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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"

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for folk singer & 2-channel fixed media