for flute, clarinet, violin, cello, percussion, piano and electronic sound
To The New York New Music Ensemble
This commission has been made possible by the Chamber Music America Classical Commissioning Program, with generous funding provided by The Andrew W. Mellon Foundation, and the Chamber Music America Endowment Fund.
Commissioned for New York New Music Ensemble by the Chamber Music America Classical Commissioning Program, with generous funding provided by The Andrew W. Mellon Foundation, and the Chamber Music America Endowment Fund.
In Four Movements, Duration: 19:00
Ensemble
Flute (piccolo, alto flute)
Bb Clarinet (bass clarinet)
Violin
Cello
Percussion
Vibraphone
Three Tom Toms, Snare Drum, Medium Suspended Cymbal
Hihat, Splash Cymbal, Finger Cymbals
Medium Tam Tam
Crotales lower octave (D,F,G#,A,B,C)
Set of four Temple Blocks, Woodblock
Piano
Electronic Sound (fixed media)
Accidentals do not carry through the bar. They refer only to the note they precede, except in cases of immediate repetition, where, for example C#,C,C would mean C#,C#,C# (even with intervening rests). Cautionary accidentals have been added (in parentheses) for clarity.
The piece requires a conductor and click-track. In concert, both the quality and positioning of the playback system are very important. Time in rehearsal should be devoted to balancing the volume and timbre and to positioning. Loudspeakers should be capable of reproducing the full audible frequency spectrum. As some frequencies in the electronics extend down below 100hz, a multi-driver system with subwoofer would be helpful. While multiple speakers beyond a single stereo pair may be used, at least one pair must be positioned on stage, very close to the performers to create an ensemble sound. Any sound coming from remote speakers should be at a lower volume than the main, stage pair. If on-stage speakers are not possible, microphones or pickup on the sinstruments are essential to enable the prerecorded and live sounds to be properly mixed.
Portamenti are, at times, measured, with the length of the slide indicated by the duration enclosed in parenthesis.
The third movement contains some unconventional notation: "m.s.p" means maximum sul pont. with lots of overtones; "muted wooden pizz." means only partial pressure with the finger on the string at the notated pitch, creating a percussive attack and a little sense of pitch; "toneless" is produced by bowing directly on the bridge while lightly touching the strings; Square noteheads in strings means maximum bow pressure to obtain an intense, noisy scratch-noise. Flute notes with "s" through stems add "sss" sound to the note, while "o" through the stem means a loose, airy embroucher adding air sound.