the altar rails and received the mystery
on my tongue, returned to my place, shut my eyes fast, made
an act of thanksgiving, opened my eyes, and felt
time start up again.
. . . . . . . . . . . . . I cannot
disavow words like thanksgiving or host
or communion bread. They have an undying
tremor and draw, like well water far down.
This is not about being Catholic, but about sacred mystery
embodied in symbols, powerful symbols such as the cross, images of birth and death, mother, father music. The experience
is innocent in the sense of being without cynicism or irony, of
being fully open and immediately present to the full power of
the deep unknown.

(September 2013)
dav i d m a sl a n k a

O U T O F T H I S WO R L D
for Alto Saxophone, Violoncello, & Piano

OUT

OF

THIS

WORLD

for Alto Saxophone, Violoncello, & Piano

DAV I D M A S L A N K A

Impassioned (q = 92)

3
&4
1

Alto Saxophone

>

ff

? 43
>

Violoncello

4
j
4
j
> > >

#
>>>
> > >
3
j
> 42 #j 44
> > >>>
> > >
2

ff

2
4

(q = 92)
3Impassioned

&4

Piano

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7
2
5
& 4 > # 4
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>
6

2
4

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2
4

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3
5

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8

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2
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4

4
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D AV I D M A S L A N K A

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10

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no dim.

12

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4

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P ad lib.

14

4
4

13

18

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OU T OF THIS WORLD

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26

D AV I D M A S L A N K A

slowing
28

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&
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13

>

13

>
w

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12

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31 w
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>
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6

OU T OF THIS WORLD

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33

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39

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4
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&4

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36

4w
4

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U
O

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4

pp

38

>

37

pp

q = ca. 70

3
4

34

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J

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q = ca.3 70 3
3
3
44

pp
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40

41

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w
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w
w

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w

D AV I D M A S L A N K A

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42

43

B ~w

44

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45

ten.

ten.

&

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w
w
w
w
w
w
w
:;

in tempo

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46

B ~w

47

O O

48

49

50

~w

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in tempo

&

? w
w
w

w
w
w

w
:;w

P ad lib.

&

51

~
B w

52

53

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54

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w
w
w
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w
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OU T OF THIS WORLD

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55

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57

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58

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w
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59

60

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B w

61

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62

in tempo

ten.

in tempo

& ?




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w
w
w
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w
w

&

63

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nat. vib.

64

65

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66

pp

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w
9

D AV I D M A S L A N K A

&

ten.

67

in tempo
68

69

ten.

70

ten.
in tempo
ten.

? # n

in tempo

&

71

w
>

nw

w
:;

73

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72

nat. vib.

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74

pp legato

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in tempo

w
:;
75

&

w
j

76

77

78

mp

? # # #w
p

mp

#


? #

w
:;

mp

w
10

OU T OF THIS WORLD

slowing

& w

ten.

79

mf

? w

mf

in tempo

80

81

82

&

mf
?

&

slowing

#w

83

ten.

in tempo

6
4

4
4

84

6
4

85

4 w
#

6
4

#
p

6
4

mp

6
4
6
& 4 # 4 # 4

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6
4
6
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4 # 4
4
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4
4

87

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#

4 nn
4

mp

6
& 4 ##

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86

#
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mf cresc.

accel. grad.

mf cresc.

4 w
4 & nj ?
w

11

D AV I D M A S L A N K A

(accel.)

&
B

88

(cresc.)

&
(accel.)

(cresc.)

ten.

#
b

b #

89

&
b #
f

ten.

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3

3
3

3
3

3 3
?

w

3
3
w

3
3
3

90

&
&

q = 104

91

w
w

w
b
w
& w

q = 104

b
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w
w
P
92 b w
&
bw
&
ff

6
4

93

6
4

b
7

&
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3

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4
4

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4
6

4

4

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>
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b
3
3
3
3
3
3

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3
3
>
b

>

6 b
4
? b

b
4 b
4

3
b w
& bw

(trem.)

12

OU T OF THIS WORLD

4w
&4

(q = 104)
94

ff

4w
&4

95

96

97

98

99

ff

>
w
w
J
> > > >>>>
ff hammered
sim.
>>>>>>
? 44 >J
w
w
>
P sempre
101
> > > > 102> > > > 103> > > >
100
. . . .
w
. . . .
. . . .
&
(q = 104)

4
&4

& w
&

? b

&

b b b

(P continuously)

>
w

104

&

>. > >. > >. > >. > >. > >. > >. > >. > >. > >. > >. > >. >
. . . .
. . . .
. . . .

>
w

>

>

105

>

106

>

107

>
J
>
J

>
w
& w J

? J
w
w
>

13

D AV I D M A S L A N K A

>

108

&
&
&

?
&
&
&

>

>

>

>

>

>

>

>

109

>

>

>

>

>

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w
w
>
ten.
,
110

4
,

4
ten.
9
>

7
R

5
4
3

111 >
5
&4
>
5
&4

Suddenly slower (q = ca. 84)

slowing

3
4

> >
3
4

(no dim.)

