MM 2339445 – Mochizuki, Intrusions

Misato Mochizuki

Intrusions für Orchester | for Orchestra Fassung 2 (Juni 2022) | Version 2 (June 2022)

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MM 2339445

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Misato Mochizuki

Intrusions für Orchester | for Orchestra Fassung 2 (Juni 2022) | Version 2 (June 2022)

Partitur Score

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Misato Mochizuki | Intrusions

Commissioned by SWR and IRCAM-Centre Pompidou

Orchestral Scoring 2 Flutes (II – and possibly I – also Piccolo) 2 Oboes Clarinet in B flat Clarinet in E flat Contrabass clarinet 2 Bassoons (II also Double bassoon) 2 Horns in F 2 Trumpets in C 2 Trombones Tuba Percussions: 1: Vibraphone, 5 Tom-toms with different pitches and with similar intervals in low-middle register 2: Glockenspiel 3: Tubular Bells, Ratchet, Large Tam-tam 4: Cowbells (C#5 and 4 untuned [or cans] with different pitches and with similar intervals in middle-high register), Sizzle Cymbal (middle size and suspended) Piano (with mini-keyboard on the piano) Harp Electronics Violin I (4 or more players) Violin II (4 or more players) Viola (4 or more players) Violoncello (2 or more players) Double bass with 5 strings (2 or more players) Ircam Computer Music Design: Robin Meier

Duration approx. 18 minutes It is possible to perform Part 1 as a stand-alone piece (10 minutes) or the entire piece including Part II (18 minutes)

The score is in C As some high parts in flutes can be played with piccolo by players’ choice, all the flute parts are notated as they sound Glockenspiel is notated two octaves lower Double basses are notated one octave higher The accidentals are valid for the whole measure

World Premiere Fassung 1 | Version 1 (Part 1): Orchestre Philharmonique du Luxembourg, cond. Ilan Volkov Donaueschinger Musiktage 2021 | 15/10/2021 Fassung 2 | Version 2: (Part I and II) Orchestre de Paris, cond. Lin Liao Paris | Philharmonie | 08/06/2022

Breitkopf MM 2339445

III

Intrusions

Intrusions

Depuis quelques années j’ai écrit plusieurs pièces inspirées Over the past few years I have written several pieces inspired by par le fonctionnement du cerveau, notamment le cycle intitulé

the functioning of the brain, in particular the cycle titled “Brains”

« Brains » (2017~, 4 pièces en tout pour le moment, et la 5ème (2017~, 4 pieces so far, with the 5th to follow in 2023) for string viendra en 2023) pour quatuor à cordes.

quartet.

Le point commun de la pièce « Brains » avec « Intrusions » est la

The common thread between “Brains” and “Intrusions” is the

relation avec les autres.

interaction with others.

Les études nous montrent que le cerveau se développe avec Studies have shown that our brains develop spontaneously une forme de spontanéité (même dans le sommeil, i.e. rêves), (even while we sleep, i.e. dream), feeding on information from en se nourrissant d‘informations venant de l’extérieur. Son

the outside world. It learns through repetition and imitation of

apprentissage se fait par répétitions et par imitations de ces this external information. During this learning process, a form of informations externes. Durant cet apprentissage, une forme de sociability, close to compassion, is established to understand the sociabilité, proche de la compassion, s‘installe pour comprendre difference between oneself and the other. The brain then seeks la différence entre le moi et l’autre. Le cerveau cherche alors à to minimize this gap through an interplay between predictions réduire cet écart par un jeu entre prédictions et réalisations.

and realizations.

La pièce se développe avec cette analogie et particulièrement The piece develops with this analogy and particularly in dans ce rapport avec « les autres ». Cela questionne d’une this relationship with “the others”. In a more global way, it manière plus globale le lien de l’homme avec son environnement

questions the relationship of man with his/her environment

ou avec la société. Aussi, des sons de différents êtres vivants

or society. In addition, sounds of different living beings

seront mis en tension avec les instruments de l’orchestre et avec are harmonized with the instruments of the orchestra and d’autres sons de notre vie quotidienne. Au niveau de l’écriture, ma with other sounds of our daily life. In terms of writing, my technique et mon imagination sont élargies grâce à l’intelligence technique and imagination are broadened thanks to the artificielle qui analyse ces sons pour qu’ils s’interpénètrent.

artificial intelligence that analyzes these sounds so that they

Les mécanismes d’apprentissage mis en jeu dans le dispositif

interpenetrate.

et la partie instrumentale s’incarneront principalement dans The learning mechanisms utilized in the device and the un rapport d’imitation au sein de cet écosystème sonore. Il

instrumental part will be embodied mainly in a relationship of

produira ainsi, dans une certaine mesure, un « faux orchestre »

imitation within this sound ecosystem. It will thus produce, to a

et des sonorités factices d’« animaux » ; il s’agit d’élaborer, pour

certain extent, a “mock orchestra” and artificial “animal” sounds;

le dire autrement, une triade intrinsèquement unifiée « orchestre it is a matter of elaborating, in other words, an intrinsically unified triad “orchestra / robotic animals / clone”.

/ animaux robots / clone ».

Cette pièce questionne également le lien entre l’homme et la This piece also questions the link between man and machine in machine dans son rapport à la limite. La partie instrumentale est

its relation to the limit. The instrumental part is from this point

de ce point de vue sur la corde raide : je remercie les musiciens

of view on the tightrope: I thank the musicians for doing their

de faire leur maximum, au-delà de la jouabilité de la partition.

best, beyond the playability of the score.

Misato Mochizuki, avril 2022

Misato Mochizuki, April 2022

Intrusions

(Fassung 2 | Version 2)

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MM 2339445

Misato Mochizuki, 2021/22

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The initial idea is inspired by brain functioning as for my other The piece develops with this analogy and particularly in this recent pieces, especially my cycle Brains for string quartet. In relationship with „others“. This questions in a more global way this new work, each instrument is not only a brain, but also a the link of man with his environment or with society. Also, sounds neuron constituting a „large brain“, embodied by the orchestra.

of different living beings, produced by electronics, will be put in tension with the instruments of the orchestra and with other

Studies show us that the brain develops with a form of

sounds of our daily life. The learning mechanisms take place

spontaneity, and it does so by feeding on information from

in both directions: from the orchestra to the electronics and

the outside. It learns by repeating and imitating this external

from the electronics to the orchestra. These different imitation

information. During this learning process, a form of sociability,

relationships constitute a device close to a sound ecosystem in

close to compassion, settles to understand the difference

constant evolution.

between the self and the other. The brain then seeks to reduce this gap through a game between predictions and achievements.

Misato Mochizuki, August 2021

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