for folk singer & fixed media (2-channel electronics)
4/7/14
Copyright Š Annika K. Socolofsky 2014. ASCAP. All rights reserved.
Socolofsky
Zelik,
for Matthew
program notes The musical material for this piece is deeply informed by the traditional Yiddish song, “Shkie.” This song comes from the revered repertoire of Zelik Barditshever, a Moldovan Yiddish songwriter from the Interwar Period. I learned “Shkie” from Benjy Fox-Rosen at the KlezKanada festival in the Laurentian Mountains of Québec in the summer of 2013. It has haunted me ever since. Very special thanks go out to Paul Giessner and Lucas Grant for their assistance with the organ samples.
Text from original song
performance notes All concert hall lights should be turned off and the performer should be in place prior to the piece, so that the electronics begin in darkness. Lights should fade up around 1’20” and remain on a dim setting for the duration of the piece. Ideally the performer should be able to sing this piece from memory without aid of a timer for referencing coordination times; however, sheet music and a timer may be used if needed. The fixed media should be played over a two channel (stereo) system. Balance between the fixed media and performer should be adjusted prior to performance in a given concert hall. The performer should take extreme freedom in rhythmic and expressive interpretation, treating the experience as intimately as possible. The following symbols can be defined as: “x” notehead - should be sung as quietly as possible despite the dynamics specified for the surrounding notes. “rinforzando,”- a contextual dynamic which specifies to lean into a given note. This is not to be confused with a “sforzando,” which implies a stronger emphasis.
Voice
ZeliK for Folk Singer and Fixed Media
Annika K. Socolofsky
0'41"
Overtone Drone
Fixed Media
4
F.M.
Fidl
Voice
1'36"
1'31"
mf
3
1'42"
rfz p
tu - klen
pp
tsi - mer
mf
mp
Zits ikh
eyn - zam
rfz
un
far ge
-
mf
mfp
- sn.
p
kley nem,
mf
Dikh me - ka
Accordion
pp
2'00"
1'55"
1'51"
12
niente
In mayn
Vc.
8
Accordion
q= 56 - 66, freely
F.M.
Clarinet
sub. p
-
3
ne
(approx. timing of accordion swells, do not try to align rhythmically)
bin ikh, bru - der,
with quiet intensity, focused (p)
Day - ne
niente
Copyright © Annika K. Socolofsky 2014. ASCAP. All rights reserved.
pp
fey - gl
mf
rfz
mon - en e
p
-
sn
ff
Voice
2'09"
2'23"
2'16"
under electronics plainly, empty p
17
3
pp
3
q=46, flowing, meditative
pp
p
3
Day - ne
fey - gl
mon - en e
-
2'32"
p
sn
mp p
mp p
3
In
a
vin - kl
hengt
a
shpin dort
p
rfz
fli - gn
oys
dos
p
nogt fun
p
pp
mf
gn
fun der gril dort her ikh
3 3
mf
khay - es
3
In dem ni
-
lang shoyn nit
mp mf p nay
-
niente
es
an echo, empty pp 3
3
her ikh
3'19"
lang shoyn nit keyn nay
-
mf non decresc.
brightly f p
mf
p
toy - bn,
vay - se
toy - bn
fun di
as short as possible
rich tone
ff
41
fli - en
kher.
Falt
a
re
fff sub. p
-
gn,
f
rfz
khmar - es
ppp
empowered p
es
3'31"
3'25"
35
keyn
3'14"
2'51"
28
lightly, taunting pp
2'38"
mf
23
he - kher.
Va - gn
3'34" 3+2+3 with focused intensity 3
Fli - en fun
di
khmar - es hek
gently, defeated
-
3'55"
pp mp
p
ritch - kes
yo gn,
Far - bn blu - tik
royt
di te
-
kher.
pp
4
Voice
TACET approx. 0'45"
Fixed Media
4'43"
q=38- 42, freely with no regard for electronics mp
p
48
Akh,
di
Du
56
bru
-
di
shpin - en,
fey - gl
f
p
niente
bn.
bru
-
ppp
ikh
-
nen,
blu - tik
3
vey mir
vey
-
-
te
shoy
-
nen,
3
roy
di
bn.
roy -
pp
te
shoy -
mfp
pp
un ikh blu - tik
toy - bn–
un ikh blu - tik–
fey - gl
tuen
3
p
der,
Un
3
vi
mf
Du zest
un
vey
p
3
3
swaying
mf
light, pure pp
der,
pp
60
p
(p)
- bn
un
zest
mp
khmar - es,
mfp
52
p
roy
- te
shoy
dur. approx. 5'40"