Lukas Ligeti
Mamelles (or Marels) for percussion quartet
(2014)
FULL SCORE
IMAGE OF TWO EARS (ASCAP)
Lukas Ligeti Mamelles (or Marels) (2014) for percussion quartet
Based on the text “marelles” from “Zig Bang” by Georges Aperghis Commissioned by the Arckitek Percussion
World Premiere March 1, 2014 Cluster Festival, Winnipeg, Canada Architek Percussion
Duration: 3’
LUKAS LIGETI: MAMELLES (OR MARELS) composed in Feb. 2013 for Architek Percussion NOTES FOR INTERPRETATION "Mamelles (or Marels)" is based on the text "Marelles" by Georges Aperghis and can be played in 3 ways by 2 ensembles (quartet or octet): 1. 4 percussionists, percussion parts only: The percussionists perform the notes as written; the text below the notes is not performed and serves only as a guide to clarify the connection between music and text. The "Marelles" text should, however, be read aloud by someone before and/or after the performance. 2. 4 percussionists playing percussion and reciting: While playing the percussion parts, the percussionists simultaneously recite the text as written in the score. However, some parts of the text will be impossible to recite as the percussionists are already making vocal sounds as part of their percussion notes. In the final section of the piece, which is in unison, where two or more percussionists play the same text at the same time, one can recite the text while the other makes the vocal sound required by the score. The "Marelles" text should be read aloud by someone before and/or after the performance. 3. 4 percussionists and 4 vocalists: The 4 vocalists are each assigned to one percussion part and recite the text as written while the percussionists play the notes. PERCUSSION INSTRUMENTS NEEDED: Players 1 and 2 only: 1 maraca each Players 3 and 4 only: 1 glockenspiel each All players: 1 snare drum each; plenty of sheets of tinfoil; plenty of drumsticks (players 3 and 4 should use glockenspiel mallets to play the glock; otherwise, they can use drumsticks, but mallets are preferable as there will not be enough time to change sticks). If the sound produced by the tinfoil is too soft (especially in non-amplified situations), it can be replaced by another type of paper or easy-to-tear cardboard. It is, however, intentional that this sound will be soft when compared to the other sounds. An ample supply of drumsticks or mallets is necessary as the sticks must be dropped to the ground numerous times and there is no time to pick them up again. The volume level of the sticks hitting the floor can be controlled by dropping them onto a variety of surfaces (putting a towel on the floor, etc.).
INFORMATION ABOUT THE PIECE Each syllable from the Aperghis text is assigned a percussive or vocal sound. While rhythm and instrumentation are fixed, pitch (i.e. tuning of drums and pitch choice on the glockenspiel) is open, and no effort should be made to adapt tunings (i.e. of the snare drums) to each other. Dynamics are also open; a wide dynamic range should be used and no performance should replicate the dynamics of a previous performance. It is ok for some instruments to occasionally drown out others. In addition to the sounds linked to syllables, there is one action not linked to the text: a strong, "conducting" hand gesture that marks a beat. These gestures are made by all percussionists at different times and are intended to help the ensemble remain coordinated. They occur only on quarter-note beats: they are never syncopated. The gesture should be exaggeratedly strong and evoke a military feel. In the parts, the circled roman numerals indicate when such a gesture is made, and by which musician. Time signatures: Barring and time signatures are for orientation only. In general, each new bar indicates some change in the relative rhythms of the players; however, towards the end, some bars are left in 4/4 for easier readability. Overall, the piece should sound tentative at the beginning and soon work its way up to a state of maniacal busyness and frenzy. A strong accelerando during the last 5 measures is optional but recommended. The tempo of a quarter note = 60 is a recommendation but it is ok to play the piece more slowly; however, the atmosphere of frenzied activity should be produced, especially during the second half of the piece. The musicians should also seek to produce a comical atmosphere through absolute seriousness and concentration as they go about their busy tasks. ABOUT THE TITLE: Marelles: a children's counting rhyme. Mamelles: breasts, but mostly known as the name of two bosom-shaped hills in Dakar, Senegal. Marels: the overall moniker and website of the music of the little-known Japanese outsider composer/violist Shirasawa Michio. "All we need is Mariko; the clover revolution has begun."