Bára Gísladóttir: sea sons seasons by Edition·S

Bára Gísladóttir

sea sons seasons (2024-2025)

for orchestra and electronics

Dur. 16′30′′

Commissioned by Festival d’Automne, Orchestre Philharmonique de Radio France, WDR Sinfonieorchester and Copenhagen Philharmonic Orchestra

SCORE

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Bára Gísladóttir

sea sons seasons (2025)

for orchestra and electronics

Dur. 16′30′′

sea sons seasons

i. see sea (just don't put me in the CC)

ii. sea sons

iii. I guess spring comes late this year

iv. leafy sheafy sea dragon

v. sea sparkle, sun glitter

an ungodly hour

vi. sea storm

vii. shell bells

ॐ les sons (but also all my (lost) sons)

viii. if it isn't the wind and the waves, washing it all away

ix. autumn in Paris hehehe

x. inverno/inferno

Special thanks to Björg Brjánsdóttir, Heather Roche, Katie Buckley, Frank Aarnink, Philip Haworth, Jack Adler-McKean, Marco Blaauw, Bryndís Þórsdóttir, Brjánn Ingvason, Petter Ekman, Ása Ólafsdóttir, Hallgrímur Jónas Jensson, Lorenzo Colombo, Owen Weaver and Humberto Díaz for their help and support with the composition. Also thanks to Gunnhildur Einarsdóttir, Richard Carrick and Heather Roche for their fantastic online catalogue for composers.

sea sons seasons are a reflection of the sea and many of its beings (especially ear-like seashells, sea horses, magnets and endless other shimmering creatures of various shapes and forms, and perhaps, most importantly, the leafy sheafy sea dragon, although appearing just briefly), some sons (maybe even all of Miller’s sons (but also all the lost sons)), some sounds, also sea sounds (or sea sons, if you will), seasons (of the earth, of history, of repetition, but also Vivaldi’s). The work is furthermore an exploration of how we can see the sons or the sounds or the seasons. Speculations on how all of these factors and many more can be visited and revisited from as many angles as possible, to be united as one sonorous being, boasting flowing, fluid movements. The work was written commissioned by Festival d’Automne, Orchestre philharmonique de Radio France, WDR Sinfonieorchester and Copenhagen Philharmonic Orchestra and premiered in Paris on November 28th, 2025.

PERFORMANCE NOTES

TUTTI

Visual depiction of the ideas behind the piece. Start at the bottom if you want to go through the chronological narrative of the work.

General

Trills and tremoli

Trills and tremoli occur in variable speed in the piece, where four lines indicate the fastest possible. Trills and tremoli can also increase and decrease in speed, indicated in the following way:

WOODWIND

Graphics

The score uses graphics to better describe the piece’s soundscape. The graphics can be anything from subtle wavy lines to something absolutely all over the place. Examples:

Flutes and piccolo

Square notes should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer.

W.t. – whistle tones

In the score and parts, the fundamental position of the whistle tones is given in the form of a diamond head. Travel between the overtones of the fundamental given by interpreting the graphics above the stave. Ex:

Harmonic timbral trills

One of the main characteristics of the piece are the harmonic timbral trills. They appear in various ways, where speed, graphics and dynamics can have a huge impact. Ex:

Air ﬂutter (ﬂutes only)

In the piece, the air ﬂutter is performed with a closed ﬂute, like so:

Harmonics surge (ﬂutes only)

Wave-like overblowing

This effect happens on a few locations throughout the piece, notated in the following way:

Oboes and English horn

Bisbigliandi

At times the bisbigliandi are a bit on the wilder side as seen in this image. Here is an example of how to perform those.

High harmonic-like sounds

Without reed (E.H.) / reed and staple (Ob.), exhale to produce high harmonic-like sound.

for Ex. for

Ex. for the ﬂutes:

Ex. for the piccolo:

Ex.

Ex. for the oboe the English Horn:

Overblowing (English Horn)

Multiphonics and multiphonic trills

For the oboes, all multiphonics are speciﬁc. Fingerings can be found in the parts. For the English Horn, a fundamental is simply given along with the desired quality.

