Ejnar Kanding: Berge des Urleids

Ejnar Kanding Berge des Urleids

(1998–99/2011)

for violin & live electronics (Max) Dur. c. 13′

SCORE

T/ (+45) 3313 5445 · E/ sales@edition-s.dk · W/ www.edition-s.dk

With support from Koda’s Cultural Funds & Koda’s Collective Blank Tape Funds Projektet er støttet af Kodas kulturelle midler og Kodas kollektive båndmidler

Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond

Ejnar Kanding Berge des Urleids

(1998–99/2011)

for violin & live electronics (Max) Dur. c. 13′

NOTES In 1998 I was awarded the three year working grant from the Danish Arts Foundation.

This solo violin piece was one of compositions I wrote during these three years.

In 2011 I finally finished the Max patch, which runs the live electronics.

Berge des Urleids is inspired by two fragments towards the end of Rainer Maria Rilke’s Die zehnte Elegie (The Tenth Elegy).

– “Einsam steigt er dahin, in die Berge des Urleids.

Und nicht einmal sein Schritt klingt aus dem tonlosen Los.” “Und wir, die an steigendes Glück denken, empfänden die Rührung, die uns beinah bestürzt, wenn ein Glückliches fällt.”

– “Alone, he climbs to the mountains of primeval pain.

Not even his footsteps make s sound from such soundless fate.”

“And we, who think of happiness as rising, will always feel an emotion that almost dismays us, when someone happy falls.” (translation: Annette David) – In 2016 I saw a photo series of Svalbard by Kasper Nybo. It had a symbiotic atmosphere to the music in Berge des Urleids. In collaboration with Kasper Nybo I developed a photo slideshow movie (video) that is a perfect accompaniment for a live performance of the piece.

Berge des Urleids is released on CD. c & p 2011 Kanding Edition KECD4.

The CD was released with support from Danish Composers’ Society / KODA’s Fund for Social and Cultural Purposes & KODA’s Collective Blank Tape Funds.

LIVE ELECTRONICS The live electronics are indicated in the score as a number of cues to be triggered by using the spacebar on your computer or a MIDI pedal. The Max software runs the live electronics.

If the performer has a sound director to control the balance between instruments and live electronics the “spacebar” model can be used. The performer can even run the piece from stage using a MIDI pedal. It is recommended, however, that a person located roughly in the middle of the hall controls the overall sound balance.

The appendix provides descriptions of the cues and gives an indication of what is happening in the live electronics.

An optional photo slideshow movie (video) with the Svalbard photo series by Kasper Nybo is available and recommended for live performances. It is an integrated part of the Max patch used for performances, which is available through the download link on the next page (under Software).

SETUP The piece is developed for a quadrophonic loudspeaker setup (L=1 R=2 Lr=3 Rr=4), but it can also be performed in stereo. Front of house must have subwoofers, rear speakers should be the of the same kind as the front speakers. Make sure the volume is balanced between the four speakers.

MIXING The piece can be performed either using a mixing console that is connected to an audio interface or just using an audio interface.

If a mixing console is used, connect both the microphone and the four outputs from the audio interface (output 1-4) to the mixer inputs. The mixer outputs are again connected to the loudspeakers. The AUX send 1 from the mixer are connected to the audio interface (input 1).

The AUX send must be in PRE mode.

• AUX1 for the violin – continued to audio interface input 1 • audio interface output 1 – through the mixer continued to L speaker • audio interface output 2 – through the mixer continued to R speaker • audio interface output 3 – through the mixer continued to Lr speaker • audio interface output 4 – through the mixer continued to Rr speaker If only an audio interface is used, connect the microphone to input 1 of the audio interface.

Connect audio interface output 1-4 directly to the loudspeakers.

In both cases if you plan to perform in stereo, just two outputs are connected to the speakers.

Close-miking of the instrument is recommended. The instrument must be amplified so that it appears with a clear, present sound. Use some EQ to compensate for the close-miking, and add reverb and compressor if necessary to create a natural sound.

REHEARSING INDIVIDUALLY To become familiar with the sound of the live electronics it is recommended to rehearse as follows (after downloading the Max software, see the next page): Let the internal microphone of the computer pick up the sound of the instrument, and use the spacebar to trigger cues in the score. Make sure that the input is not distorted. Go to System preferences → Sound → adjust the input level. Connect headphones to the audio output of the computer. Set a suitable volume. Headphones are necessary to avoid feedback.

