Christian Mason Sardinian Songbook for
String Quartet
Partitur Score
Edition Breitkopf 9270
Christian Mason
Sardinian Songbook for
String Quartet
Partitur Score Edition Breitkopf 9270
Spatial Dispostion
1. S’iscravamentu: standard quartet seating, close together, centre-stage
viola [pos 1] cello [pos 1]
violin 1 [pos 1]
violin 2 [pos 1]
2. Ballate a Ballu Tundu: at LETTER F (b 64 - 67) violin 1 moves to POSITION 2, spatially distant from the rest of the quartet at the front corner of the stage (still with eye contact)
viola [pos 1] cello [pos 1]
violin 2 [pos 1]
violin 1 [pos.2]
3. Satiras: violins 1 & 2 stand antiphonally at opposite corners of the stage, as far apart as possible; viola and cello remain centre-stage
viola [pos 1] cello [pos 1]
violin 1 [pos 2]
violin 2 [pos. 2]
4. Muttos: the entire quartet as widely spaced as possible: violins remain at opposite front corners of the stage, viola and cello play from opposite rear corners of the stage*
viola [pos.2]
violin 1 [pos .2]
cello [pos. 2]
violin 2 [pos . 2]
* N .B . It is also possible, depending on the venue, to perform Muttos with the quartet surrounding the audience The Ligeti Quartet often present it in this manner In this case, the violins may need to move position again
Performance Notes
General
If possible please begin by listening to the source songs (all have been recorded by Tenores di Bitti) which are likely to clarify many musical intentions In case of any questions concerning interpretation please also refer to the recording made by the Ligeti Quartet with the composer (August 2018): Songbooks Vol 1 [nonclassical 039]
Pauses/fermatas:
Quarter-tones:
“gliss-away” note ending = descending slide away from the main note mimicking a similar effect heard frequently in some tenores songs:
? > bœjû ‰
I. S’iscravamentu
Trills should be fast and intense
The various performance directions such as “Think about […], play how you feel…” were written to evoke the friendly, communal spirit that defines the tenores repertoire, to make that a focus of the interpretative approach here That said, if you hold negative feelings towards other quartet members, the expression of these is not precluded (despite the positive compositional intention) In any case there is no concrete expected outcome!
The sections headed “From another world…” should be performed in an improvisatory spirit with a very free sense of time/rhythm Aim to create a mysterious and delicate sound, in contrast with the bold surrounding music
Circular bowing: shifting constantly between sul tasto/pont bow positions
II. Ballate a Ballu Tundu
SUBTLE MICROTONAL DRIFT = an almost imperceptibly gradual process of pitch shifting on a repeating fragment of material The direction of the pitch shift is indicated as either “HIGHER” or “LOWER.” During this process the first violin should tune to match the changing harmonic context, despite being notated at a fixed pitch.
Dotted slurs/ties = an ‚optional tie’ to be interpreted as either a normal tie or a normal re-articulation or a subtle change of colour between the two tied notes
Senza misura at LETTER J: the relationship between first violin and the unison trio formed by the others is indicated by arrows
III. Satiras
Mordents, to be understood in the traditional manner, as in Baroque music, should be placed in relation to their visual position on the score (as with time-space notation), especially respecting the order of exchange between instruments Auxiliary note is always a tone above the main note
IV. Muttos
Improvisation on natural harmonics (LETTER H until the end): using the notated rhythms and string indications as a core structure players should improvise on high natural harmonics, considering the following principles/suggestions:
– the bow always articulates the written rhythm – imagine a semiquaver pulse grid behind this – alternate natural harmonics and open strings – improvise (sometimes) syncopated micromelodies
– avoid slides on natural harmonics
The intended impression is of a constantly dancing “halo of harmonics” around the melody (played by the 1st violin)
Leseprobe
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Tune to the others...
Leseprobe Sample page
Repeat imperceptibly higher**
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Repeat imperceptibly higher**
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Repeat imperceptibly higher**
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Dotted slurs/ties indicate an ‘optional tie’ where there should be either a normal tie, or a normal re-articulation or a subtle change of colour between the two tied notes.
Each repetition with subtle microtonal dri.
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Tune to the others...
Repeat imperceptibly lower*
Repeat imperceptibly lower*
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Repeat imperceptibly higher*
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Repeat imperceptibly higher*
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Repeat imperceptibly higher*
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Leseprobe Sample
Tune to the others...
Repeat imperceptibly higher *
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Repeat imperceptibly higher *
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Repeat imperceptibly higher *
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Christian Mason Sardinian Songbook (2018) for String Quartet
The four movements may be played separately or as a collection. If played together the following order should be observed:
I S‘iscravamentu – for Richard Jones (ca. 6 min.)
II Ballate a Ballu Tundu – for Mandhira de Saram (ca. 8 min.)
III Satiras – for Patrick Dawkins (ca. 3 min.)
IV Muttos – for Valerie Welbanks (ca. 4 min.)
Commissioned by and dedicated to the Ligeti Quartet (supported by the Britten Pears Foundation and the City Music Foundation)
Aufführungsdauer | Performing Time etwa 21 Minuten | approx. 21 minutes
Uraufführung | World Premiere
Ligeti Quartet
Sheffield | 24/04/2018
I fell in love with the remarkable singing of the Tenores di Bitti on hearing their recordings as a student. Their uniquely intense vocal timbre, their harmony which seemed pure and rough at once, and the sense that this music was, at root, not so much about performance as simply being together in the world, in a community of spirit. At the time I had no intention of using this music to my own creative ends, but now, here we are: Sardinian Songbook is the second in a cycle of works for the Ligeti Quartet, all based on transcriptions of music from different throat-singing traditions. Like string quartets, the tenores usually sing in groups of four voices, but being free from instruments they stand very close together enabling the resonances of their voices to blend and interact in a special way. The quartet, of course, can only sit so close before their bows clash, so I have chosen instead to reflect this physical closeness inversely, by getting the players to stand increasingly far from one another as the piece progresses. In so doing, the initial state of sonic blend gives way to hocketing lines, opening up the sense of space.
Christian Mason Weitere Kammermusikwerke bei Breitkopf & Härtel
Further Chamber Music Works at Breitkopf & Härtel
This present moment used to be the unimaginable future... (2019) 20 min. 2Vl.Va.Vc
Inner Landscapes (2018) 17 min. Fassung für Klavierquintett
Version for Piano Quintet
Tuvan Songbook (2016) 15 min. 2Vl.Va.Vc
Trio: In Space Enlaced (2012) 9 min.
Fl.Ob.Klar | Fl.Ob.Clar
www.breitkopf.com