Suddenly slower (q = ca. 84)

5 >
&4

10

? 45 b#n
b
b
> p
P

slowing

b#

n
b#

mf p

14

n
#

10

3
4

# 3
4

&

OU T OF THIS WORLD

q = ca. 52 slowing grad.

3 R
&4
p
>
3
&4
112

113

114

2
4

115

2
4

dim. grad.

q = ca. 52 slowing grad.

3 bbbbbb b

&4
bbbbb
b p dim.
ff
mf

b bbbb
3
?
bb b
&4
117

4
&4

116

4 #U
&4 w
pp

#U
w
4
& 4 #w

pp

loco
? 44 b #
w
w
u

119

slowing

120

& ## ##

,
*

121

slowing

n
# b
u

& w
&

#
#

#
#

#w

Slower ad lib.

#w

n b #
w

bw

123

2
4
4 b b b 4

Slower ad lib.

122

w
w

124

U U

U U?

U
#
#
#

ppp

U
#
#

P
una corda

15

4
4

118

4
4

2
4

vib.
, no
U
w
, pp

4
4

D AV I D M A S L A N K A

q = 52 (exible tempo)

&

125

126

?
pp

&

127

&

133

135

J
ppp
#

J
R

134

ppp

137

#
R
R

4
4

141

6 w
4

142

4
4

# #
# #

&

# #
? 46 #

#w
4# w
4 w

w
w
w

6
4 ##

4
4 w
w

w
w

r r

138

6
4

? w

j j

#w
? J #w
J

136

140

hes. in tempo

139

J # R J

B #

131

132

&

130

hes. in tempo

&

129

q = 52 (exible tempo)

# w
R J

128

pp

P ad lib for clarity and connection

tre corde

16

OU T OF THIS WORLD

&

poco ten.

6
4

143

144

? w

w
? w
w

# #
6

4#

? w
:;w

6
4 ##

4
&4

146

147

w
? 44 w

? ##ww
w

in tempo

w
:; w

P
una corda

w
w
w

#
- #

w
w

4
4
4
4

149

#
#

w
w

w
w
#

w
w
w

w
w

w
w

152

# w

#w
w
w
w

153

154

155

#w

P sempre

17

P
156

&

ten.

150

##

#
#

w
w
w

in tempo

&

4
4

## #

? 44 w
:;w
151

poco
- ten.

148

w
w

w
? 44 w
w

#
#

6 w
4

4
4

145

157

ten.

#U
w

ppp let fade

About the Composer

David Maslanka was born in New Bedford, Massachusetts in 1943.
He attended the Oberlin College Conservatory where he studied
composition with Joseph Wood. He spent a year at the Mozarteum in Salzburg, Austria, and did masters and doctoral study in
composition at Michigan State University where his principal
teacher was H. Owen Reed.
Maslankas music for winds has become especially well known.
Among his forty-plus works for wind ensemble and band are
Symphonies 2, 3, 4, 5, 7, 8, and 9, twelve concertos, a Mass, and
many concert pieces. His wind chamber music includes four wind
quintets, four saxophone quartets, and many works for solo instrument and piano. In addition, he has written a variety of orchestral and choral pieces.
David Maslankas compositions are published by Maslanka
Press, Carl Fischer, Inc., Kjos Music Company, Marimba Productions, Inc., and OU Percussion Press, and have been recorded
on Albany, Reference Recordings, BIS (Sweden), Naxos, Cambria,
CRI, Mark, Novisse, AUR, Cafua (Japan), Brain Music (Japan),
Barking Dog, and Klavier labels. He has served on the faculties
of the State University of New York at Geneseo, Sarah Lawrence
College, New York University, and Kingsborough Community
College of the City University of New York, and since 1990 has
been a freelance composer. He now lives in Missoula, Montana.
David Maslanka is a member of a s c a p.


This publication was designed, engraved, and typeset by
Matthew Maslanka in New York City,
and then printed and bound by
Black Ribbon Printing in Castle Rock, Colorado.
The music was engraved using Sibelius 7 (v. 7.1.3),
which was released by Avid Technology, Inc. in September 2012.
The music face is Opus Std., designed by Jonathan Finn.
This is the OpenType version of Finns original Opus type
issued with the original Acorn Archimedes release of Sibelius 7
by Sibelius Software, Ltd., London, u k, in 1993.
The front matter was typeset using InDesign c s 6 (v. 8.0.1)
It was released by Adobe Systems Inc., Mountain View, California in May 2012.
The text face is Minion Pro, designed by Robert Slimbach.
This is an enlargement and revision of Slimbachs original Minion type
issued by Adobe Systems Inc., Mountain View, California, in 1989.
The cover is Sundance Harvest Yellow Linen Digital Finish, 80c, f s c .
The interior paper is Classic Crest Classic Natural White Smooth, 70t, f s c .
The paper is made by Neenah Paper, Inc. in Wisconsin.
It is of archival quality, acid free, and made in a carbon neutral process.