Radius (2017)

Page 1

Annie Hui-Hsin HSIEH

Radius -for solo pianist 2017

Score


Radius The piece focuses on the idea of intersecting radiuses from a single source point. Centering around the presence of the pianist, the axes here are presented in forms of pitch relationships, degrees of resonances, the aural and physical spaces within which dialogues are formed in the presentation of these trajectories. In navigating between the delicate fluidity of corporeality and the activation of sound, the piano becomes an instrument of extensions: of the self, the past, the familiar and the uncertainties, venturing through a status of continual renewing. This piece would not be made possible without the close collaboration with Claudia Chen, to whom it is written for, and dearly dedicated to.

Pièce ècrite dans le cadre du programme Voix Nouvelles de la Fondation Royaumont


Performance Directions In General: § The piece should be performed on a grand piano § The piano strings are divided up to four quadrants, each is separated by the metallic frame as the following and is labelled with the coinciding notes on the keyboard:

§

Each piano, depending on its make and model, will likely to have slightly different number of notes per quadrant, the player should adjust some actions in the score accordingly

Specifics: § Pizz. (ord.) – pluck string with finger

§

- Pluck with fingernail

§ §

-‘Snap’ pizz., similar to Bartok pizz. in string instruments gliss.(ord.) – slide from one string to another with finger

§ §

- gliss. up/downwards vertically along the string gliss. <12345> - slide using the indicated fingers

§

- Slide with palm on the string

§

- Silently pressing down the notes to keep the hammers raised (for producing harmonics)

§

- Touch the harmonic node on the string with the hand that is not playing on the keyboard Trangle note heads indicates the highest/lowest notes

§


Pièce ècrite dans le cadre du programme Voix Nouvelles de la Fondation Royaumont

Score

Radius q = 30 ~35

- for solo pianist

Stand

œ

on keys

& #œ π

œ π

RH aims to be as unnoticeable and stable as possible, but allowing minor fluctuations as part of the natural expression of the gesture

#œ p

pizz.

& œ p

[0'20]

pizz.

on stgs.

on stgs. pizz.

0

Annie Hui-Hsin Hsieh

[0' 30]

p

œ

# b œœœœ F

œ

[Freeze]

&

[Freeze]

ad. lib

Pedal 1/3 1/2 1

3

[0' 30]

œ

on keys

& #œ π sim. &

œæ π

0

œ

œ  œ

[Freeze]

ß

U

[0'20]

œ π sub.

# OO # œœ +

r rapid

Ͼ P

˘ æ  ß

æœ

(II)

Ped. 1/3 1/2

slow

œ

(II)

œ- œ- œp

44

continuously adjust volumn with the decaying sound from the gliss.

————~~~ ——˘—— ~~~~ æ ~~   ß p Í

<2345>

(l.v)

44

# œæ ∏

1

5

& 44 # œO O˙ p -̇ 3

& 44 0

always l.v

œ π

OOO

œO-OO

œ ‰ ‰ j j ‰ J œ p ∏

3

#O œ

OOO

OOO OO Œ

œ p

3

Ped. 1/3 1/2

OO

3

b œO -

j Œ œ F

j OO # œ-

œ J p

j OO Oœ O O-

OOO

‰ O œ

œ. ≈ J ∏

3

3

pizz.

œ

1

scrape up/downwards vertically along the string to trigger the harmonics

on stgs. 8

& OO . O .. & ‰ æ œæ ˙ œ æ πÍ 3

0 Ped. 1/3 1/2 1

j œOO -

œ r OO j O aœ . p

slow

?

O 5 # ˘œ 4 ≈œ fast

on keys

œ‰ æJ

?

œ

gliss.

bO O #O O n O O O. 6  bœ œ . & n œJ 4 #œ ‰ œ œ  J π 3 3 F

45 ‰ œ # OO OOO œOO-O p 3

# >œO OO J

3

O >O OOO b OœO J

O OOO

3

Sos Ped. ©Annie Hui-Hsin Hsieh 2017

46

œ ˙ æJ æ Œ æ æ œæ #œ œ æ 3 ∏ Í

4 4

, j j ‰ Œ #pizz. œ j ‰ ‰ ‰ 44   & J # flœ œ bœ œ #œ ß p ß fl

(RH) pizz.

r œ

on stgs.