CONTACT Ejnar Kanding · Anker Heegaardsgade 17 · DK-3300 Frederiksværk · Denmark ejnar@kanding.com · t: +45 20761179 · skype: ejnarkanding · http://kanding.com

TECHNICAL REQUIREMENTS HARDWARE: Computer: MacBook Pro, OS 10.10 or later, 8 GB RAM Audio interface: e.g. MOTU 8M or RME Fireface UFX+ MIDI-pedal: (optional) connected to the computer via a MIDI-keyboard or MIDI interface that connects to a (sustain) pedal – e.g. Audiofront MIDI Expression or Yamaha FC5 Quadrophonic loudspeaker setup: PA system, 4 identical loudspeakers (L-R-Lr-Rr) & 2 subwoofers (L-ACOUSTICS or d&b audiotechnik recommended) Digital mixing console (if used): At least 1 mic input, 4 line inputs, 1 aux send (PRE), 4 outputs for loudspeakers (e.g. YAMAHA 01v96) Microphone (suggestions): Violin DPA 4099, Neumann KM184 or U89, AKG 414, DPA 4011 SOFTWARE: The patch used for performances has been developed in MaxMSP. A download of Max (which is required to run the supplied patch) is available from Cycling ‘74. The trial version of Max is fully functional for 30 days. After 30 days, it is still possible to run and edit Max patches, but changes cannot be saved without a purchased authorization. Not being able to save changes will however not affect running the supplied patch(es) in any way.

The patch, which includes the material for the optional video, can be downloaded from the Edition·S website: http://www.edition-s.dk/assets/berge-des-urleids All files must remain in the same folder on your computer. Below is a description of the basic features for running the software: • Open the application with the title of the piece.

• In the left corner is the “start Max” – to start press the gray button that says “dsp start”.

• Below is “IO mapping” where the correct inputs and outputs can be selected by pressing the “dsp status”.

• If a mixing console is used: Channel (group) 1 set to Input 1 • If just an audio interface is used: Channel 1 set to Input 1 • For rehearsing individually with a Mac’s internal microphones: • Violin: Channel 1 set to Input 1 • Output 1=L speaker, output 2=R speaker, output 3=L rear speaker, output 4=R rear speaker.

(For stereo set channel 3 and 4 to Output 1 and 2.)

• Below is the “stop Max” – press “dsp stop”. It stops all audio.

• Below is the “INIT Max” – press the circle inside the square. INIT is used before the start of a concert to restart from cue 0. Then press forward to cue 1 and cue 2 to start the piece.

• Below is the “CUE” – it shows the cue that is active.

• Below is the “go to CUE”. Press the small triangle on the left side of the square. Enter a number to obtain the desired cue number. Press enter. The next press of the spacebar / MIDI pedal activates the cue.

• In order to navigate to the next or the previous cue, use increment (inc) or decrement (dec).

Since the real-time processing that is going on in the patch is rather complicated, it is recommended to close the patch both before a concert performance and sometimes while rehearsing.

EJNAR KANDING: BERGE DES URLEIDS – APPENDIX RTP MTD rvb rec harm samp FBD PVE 1,4,3

real-time processing multi tap delay reverb recording harmonizer sampler Feedback delay pitch variable effect, left delay, right delay, rate, depth, left feedback, right feedback means bar 1, 4th beat, 3rd sixteennote

PS: relation between chosen bpm:

CUE ACTION

10:11:13:17

L

R

Ls

40:44:52:68

Rs

FEEDBACK RATE IN Hz DEPTH ROUTING NOTES

1

ready to start

2

FBD

769,2

865,4

33,34%

2/3, 3/4 in bpm 52

3

FBD

909,1

1022,7

66,67%

2/3, 3/4 in bpm 44

3

MTD

909,1

1363,6

4

FBD

769,2

865,4

33,34%

2/3, 3/4 in bpm 52

5

FBD

909,1

1022,7

66,67%

2/3, 3/4 in bpm 44

5

MTD

909,1

1363,6

1818,2

2727,2

2/3, 1/1, 4/3, 2/1 in bpm 44

6

MTD

769,2

865,4

923,1

961,5

2/3, 3/4, 4/5, 5/6 in bpm 52

6

bufferplayer

violin hexachord harmonics

7

FBD

909,1

1022,7

7

MTD

909,1

1363,6

7

bufferplayer

harmonics from cue 6 glissando transposing a minor second down through 23 sec

8

MTD

769,2

8

bufferplayer

fadeout of hexachord in 10 sec

9

FBD

769,2

865,4

66,67%

2/3, 3/4 in bpm 52

10

FBD

909,1

1022,7

66,67%

2/3, 3/4 in bpm 44

10

MTD

909,1

1363,6

1818,2

2727,2

11

MTD

1000,0

1125,0

1500,0

1875,0

1818,2

2/3, 1/1, 4/3, 2/1 in bpm 44

2727,2

F#3 G3 C#4 Eb4 F4 D5

1153,8

2/3, 3/4 in bpm 44

66,67%

1818,2

2/3, 1/1, 4/3, 2/1 in bpm 44

2727,2

(NB: only front speakers)

