EB 9250 - Huber, with ego amplitudes

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Nicolaus A. Huber

with ego amplitudes fĂźr Violine und Klavier for Violin and Piano

Partitur Score

Edition Breitkopf 9250

Nicolaus A. Huber

with ego amplitudes fĂźr Violine und Klavier for Violin and Piano

Edition Breitkopf 9250 Printed in Germany

geschrieben für das Duo Wapiti | written for the Duo Wapiti (Geneviève Liboiron, Daniel Áňez)

Aufführungsdauer | Performing Time ca. 12 Minuten | approx.. 12 minutes

Uraufführung | World Premiere Toronto, 17. November 2016

with ego amplitudes

Edition Breitkopf 9250

Nicolaus A. Huber, 2016

Š 2016 by Breitkopf & Härtel, Wiesbaden


Nicolaus A. Huber

Breitkopf EB 9250

with ego amplitudes

Breitkopf EB 9250



Nicolaus A. Huber

Breitkopf EB 9250

with ego amplitudes

Breitkopf EB 9250



Nicolaus A. Huber

Breitkopf EB 9250

with ego amplitudes

Breitkopf EB 9250



Nicolaus A. Huber

Breitkopf EB 9250

with ego amplitudes

Breitkopf EB 9250


Remarks Notation Violin:

bow length each belonging to the corresponding action

pedal stroke

pull off bow at the end of cresc.

bang fall-board to the back (rim)

tap tone on the string (left hand)

press key to escapment lever (échappement) then fast attack

left/ right hand

chromatic cluster

bow precisely at the middle position, between stopping finger and bridge (hoarse tone) dampen neighboring string(s)

whispering voice, range for all kinds of voice registers, clear voiceless (!) frequencies

German mouth shapes, phonetic transcription [y:] [u:]



fingertip / fingernail / plectrum

flageolett (inside) hold the flag.-point not too long for an open sound

press key silently

play on the string(s) inside

dampen string at the agraffe with fingertip

the same but short and lightly

scratch string in given direction

tap string vertically

pizz. f, then dampen briefly to p and let it sound

wipe over the string as shown by arrow

highest section inside piano between bridge and tuning pins

press Ped. shortly after the attack (stacc.)




piano a little louder, softer

incomplete open triplet

play it two/three times ≈⅛ higher / lower

¼ ½ ¾

pattern shifting bar 75: 1) play it as written 2) if 1) is too difficult: Piano makes the accelerando in free chosen steps (violin holds always the same tempo). Then – after a short G. P. (≈ 1 ) – violin and piano play the next written bar (= bar 76, piano phase is now 1 earlier) Steve Reich recommends in his piece “phase patterns” to rehearse first the bar with the new combination (= bar 76) and then the phase shifting in the bar before (process in bar 75) until the new combination is reached.

Hatte Nono noch die Welt als fragmentarisch zu analysierende gesehen, greift der sogenannte Konsumenten-Kapitalismus immer häufiger in Ich-Strukturen ein, indem er diese fragmentiert: zu Unzulänglichkeitsvermutung, „war Verzehr eine Form von Infiltration?“, zu: „im Fernsehen kann man Models sehen, die an Gesichtscreme schlecken, weil sie so reichhaltig ist“ usw., wie Meredith Haaf anlässlich einer Buchkritik in der SZ vom 23.5.2016 schreibt (Alexandra Kleeman: A wie B und C) und zu ähnlichen Vollkommenheitssinnlosigkeiten. Musik kennt keine halben Sachen. Selbst wenn sich Ereignisse oder Töne aufplustern können sie Eleganz und Sinn behalten. Andere „ego amplitudes“ sind geigerischer Natur oder Lieblingserinnerungen – Paganinis Capricci, Stockhausens Studie I, Steve Reich, der Ton c und ähnliches. Die verrücktesten Ichs sind allerdings Quanten, denn sie sind zu keiner Zeit mit sich identisch, können sich aber doch verschränken, nichtlokal sein usw. Obwohl es sich bei diesem Duo um eine relativ offene Klanglichkeit handelt, glaube ich, dass es mir gelungen ist, Wahrscheinlichkeitswellen der harmonischen Aufenthalte wahrnehmbar zu machen. D. h. Hören ohne zu analysieren und ohne dauernd zu messen. Ohne Botenteilchen bedeutet ohne harmonische Schritte, aber mit der Fähigkeit zu Wechselwirkungen.

Nicolaus A. Huber Werke | Works für Klavier | for Piano Pour les enfants du paradis (2003) Disappearances (1995) Beds and Brackets (1990) Darabukka (1976) für Violine | for Violin Solo für einen Solisten (den Frauen von Cuá) (1980/81) mit Violine und Klavier | with Violin and Piano Silver Silence [Vl,Vc,Klav] (2006) La Force du vertige [Fl,Klar,Vl,Vc,Klav+Perk] (1985)

Whereas Nono considered the world to be only fragmentarily analyzable, so called consumer capitalism increasingly intrudes upon ego structures, by fragmenting them to the point of: assumed insufficiency, i.e. “was consumption a form of infiltration”?, or: “in television you can see models licking face cream because it’s so rich” etc. (retranslated), as Meredith Haaf cited in her book review (Sueddeutsche Zeitung 05/23/2016, Alexandra Kleeman: You Too Can Have A Body Like Mine) and to the point of similar perfection-senselessness. Music doesn’t do things by halves. Even when events or notes are “puffed up” they can retain elegance and significance. Other “ego amplitudes” are of violinistic nature or are favourite memories – Paganini’s Capricci, Stockhausen’s Studie I, Steve Reich, the tone C and similar things. The craziest egos are quantums, because at no time are they identical with themselves. They can entangle and superpose, are nonlocal, etc. Although the sound character in this Duo is fairly open, I believe I succeeded in making probability waves of harmonic stopovers perceptible. This means hearing without analyzing and without constantly measuring. Nonlocality – without messenger particles – means no harmonic steps, but with the capacity to interact. Nicolaus A. Huber


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