,


Radius

2

4 œ ˙ & 4 # œœœœ ˙˙˙˙ p 3

11

˙˙˙ ˙˙

# ˙O- .. # ˙.

5 ˙ 4 ˙˙˙˙

7 OO # œO- OO 4 O # œ O J 3

on stgs.

œ œ. 45 b œ œ. œ. œ. œ. # œ. . J ‰ æ˙ . π p pizz. 7:4œj

& 44 # œœœ ˙˙˙ ˙˙˙ œ ˙ ˙ 3

0 1/3

OOœO œ

74 œ ≈ r œ æJ p

Ped. 1/2

OOœO

OOOœ- OOOO

OOO œO-

OOO œO-

3

3

OOO œO

OOO œ œO- œ-

5 4

3

# œ. œ.

pizz.

‰ œj j ‰ Œ π P3

pizz.

#œ ß

45

1

Sos Ped. steady but a little faster

& 45 œ œ œ œ œ œ œjœ π

14

3

√œ. & 45

3

Œ

Ó 3

0

π

j œ œ œ œ œ- œ œ œœ. ≈J p

3

3

œ.

O O œ œ

3

O O Œ œ œ Œ

Œ

π

3

j œ̇˙ œ œ- ˙œ˙ .. œ œ œ œ3

3

3

# Ofinger upwards 3 ‰ œO œ Ó

j œ≈ œ œ œœ œœ œ œ œ- œ œ- œ 3

3

# Osim.

slowly push

Ó

3

3

3

O ‰ œ Œ œ Œ

Ó

3

3

Ped. 1/3 1/2 1

˘j π 3 3 p 3 ˙ j j & œ œ- œ œœ œ œ œœœœ œ œ œ œ œ -‰œ - œ - Ó -̇ J -‰ ‰̇ œ J 3 P3 F 3

18

#O

O O O √O & œ œ Œœ ŒœŒ‰œ Œ J J 3 3

œœœœ 3

Ó

3

0 1/3 Ped. 1/2 1

& 38

21

œ.

# œœ ..

Í

œ œ œœœ œ œœœ œŒ

scrape up/downwards vertically along the string to trigger the harmonics

3

3

rK 13:8œ

# œ œœ œœ # œœ # œœ # œœ 3 n œ # œ œ œ œ œ # œ œ ‰ œ 8 œœ œœœ œ 3

3

3

œœ œ‰œ œ œ œ œ J π

# œœ .. œœ # œœ . #O ? æ æJ æ . œ œ  œ‰ Œ π J Sp F stg. trem. <12>

38

# œœ æJ

4 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œœœ œn œ b œ œ œ œ b œ b œ œ œ 64 œ # œ œ œ œ œ # œ œ œœ b œœ # œœ n œ œ œœ b œ n œœ œœœ œ (œ ) 44 wwww J ‰π f p 3

3

gentle, like cotton

0

Ped. 1/3 1/2 1

Sos Ped.

? 38 # œœgliss.‰ ‰ J F

46 œ ç

pizz.

Œ

Ó

Ó

&

44 Œ ‰ œJ P

œ

Œ

(l.v)


Radius

Uw

w & ww

ww Œ

24

& Ó

œ

j ‰ Œ œ ∏

0 1/3 Ped. 1/2 1

p

constantly matching the volumn between the two hands

Playful .. ‰ œ- Œ J

OOO ...

continuously adjust volumn with the decaying sound from the gliss.

Œ

˙ π

U

˙˙

?

- 3 - -3 6 b œ œ œ b œ œ œ œ j . . & b œ Œ jœ œ Œ 4 bœ ‰ œ œ bœ œ œ œ œ. œ bœ œ œ œ œ œbœ p 3

3 j j 3 O O Œ ‰ Œ ‰ j 46 Œ ‰ bœ œ n œæ p

pizz. ord.

Œ j ŒŒ œ bœ S π 3

0

Ped. 1/3 1/2

pizz.

3

pizz.

& ‰

. .. # œ

p

œ- Œ ‰ œJ

Œ

3

3

œ. ‰ J Œ

œ.

