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The Tiniest House of Time

Rolf Hind


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Rolf Hind

The Tiniest House of Time

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for accordion and orchestra

with the BBC Symphony Orchestra, conducted by Jakub Hrusa

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at the Barbican Hall, London, on 24 November 2012.

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Commissioned by BBC Radio 3 and first performed by James Crabb


Instrumentation Solo Accordion Piccolo (doubling Treble Recorder) Flute (doubling Treble Recorder) 2 Oboes 2 Clarinets in Bb (1. doubling Eb)

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2 Horns in F 2 Trumpets in Bb

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Trombone Bass Trombone Tuba

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Percussion (four players) Percussion 2

Percussion 3

Percussion 4

High Wood Block 2 Dustbin Lids Anvil High Rototom Whip Bass Drum Jingle Bells Tambourine Rin on A Harmonica Gong Drum

Medium Woodblock 2 Gongs, high and low Cowbell Motor Horn Medium-high Rototom Bullroarer Rin on B Low Conga

Temple Blocks (set of 5 or 6) 2 Gongs (high G and low A) Snare Drum Spring Drum Bicycle Bell Loose/Pedal Bass Drum ! (with double pedal) Medium-low Rototom Whirly Tube on G Bongos

Log Drum Bass Drum Lowest Rototom Choke Cymbal Medium Metal Plate Whirly Tube on Ab Thundersheet Rin on Ab Harmonica

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Percussion 1

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Harp Piano (doubling Celesta) Violin I Violin II Viola I (scordatura: C string tuned down to B) Viola II (ord.) Violoncello I (scordatura: C string tuned down to B) Violoncello II (ord.) Double Bass

ll

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All percussionists need water for lowering the rin pitch. Percussion 3 also needs water for dipping the gong. Players 1 and 4 need a handkerchief for the harmonica playing.

Score is in C


Layout Piano and harp need to be positioned prominently, towards the front of the stage ideally near the accordion. Percussion 1-4 need to be set at the back across the stage left (perc. 1) to right (perc. 4).

Accordion

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The explanation of the techniques and sounds used will be found in the solo part.                                                 Where gliss or quasi gliss is written and a true gliss is not possible, try to approximate by overlapping and cross-fading freely.                  

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From bar 638 onwards the right hand part should be thin, metallic and slightly distorted/detuned; this may be achieved by judicious use of the bellows, or a preparation of the keys/buttons in the previous rests.

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Piano

The pianist will need an e-bow, a small metal implement such as a kitchen skewer and a light metal chain laid across the bottom strings in bars 496-502. The chain may need to be fixed to the sidebar with tape.

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◊ÿ w bw w The piano is muted with Blu-tac on the strings at the near end to dampen but not detune the pitch on the following pitches: ? w nw &

ed

w

é

re

bw

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s

&

w

se rv

◊ÿ nw

including all chromatic pitches

? w

/F

including all chromatic pitches

Preparation:

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At certain points the blu-tac needs to be lifted from the string to allow E-bow and harmonics to sound. It is then reapplied afterwards. This is easier to do if the Blu-tac is in separate pieces for the strings in question, which are: !

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& w

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Performance techniques:!! !

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!

!

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by

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! ! Strings

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!

f.t.2 ! !

fingertip

∑ ∑ ∑ ∑ ∑ &! fingernail ∑ to produce ∑ a buzz. ∑ f.n.buzz! & ∑rest fingernail∑on vibrating string ?! ! scrape ∑ fingernail ∑ along string∑ for metallic∑resonance! ∑ f.n.!

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!

R

!

!

C

{

upper note is the resultant

or di

!

Lo

Harmonics: lower note is the fundamental

!

!!

&

∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

stop with fingers (imitate Blu-tac sound)

As far as possible use the harmonics specified. Where necessary (cf. in double basses at the beginning) gaps may be taken from the value of the note to allow time to move. The exception is bar 9, where the value can be taken from the FRONT of the note. Where 7th 11th or 13th harmonics are specified please use these for their microtonal properties. Violas and Cellos are each divided into two groups, front and back. Group one has the C string tuned down to B. Group two has normal tuning.

∑ ∑ ∑ ∑ ∑ ∑ & Airbow - whip the air with the bow, works best using a vertical down and up motion with the hair facing upwards.

{

& &

10

?

∑ ∑

∑ ∑

∑ ∑

∑ ∑

∑ ∑

∑ ∑

∑ ∑

∑ ∑


Score contents

!

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page 1

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page 44

III. The Tiniest House of Time ! ! ! ! Are you looking for me? I am in the next seat. My shoulder is against yours. you will not find me in the stupas, not in Indian shrine rooms, nor in synagogues, nor in cathedrals: not in masses, nor kirtans, not in legs winding around your own neck, nor in eating nothing but vegetables. When you really look for me, you will see me instantly -you will find me in the tiniest house of time. Kabir says: Student, tell me, what is God? He is the breath inside the breath.

!

!

!

page 69

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I. On the Lip of Insanity! ! ! I have lived on the lip of insanity, wanting to know reasons, knocking on a door. It opens. I've been knocking from the inside.   Rumi

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Translation: Coleman Barks Selected Poems of Rumi © 2004 Penguin Classics

!

!

!

ed se rv re s ht rig ll

on

Kabir

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Translation: Robert Bly Ecstatic Poems of Kabir © 1976 Beacon Press

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IV. Sky Circles! ! ! The way of love is not a subtle argument. The door there is devastation. Birds make great sky-circles of their freedom. How do they learn it? They fall, and falling, they are given wings. Rumi

C

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II. Tonglen!

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Translation: Coleman Barks Selected Poems of Rumi © 2004 Penguin Classics

!

!

!

!

!

!

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