The Mechanics of Matter

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The Mechanics of Matter for Chamber Orchestra

C h r i s t i a n - F r é dé r i c

B l o q u e r t

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The Mechanics of Matter for Chamber Orchestra

ORCHESTRA SCORE

DURATION: c.17 min

Front cover by Anne-Eli.

Christian-Frédéric Bloquert cfbloquertmusic@gmail.com www.christianfredericbloquert.com

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CONTENT The Mechanics of Matter for Chamber Orchestra I. Structures II. Currents III. Volumes IV. Fields

p. 1 p. 30 p. 54 p. 66

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ABOUT THE PIECE Matter, though it may seem, is never still, and when it moves, the gestures it creates form a unique beauty that is both familiar and unpredictable. Depending on its environment, matter behaves differently, shifting between its fundamental states to the will of its surroundings. At first the movement is slight, almost invisible. Then as it absorbs energy and the structures break down allowing matter to flow freely. As more energy is absorbed, the movement paradoxically becomes perceptively calmer; the gesture are so broad and widely spread that we can only perceive a fraction them. At this point, matter fills the space it is in, occupying its surroundings until it reaches its tipping point. Here matter becomes concentrated energy that cannot be contained. The release is focused, powerful and brief, leaving behind it the remanence of a physical artefact that has now been entirely disappeared into the entropy of the universe.

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INSTRUMENTATION Flute & Piccolo Oboe Clarinet in Bb & Bass Clarinet in Bb Horn in F Trumpet in Bb Trombone 2 Percussion* Harp Piano Violin 1 Violin 2 Viola Violoncello Contrabasses

(1/5) (1/5) (1/3) (1/2) (1)

*Tam-tam, suspended cymbal, snare drum, bass drum, tom-toms, glockenspiel, vibraphone, mark tree, whip, waterphone.

PERFORMANCE NOTES Firstly, in regards to the instrumentation, one could choose to have a string quintet or a maximum of 5-5-3-2-1. For each movement, I would suggest to keep a number of things in mind. For the first movement, Stasis, I would urge one to pay particular attention to maintaining exact rhythmic unison. Similarly, throughout the movement, one should identify the separating lines and try maintain the rhythmic unison within those as clean as possible to highlight the counterpoint between the various subsection of the orchestra. The key to this movement would be to show the contrast between tutti rhythmic unison sections and the counterpuntal ones as as clearly as possible. For the second movement, Currents, it is essential to focus on the gestures: the flow. In this case, take great care in identifying the elements in the foreground and those in the background. Throughout the movement, you’ll see gestures that move very quickly between the foreground and the background and some instances where those in the background react to those in the foreground. Here the goal would be balance the reactionary gestures and forward moving ones while maintaining unity. For the third movement, Volumes, the aim would be to fill the space with as little sound as possible and as lightly as possible. If you are using multiple strings per part, I would urge one to note where single instruments are needed and those where the whole ensemble is needed. Much like the second movement, please also note those elements that are in the foreground, those in the background and those switching between the two. For the fourth movement, Fields, there is a notable return to the contrast between rhythmic unison and free writing. Something to keep in mind here would be tightness; the impact of the hits will be greatly accentuated by a tight rhythmic execution.

NOTATION General

Strings

Brass

Woodwinds

Diminuendo over section.

Percussive, no pitch. Overpressure.

Tongue ram.

Phrase indication.

Percussive, no pitch.

Harp C#B#F#

CªBªFª

Change pedals gradually.

Flute

Oboe

Multiphonic.

Bass Clarinet

Multiphonic.

Air: half pitch, half air. Lightly accented, percussive with some pitch.

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