Œ

œ- Œ

Π3

# œ.

œ- ‰ œ- .. J

(2nd time a steady ppp)

œ.

3

œ. ‰ J Œ

..

Sos Ped.

28

3

& ..

..

(2nd time only)

3 3 3 - 'dry' j 5 œ N œ œ œ œ . Œ ‰Œ œ œ œœ n œ b œœ œœœ œœœ 4 N œœ œ œj œ œ œ œ œ-j J F p p 3 j # O 5 j ‰Œ Ó Œ ? j 4 æ b œ æ œæ. œ œ F

38 38

1

& 38

31

44 œ

# œ œ œ œœ n b œœœ œ œ œ #œ #œ œ œ F

#œ ? 38 R ß

pizz.

bœ œœ œ Œ œ fl Í p sub. 3

r r b œ 44 ‰ . N œ œ bœ œ œ fl π ç

on keys

0 1/3

Ped. 1/2

U

œ ? œ . œj œ œ # œ # œ œ œ # œ # œ 43 œœ Í Í

œ. œ œœ œœ .. P 3

on stgs. pizz.

&Œ. 3

œ J Œ

?

U

slow take time

b œ 8vb π

3

3

fast

j ‰ Ó  œ fl ç

Take Seat

&

43

1

? 43

34

œ

Í

b˙ 3

N œ3 & 4 ‰ Nœ P Ped.

b˙ œœ

& #œ #œ œ bœ

œœ J

28 28

N œœœ ƒ

# ## œœœ

Ÿ~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œœ # ˙ . (# œ ) œ #˙ r 44 3 44 #œ œ 4 psub. √ 3 3 3 j Ÿ~~~~~~ N œ ˙œ œ œ œ œœ ˙ #( œ ) Œ œ œ œ œ œ r œ œ ˙ œ œ 44 Œ 3 44 J ≈ œ ˙ 4 3

3


4

Ÿ~~~~~# œ . œœ 38 #œ. & 44 J 3 p sub.

œ œ

& 44 ≈ b œ . J f

0

Ped. 1/3 1/2

˙˙ ˙ 3

on stgs.

j‰ Nœ fl ß

(II) <2345>

Radius

<1>

√— ˘œ (IV) (III) (q h ) — # œœ œ 3 œ (I) (II) ? — — 3 F f

& 43 ‰ # œœ

3

œ. ≈ J #œ p

œ̆ —

(III)

(III)

ß

?

(II)

3

(I)

œœ

? 43

3

œ

˙ ˙

Œ

44 # œœ œœ J

j j œœ œœ œœ

pizz.

(h q )

3 3 45 .. ‰ œj Œ Œ œ Œ ‰ œj ‰ œ ≈ œœ .. 43 œ œ œ œ constantly matching the volumn p between the two hands

œœ b 45 ..

on keys

œœ

44 Œ

3

‰ b œœœ ∏ 3

0

œœ ‰ J Œ

œœ . .

œœ J

.. 43 ..

RH aims to be as unnoticeable and stable as possible, but allowing minor fluctuations as part of the natural expression of the gesture

œœ œœ œœ J J

3

3

..

8vb

Œ

3

&

<2345>

1

41

on stgs. pizz.

U

˙˙ ˙

U Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 43 œ (œ ) w

O j O œ œ on stgs.

take seat

&

≈ b œ. ≈ Œ . bœ p

3

O 3 œ 4 J

Ped. 1/3 1/2 1

soft pedal

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ó̇ π œ- 44 w ‰. œ œ œ & 43 ˙ . . w

44

b œ. bœ j j & 43 ‰ J ‰ ≈ r b œ. ? b œ. & Œ b œ Œ b œr >

place finger at various harmonic points ad.lib

O Ȯ O O # O (œ )

on keys

44 Œ ‰

3

0 Ped. 1/3 1/2 1 soft pedal

0 1/3

Ped. 1/2 1

soft pedal

# œœ œ œ œ bœ œ œœ ® #œ œ œ #œ p Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œloco( œ ) œ J ç

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

& 43 œ

47

œ

# œ ¤œ # œ #œ ?3 J r 4 #œ œ œ œ #œ nœ œ p

43

3

œ œ œ ‰ rK # œ #œ #œ > J P #œ #œ p

? ‰.

r 43 b œp

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~ ˙˙ . ( œ ) . 64 45 ˙. Í

3 # œ6 Œ # œj # œ4 psub.