Clarinets and Bass Clarinet Harmonic surge

Use the fundamental given to overblow. Sometimes as rapid outbursts, sometimes as a longer exploration of the overtones. Ex:

(Wild) overblowing

This effect occurs widely throughout the piece, particularly in the form as trills. Ex:

Multiphonics and multiphonic trills

Here, a fundamental is simply given along with the desired quality.

Bassoons and Conntrabassoon Helicopter tonguing

The technique is always performed with air-ﬂow, to make it more audible.

Wave-like overblowing

Use the fundamental given to overblow. Graphics are used for further depiction.

Ex. for the contrabassoon:

Square notes should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer.

Graphics

The score uses graphics to better describe the piece’s soundscape. The graphics can be anything from subtle wavy lines to something absolutely all over the place. This is pretty self explanatory (I hope). The diversity in graphics should have an impact on how various techniques are played. Take a look at these two examples for instance:

Here we have a pretty ordinary bisbigliando (colour trill):

While here, we have something quite different:

Ex. for the bassoons:

BRASS

Tuba

Vocal waves

Throughout long passages of the piece, the player is asked to add voice to their playing, and to move it in a wave-like manner. Use the vocal pitch given in the octave that feels most comfortable for you and move it in the way you interpret the graphics.

At times, a ﬂutter is added to the effect for a more distortive result:

TIMPANI

Two timpani are used, ca. 26′ and 32′. A good deal of tuning (or detuning if you will) takes place throughout the piece. For clarity, the part has thus been divided into two staves; one to depict the tuning and one for what is to be performed on the skins. The tuning action is depicted with graphics, like so:

Reciprocating saw (bladeless)

For the noisier parts of the piece, a reciprocating saw is used to press into a metal plate placed on the skin of the instrument, like so:

The timpani part requires some additional gadget, like temple bowls and a vibrator. See further information under INSTRUMENTATION

PERCUSSION

Reciprocating saw (bladeless)

For the noisier parts of the piece, a reciprocating saw is used to press into the lid of the oil drum, creating as much noise as possible.

Percussion 3

Pitch bending on the vibraphone

On bowed vibraphone, use a plastic xylophone mallet to bend pitch.

HARP

This notehead indicates a (very) approximate pitch in the given register.

Rubbing of strings

Bowing

A good deal of the work is to be bowed with bow hair. The pitches bowed are E1 and E2. It is essential to use old bow hair for this - that way we reach the fullest potential for a rich sound.

Massage pistol

Some of the noisier parts of the piece are performed with a massage pistol on its fastest setting, by pressing it into the harp’s lowest strings, like so:

Other gadget needed

Katie knows it:

Guitar plectrum and wooden pencil.

PIANO

This notehead indicates a (very) approximate pitch in the given register.

Harmonic sweeping

Preparation

Squeegee

Used for harmonic sweeping Hammer

A regular, metal hammer is recommended. A short grip may help the player feel fully in control and avoid any accidental contact with the instrument. With the pedal down, tap anywhere on the metal soundboard. You do this very lightly and yet the sound will be very strong. Avoid playing directly on the sound holes as catching the metal at an angle could chip the paint. If using a particularly precious instrument, the player may instead use a dead blow hammer or a heavy rubber hammer. However, with both of these hammers you will need to apply somewhat more force to achieve the appropriate sound. This is not a sound the composer has invented. It appears in numerous pieces in the repertoire including widely played works by (for example) Chaya Czernowin.

Fishing line

E1 and E2 should be prepared with ﬁshing line. Prepare the line with rosin.

Guitar plectrum

Used for a noise effect created by rubbing the strings back and forth in a wild tremolo action, as well as rapid scraping of the strings. Drumsticks

Used for drumming on the strings. Throughout most of this technique, the drumming should simply be as fast and intense as possible.

Thunder glissando Hit strings

Massage pistol

Used for pressing against the strings as a noise effect.

Thimbles (2x)

To be placed on ﬁngers for tapping on the strings.

Pencil

For rubbing vertically along strings.

STRINGS

m.s.t. – molto sul tasto

s.t. – sul tasto

ord. - ordinario

s.p. – sul ponticello

m.s.p. – molto sul ponticello

gradually move from one technique to the other

Bowing

The bowing should be quasi free. That is to say, don’t hesitate to use more bowing than showed in the piece, particularly on the tied harmonic trills. Typically, the harmonic trills will be written like in the image below, as if they were to be played on one bow throughout the whole bar. Much of the time, that is simply not possible (let’s say when the tempo is in 40 and the dynamics are ff), so please use all the bow you need to be able to perform at the intensity level indicated at each time.

