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ร‰dgar Guzmรกn

The purloined letter (2017) saxophone and bassoon with or without electronics

Commissioned by the International Contemporary Ensemble (ICE) Dedicated to Rebekah Heller and Ryan Muncy


The purloined letter (2017) Commissioned by the International Contemporary Ensemble (ICE) Dedicated to Rebekah Heller and Ryan Muncy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

Performance notes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

5 4

7"#,'899#

& ?

Sax & Bsn

" ca.

5',++23&'*',)&A#':(&/,$%"&#3&,&'*$"&,$.&'(/""&;<,/'"/3&'*$"E&0&<$#3*$&#3&/",:(".&78&7*'(&A"/+*/6"/3&,'&6",3</"&OOE&H(#3&A#':(&C/".&)#$"&*$&'("& 3',++D&#3&'*&7"&,%/"".&78&'("&A"/+*/6"/3&7"+*/"(,$.P&,)'(*<%(&6#..)"&'*&<AA"/&6#..)"&/"%#3'"/&#3&:*$3#."/".&,3&,&6,#$&*A'#*$&C7,33**$Q&),3'& A,/'&*+&/"%#3'"/&MM&<A&'*&/"%#3'"/&MMMP&3,@*A(*$"Q& ."A"$.#$%&*$&'("&3,@*A(*$"&<3".D4&,$8&A#':(&+/*6&,$8&/"%#3'"/&'("&A"/+*/6"/3&,%/""&'*& >*/I&>#'(&:,$&7"&<3".&C("$:"&'("&(87/#.&789&:)"+DE&,!:;<=;25#<>!?5@#16#A@55#4;#365#!2?#6!:;<=;25#=5B6=5#C!246#DE'8,"E&H("&A"/+*/6"/3& >#))&,)3*&,%/""&*$&>(*&#3&'*&A"/+*/6&F>!?5@#-&,$.&F>!?5@#G&A,/'E&-,:(&6",3</"&#3&,AA/*@#6,'")8&R&3":*$.3&)*$%E&

eighth tone quarter tone tone + three quarter tones

&

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9

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17

+++ / ---

&'+4-,+-!"6*+%,5"6*C%"D5'@-$"7"2%&,:"

-++ / +--

%<;'+%+-*,6"6*C%"D5'@-$"7"2%&,:!"-$%+"484-,*+%2",&-*9*-:7&'(;6%<*-:"6%9%6"

--+ / ++-

6'@"'5"$*D$",&-*9*-:7&'(;6%<*-:"6%9%6"484-,*+%2!"-$%+"%<;'+%+-*,6"6*C%"D5'@-$"7"2%&,:"

-+- / +-+

6*+%,5"D5'@*+D"E"2%&,:*+D"7"2%&,:*+D"E"D5'@*+D""

#$%"&'55%4;'+2*+D"6*+%"'5"&859%"'."5%6,-*9%",&-*9*-:7&'(;6%<*-:"(84-")%"4;5%,2"'8-",6'+D"!!"#!"$",+2"%F4"285,-*'+B" " imaginary contour of musical activity/complexity

"

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!"###+--

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X

X

X

X

" 81

'"#()*++,-./#.*012+*/-+#3.14/52+#

25

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

89

"

Program notes I"OPQ"@$,-"I-$%";856'*+%2"6%--%5J"(%,+4"*4"-$,-!"%9%+"I*+"48..%5,+&%J!","6%--%5",6@,:4"5%,&$"-'"*-4"2%4-*+,-*'+AJ" R,&S8%4"T,&,+!",!+%$-.A"#5,+46,-%2"):"-$%"&'(;'4%5"

About the composer 89

U2D,5" V8W(X+" *4" ," .5%%6,+&%" &'(;'4%5" '." ,&'84-*&" ,+2" %6%&-5'+*&" (84*&A" Y*4" @'5C" $,4" )%%+" ;%5.'5(%2" *+" Z%<*&'!" H+*-%2" [-,-%4!" \,+,2,!" ]5,W*6!" L5D%+-*+,!" \$*6%!" ^%+%W8%6,!" L84-5*,!" _5,+&%!" M'6,+2!"V%5(,+:!"[@*-W%56,+2",+2"`%-$%56,+24A"Y*4"(84*&,6";5'28&-*'+"*4"&'(;5*4%2"'."&'((*44*'+%2"):",+2"2%2*&,-'5:";*%&%4"-'","+8()%5"'."*+4-*-8-*'+4!"%+4%()6%4",+2";%5.'5(%54"48&$",4" -$%"a+4,()6%"T*(*+,5!"a+4,()6%"2%"Zb4*&,"\'+-%(;'5X+%,"2%"6,"H+*9%54*2,2"L8-c+'(,"2%"],K,"\,6*.'5+*,!"d5S8%4-,"[*+.c+*&,"R89%+*6"2%"Ze<*&'!"d5S8%4-,"[*+.c+*&,"Z%<*S8%+4%!"f+-%5+,-*'+,6" \'+-%(;'5,5:"a+4%()6%!"TL"M$*6!"N*6.5*2'"#%55,W,4!"L6%<,+2%5"]58&C!"R'4e"Z,+8%6"L6&X+-,5,!"g%)%C,$"Y%66%5!"h*9*%"\,+$3T*;(,+!"g:,+"Z8+&:!",+2"i,9*2"]'@6*+",('+D"'-$%54A#