& # œ-

œ- .

f

Ÿ~~~~~~~~~~ 5 4 ˙ .. ( œ ) ˙


Radius

0 1/3

5

√ b œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ad. lib b œ n œ œ œ 49 œ œ # œ # œ œ œ # œ # œœ n œ œ n œœ a œ œœ n œ b b œœ œœ # # œœ n œœ b œœ n ˙ . ( œ ) 38 ˙. & 45 rK rK 5 10:8œ 7:4œ Í rK 13:8œ œœ n œ œ œœ # # œœ Œ œ bœ œœ œœœbœ œ œ 7 5 œ œ œ n œ ?œ 3 œ œ #œ ˙ & œ œœ œ ? nœbœ bœœ & 45 œ b œ œ œ & 8 œ œ ˙ n œ b œ œ œ bœ nœ œ œ œ #œ Œ ˙ Kr 10:8œ Í

Ped. 1/2 1

Sos Ped. scrape back and forth on the pegs rapidly, for as loud as possible

¤œ . & 38

¿¿¿¿¿ ... .

energetic

42 ‰

50

ƒ

œ.

& 38

42

U

44 ¿¿¿¿¿

(h )

(IV)

take time

?

(œ )

UŸ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 44 r ≈ j  œ ( bœ ) ˙. fl 8vb ç ∏ on keys

˙

<2345> (II)

?

ƒ

0

Ped. 1/3 1/2

slowly and silently pressing down keys with forearm to cover as many notes as possible (cover most of section II of the strings, both black and white keys), then gradually release arm, one portion a time

1

Sos Ped. on stgs.

U

?

53

[c. 0'20]

gentle tapping <12>

Listen to the sustaining resonances from previous musical events, then gradually stand and place both hands on the strings.

?

<12>

œæœ ∏

on stgs.

# œæœ

ad. lib

pizz.

# œœ P

(II)

&

œœ p

?

&

U

w/ fingertips <2345> (II)

––– ~~~ ? – ~~~~~~~~~~~~~~~ ~~ π

&

0

Ped. 1/3 1/2 1

Sos Ped. [c. 0'10] 55

&

æ b bœœœ Nœ π

? –– – ß

&

~

1

Sos Ped.

ad. lib

pizz.

~~~ 0

Ped. 1/3 1/2

(II)

<1234>

œ̆ œ œ œ œ œ sim.

p

f

———w/ fingertips — ? œ ß

&

O O #O

pizz.

O

[0'15]

O

—— ? ‰ b œ Œ n œ œ # œ œ œ —— J ß p

w/ fingertips (II)

O

œ

f

O

O

œ œJ J

O œ J

O

O œ æ p

œ œ J

U œ

æ ∏


Radius

6

[0'20 - 0'25]

57

œ

# œ œ Nœ æ ∏

& æ ∏ ?

0 1/3

 œ P

?

 œ F

 œ F

ext. slow

b œ 8vb f

b œ F

 œ P

b œ  œ F 8vb f

ext. slow

Ped. 1/2

as far as arm can reach pizz. fast

&

'crab-like' crawling on the strings

˘— (II) J ‰ ¿¿¿¿¿¿¿

ƒ

+

mute with the lower part of palm pressing on the strings

+

(II)

fast

 œ ƒ

&¿

¿¿¿¿¿¿

1

Sos Ped.

59

[

&

(l.v)

?(b œ (II)

œ

)

U

as audible as possible

& 0

1/3 Ped. 1/2 1

Sos Ped.

(l.v)

?

U

æ b b œœ Rustling π

& Both arms are extended forward to as far as possible, continue trying to extend further, never relaxed

(b œ ) nœ

(I)

sim.

U ˙˙ ˙ # ˙˙

Hold for as long as the sound sustains

slowly in highly controlled manner, extend palm upwards on these strings to as far as reachable, producing a metallic, squeaky and warm sonority

U

as audible as possible

(III)

f U

˙ # ˙˙˙ f

(I)