Harmonics, harmonic trills, shaking out birds, overpressure and more

Harmonics and harmonic trills

Harmonic

Artiﬁcial harmonic

Harmonic colour trill of pressing and releasing

“Artiﬁcial” harmonic (noise effect)

Gliss. from the very start of the tremolo.

Shaking out birds

Overpressure

Gliss. whilst shaking out birds.

On a few occasions, the overpressure is distributed unevenly throughout bars, like so:

Here, the “timing” of the overpressure is free and does not have to be the identical between players.

Other graphics

The score uses graphics to better describe the piece’s soundscape. The graphics can be anything from subtle wavy lines to something absolutely all over the place. Sometimes depicting a slow bending of the tone. Sometimes a rather exaggerated vibrato. Sometimes a more extreme glissing back and forth Sometimes glissing while rattling with the pitch. Ex:

Improvisation from Bar 31

Double bass Harmonic waves

ELECTRONICS

The electronics are in the form of ﬁxed tape and consist of 18 tracks. A program that can run more than one track simultaneously is needed. The person running the electronics will take the 18 cues from the conductor and simply press play. Tracks die out on their own (sometimes several running together). At the end of the piece, the electronics are the only thing left ringing in a fermata bar otherwise empty. Here, the electronics should be given space for approximately 10 seconds before being faded out by the person in charge of the electronics. This will of course have to be decided in dialogue with the conductor whenever the piece is performed. The material can be found here and in the QR code below.

INSTRUMENTATION

2 Flutes Piccolo

2 Oboes English Horn

2 Clarinets in Bb

Bass Clarinet in Bb

2 Bassoons Contrabassoon

4 Horns in F

3 Trumpets in Bb

2 Trombones

Bass Trombone

Tuba

Timpani (ca. 26′, 32′)

Temple Bowls (Eb4, E4)

Soft marimba mallets

Hard mallets

Cymbal

Soft vibraphone mallets

Drumsticks

Vibrator (small metal type)

Timpani mallets

Soft rollers

Reciprocating saw without blade

Metal plate (anything from saucepan lid/oil drum lid to something like a cymbal that is not very valuable (used to protect the skin when using the reciprocating saw))

Soft timpani mallets

3 Percussionists

Percussion 1

Temple Bowls (Eb4, E4))

Temple bowl mallet

Soft marimba mallets

Hard mallets

Tam-tam (large)

Soft gong mallets

Drumsticks

Metal vibrator

Metal mallet (large)

Oil Drum

Reciprocating saw without blade

2x Chinese Opera Gongs (one upwards sounding, one downwards sounding)

Small medium sized gong mallets

Sleigh Bells

Shell Chimes

Aztec Death Whistle

Percussion 2

Suspended Cymbal

Soft marimba mallets

Soft vibraphone mallets

Drumsticks

Metal vibrator

Bow

Tam-tam

Soft gong mallets

Oil Drum

Reciprocating saw without blade

Sleigh Bells

Shell Bells

Wind Machine

Aztec Death Whistle

Percussion 3

Thai Gong (Eb4)

Soft gong mallets

Metal vibrator

Metal mallet

Oil Drum

Reciprocating saw without blade

Vibraphone

Bow

Plastic xylophone mallet

Sleigh Bells

Shell Chimes

Bass Drum

Soft mallets

Medium hard mallets

Suspended Cymbal

Soft marimba mallets

Temble Bowl (E5)

Hard mallets

Aztec Death Whistle

Harp

Bow hair (old) for E1 and E2

Guitar Plectrum

Massage Pistol

Pencil

Piano

Squeegee (with a plastic edge, ex: https://www.amazon.com/dp/B01M3O39UJ )

Hammer or dead blow hammer or heavy rubber hammer

Fishing Line (for E1 and E2) Drumsticks

Massage Pistol Thimbles (2x)

Pencil

Guitar Plectrum

Strings (14.12.10.8.6)

Electronics

Ableton Live Suite or any program that is capable of playing more than one track simultaneously. Full range PA needed.

Score in C

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