Bára Gísladóttir
Lof oss að brenna (bæði þessa heims og annars) (2018–19) for string quartet and electronics
Dur. 9′30″
for the Taïga String Quartet
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Lof oss að brenna (bæði þessa heims og annars) (2018–19) for string quartet and electronics
Dur. 9′30″
Lof oss að brenna (bæði þessa heims og annars) was commissioned for the Sëgia project in 2018 and written in the autumn and winter of 2018-19. The piece is inspired by the old norse Brennu-Njáls Saga, both by Njála’s literal aspects, but also aspects in our present day that can easily be mirrored in the story itself.
Njáll mælti til þeirra: “Verðið vel við og mælið eigi æðru því að él eitt mun vera og skyldi langt til annars slíks. Trúið þér og því að guð er miskunnsamur og mun hann oss eigi láta brenna bæði þessa heims og annars.”
Brennu-Njáls saga, 129. kafli
I. of course it happened on a fucking cusp day
II. Hallgerður, heillin mín
III. the sorrow of being an island and consequencing issues
IV. Þjóstólfur það fjandans fífl
V. hún hafði yfir sér vefjarmöttul blán
VI. maðurinn sem hyggðist strengja boga með mannahári
The electronics of the piece are all live and run from Ableton Live 9 Suite and Max for Live. The amplification and electronics are developed between the pieces movements in the following way:
Lof oss að brenna (bæði þessa heims og annars)
i. of course it happened on a fucking cusp day
Unamplified
ii. Hallgerður, heillin mín
Gradually becomes slightly amplified with live electronics
iii. the sorrow of being an island and consequencing issues Slightly amplified with live electronics
iv. Þjóstólfur það fjandans fífl
Much more amplified with rough live electronics
v. hún hafði yfir sér vefjarmöttul blán
Same level of amplification but with very subtle live electronics
vi. maðurinn sem hyggðist strengja boga með mannahári
Same level of amplification but with very subtle live electronics
Explanations
m.s.p. – molto sul ponticello
s.p. – sul ponticello
s.t. – sul tasto
c.r.p. – convolution reverb pro (an effect in Max for Live) gradually move from one technique to the other
Slurred tremolo is to be played on one bow throughout its whole time value. Take for instance the visual example given here in the explanations; the tremolo should be played on one bow only, through the two beats. That is, not a new bow on every trill between the first and second note.
Gliss back and forth between the notes indicated. That is, the glissando is not to be played only from the first note of the tremolo to the second, but as a pendulum between the two notes.
gliss from the very start of the tremolo
From the very start of the tremolo, gliss from one artificial harmonic to the other. Fingerings of the glissing notes can be alternated on the way if necessary.
Move bow in the mode of a pendulum swinging from side to side, where the strings serve as a springboard. This creates an arpeggio-like effect where the motion happens mainly in the wrist. The bow should not be moved horizontally, but is to stay in the same position.
the highest possible note
Overpressure
The overpressure is indicated by black graphics above staves:
The overpressure appears in two manners; growing (upper left symbol) and full (upper right symbol). At its fullest, there should be as little pitch-audibility as possible.