129

97

33

97


The purloined letter (2017) Commissioned by the International Contemporary Ensemble (ICE) Dedicated to Rebekah Heller and Ryan Muncy

Édgar Guzmán (1981)

Acoustic version (without audio file) starts here

54

& ?

Player 1

" ca.

D

D

D

D

D

X X

D

D

#" ---

!" +++

A with cautious, as trying to disguise an otherwise apparent feel of distress

Sax & Bsn

p

Á

D

glissando

Player 2

PLAY AUDIO FILE

!% ++-

"natural" volume level

niente

(% +--

Á

For electroacoustic version, after initial fade in audio file is played at a constant "natural" volume level, i.e. a level that is the same of the performers as if they were talking/playing on stage.

p

B nervous, having a hard time keeping with appearances

'

9

free dynamic

(cresc ad lib.)

$'&&+-+

$%&&--+

X

9

& ?

9

X X

('&&&-+-

î

f

$%&&+--

#"&&---

X X

X

!'&& -+-

Á non cresc

17

(%&& -++

X

17 9

9

& ?

("&&&&+++

X

îÁ

ï

X

X X

!"&&&&& +++

(%&&&--+

X

X #%&&+--

Á

ï

5

7

25

#%&&&&-++

17 9

XX

X

& ?

X

#"&&---

fp

129

5

f

#%&&&--+ 33 925 17

& ?

X

#%&&++-

(%&&&--+

SZ p non cresc

îï

#%& +--

#%&& -++ gliss.

X

X X

Á

33

X

X

X

#'&&&-+-

#%&&&+--

p non cresc

!%&&&--+

3

('&&-+-

gliss.

X Á

f

1

#'& -+-

X

17 25 9

X

!%+-&&

fp

D apparently calmed

cresc ad lib.

X

ï sub

$%&& -++

X

X

(%&&&--+

#%&&++-

17 9

SZ p

p non cresc

$%&&+-25

X

f

!%&&&&++-

f

9

!%&&&--+

'

non decresc

C gradually trying to be at ease

7

3

X

glissando

X

cresc ad lib.

!'&&&+-+ cresc ad lib.

ï sub

gliss.

gliss.

259 17 33


($% -++)

#"&&&+++

!%&&&++-

X

X

41

& ?

'

$%& --+

X

X

X

X

( !'+-+)

X

gliss.

SZ p

SZ p

#%&&+-- # &&-+- $ &&&+-' %

X

(%&&&--+

'

$'&&+-+ & !'&&&+-+ $ && % -++

gliss.

X

X

X

X

X

gliss.

X

gliss.

$'&&-+-

('&&&&-+-

#"&&--&

#"&&&+++

SZ p

SZ p

49

41

î

p

!%&&&&++-

SZ p non cresc

non cresc

#%&&&-++

#%& --+

#'&-+-

'sub

#%&&&++-

(' -+&&

49 9

& ?

X

X

gliss.

X

gliss.

X

X X

#%&&+-(%&&&&--+

î

1 49

X

gliss.

X X

X X

gliss. gliss.

#%&&&+--

!%&&+--

p non cresc

9

(%&--+

' sub

SZ p non cresc 57

F at ease, with agility

G nervous

free dynamic play within this range

î

SZp

'

$' +-+ ! &&&&& # & % +-- %& --+

p

Á sub

(%&&&++- ('&&+-+

!'&&+-+

17 9 57

& ?

9

57

7

E erratic, bursting with anger at times

41

X

XX

'

gliss.

gliss.

!'&&&&& -+-

SZ p

X

X

X

gliss.

XX

X

#%&&-++

î

X

gliss.

$%&&-++

$'&&-+-

p

Á sub

65

free dynamic play within this range

'p

SZp #"&+++ & #"&&&--#'&&-+!%&&&& +-- (%&&&& --+ !%&&&& +-(%&&&+-$%&&--+

25 17

17 9

free dynamic

*

al niente

If performing the acoustic 25 version attaca measure 74 17

65 9

65

& ?

XX

X

X

X

X

X

XX #'&&-+-

!%&&&& ++-

'p

X

free dynamic

(

SZ p

73

(U)

5

9 17 73

in electroacoustic version fermata is optional

D D

& ?

73

(

)

*

('&&-+-

cresc ad lib.

' > > > > > > > > > > > > >

X XXX XXXXX XXXXX XXXXXX XX XXXX XX X X X XX

(%&&&--+

smorz

cresc ad lib.

> > > > > > > > > > > > > >

)&&&&&&&&&&* #$+++ !"-++ %&+-+

audio file continues

!"&&&&&

ad lib.

smorz

XX 'Á

)&&&&&&&&&&* > > > > > #$+++ !"-++ %&+-+

)

I anxious

free dynamic

9

al niente

H as you wish

25 33

D D

j XX J

>

gliss. gliss.

XX

free dynamic

SZ f

25 33 #"&&&--$

(%&&&& +--

X

9 17

X

(segue gliss.)

Á

2

3

33

33

%&&&

--+

gliss

!%&&&&++-

'

ad lib.

p

+++


ïï sub

free dynamic

crescendo

$%&&&+--

($% --+)

ad

free dynamic

libitum

$% --+

#"&&&---

(%&&&--+

!'&&&&& +-+

81

& ?

1

89

X

X

XX

81

X

XX

gliss.

X

X X

81

( !%++-)

'

ïï sub

crescendo

ad

X

X

>

('&&-+-

#'&&&-+-

Á

& #%+-$'&&+-+ ('-+!%&&&&& && -++ #%&++&&

free dynamic

libitum

81

free dynamic

89

$'&&-+89

9

& ?

X

($' +-+)

>

X97 X

X

XX

>

tenuto

>

89

89

Á non cresc U

>

89

9 17

& ?

j X J

U Á non cresc

*

If performing the acoustic version attaca measure 98

Suddenly embrace into a double free improvisation that 9 creates as much discomfort and uneasiness as possible free dynamic

Wavy line on the staff represents relative rhythmic variations on battements, from slower to faster ones. Big wavy line across the staff represents a transfer of roles on the performer who will cause the battements and the performer who will mantain a steady intonation. If wanted, duration of this passage can be extended with a battements improvisation.

U D

97

U

tenuto

free dynamic

9

U

battements caused by Player 1

U

cresc ad lib.

XX

D

simile

(sub)

XX

U Á (sub)

Short double 9 improvisation; 17 same character as before

battements

105

97

cresc ad lib.

p

battements caused by Player 2

PAUSE AUDIO FILE97upon signal from performer(s) 97

97

)&&&&&&&*

7

05

J very calm

Á

K exhausted

$%&& -++

17 9 105 25

& ?

fp

>

#"&&&+++

X

X

X

X

113 $%&& ++-

!'&&&+-+

Á

X

X

fp

p non cresc

Á $"&&&-->

("&&&& ---

X

>

105

)&&&&&&&*

Á #%&&++>

#'&&+-+

L feeling rested

!"&&&&& ---

17 9 25

D

X

ad lib.

(%&&+--

!%&&&&-++

fp

Á

105

X

fp

X

X

XX

gliss.

> Á

!%&&&&&--+

$"&&&---

p

non cresc

ad lib.

121

105

UNPAUSE AUDIO FILE

121

121

"natural" volume level

niente 25 17

M

121 33

p

105

121

121

("&&+++

non cresc

M

& ?

p

3

X non cresc

(%&&&-++

("natural" volume level) 113

XX

M

& ? X s

$"&&&+++ 3 129

(multiphonic)

& ? X j s sub X XJ U (multiphonic)

113

9

U

129

25 17

For last section performers will choose any low frequency multiphonic that allows them to make the transformation that follows as smooth as possible ending the piece in the highest pitch possible.

sub

single tone gradually emerge

X f

3

glissando (as continuos and wide as possible)

single tone gradually emerge

X f

glissando (as continuos and wide as possible)

X

as high as possible

X

as high as possible

f non cresc

33

j

9

j

f non cresc X

molto cresc ad lib.

129

everyone stops suddenly

25 33

33 129

3

25 33

The purloined letter  

Bassoon, saxophone and electronics (2017)

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