2/3, 1/1 in bpm 52

2/3, 1/1, 4/3, 2/1 in bpm 44 to PVE

2/3, 3/4, 1/1, 5/4 in bpm 40

CUE ACTION 11

L

R

Ls

Rs

PVE

L: 37ms/73% R: 97ms/67% Ls: 51ms/61% Rs: 73ms/71%

11

bufferplayer

violin hexachord harmonics

11

bufferplayer

glissando transposing (starts immediately) a tritone down through 91 sec

12

bufferplayer

fadeout of hexachord in 10 sec

12

MTD

1000,0

12

PVE

L: 37ms/73% R: 97ms/67% Ls: 51ms/61% Rs: 73ms/71%

12

harm

+1 semitone

12

samp

rec on 4 bars: 67-70, about 24 sec

13

MTD

1000,0

FEEDBACK RATE IN Hz DEPTH ROUTING NOTES depth: rate: 0.2 Hz 0.36

direct out and from MTD

D3 F#3 C4 F4 C#5 E5

1125,0

1500,0

+6 semitones +1 semitone

1125,0

1500,0

1875,0

to PVE

rate: 0.2 Hz

depth: 0.36

direct out and from MTD

+6 semitones

direct out

1875,0

to PVE

13

PVE

L: 37ms/73% R: 97ms/67% Ls: 51ms/61% Rs: 73ms/71%

13

harm

+1 semitone

13

samp

rec off

14

MTD

1000,0

depth: rate: 0.2 Hz 0.36

direct out and from MTD

+6 semitones +1 semitone

+6 semitones

direct out

1125,0

1875,0

to PVE

1500,0

14

PVE

L: 37ms/73% R: 97ms/67% Ls: 51ms/61% Rs: 73ms/71%

14

harm

+1 semitone

14

samp; glissando transposing down

-11 semitones -10 semitones -8 semitones -7 semitones in 90 sec in 110 sec in 130 sec in 150 sec

15

long rvb

on

15

samp

fadeout of sampler in 10 sec

16

long rvb

off

+6 semitones +1 semitone

on

off

+6 semitones

on

on

off

off

depth: rate: 0.2 Hz 0.36

direct out and from MTD direct out

2/3, 3/4, 1/1, 5/4 in bpm 40

1

Berge des Urleids

2

b œ≥≤

q = 52

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10

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q = 52

3

bœ nœ bœ 24 œ œ b œ œ b œ œ ‰ Œ œ b œ b œ # œ œ œ œ œ

U bw œœ ‰ Œ Ó Í

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15

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3

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œ ‰ ‰ bœ œ ‰ 4 ≈ Œ œj # œ ≈ Œ 44 # œwœ œ‰ Œ Ó p J Í 3 q = 44 3

b ≥≤ œ U ˙ œ & 44 œœ ‰ Œ Ó J Í 6

f

#œ

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Ejnar Kanding 1998-99

˙ U œ

b œœœ ‰ Œ Ó J Í ˙

œ

j̊ ‰ œ ≈ ‰ œ #œ ≈ ‰ bœ bœ . œ œ≈‰ S F p

Ÿ~~~~~~~~~~~~~~~~~~~ œ œ ≈‰ ≈ 42

U ‰ #œ . bœ nœ ‰ œ œ

Ÿ~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ 3 3 3 U & œ # œ # œœ .. œœ ≈ # œœ ‰ # œ ≈ ‰ j œ 43 ≈ ‰ 44 # œ œ b œ ‰ ‰ n œ œ ‰ # œ œ œ œ œ ≈ ‰ œ œ #œ f p S S p f p 30

9

j & ‰ # œœ .

35

F

3 U b œ œ œ œ œ œ œ œ œ œ œ . # œ b œ n b œœ b œj̊ œ 2 5 œ œ œ ≈

Œ œ ‰ ≈ ≈ œ ≈ ‰ bœ ≈ ‰ Œ ≈ ≈ nœ ‰ œ 4 œ œ‰. 4 œ œ œ ≈ ‰nœ œ ≈‰ œ bœ œ #œ œ œ S S S S S S π 5 p F p ƒ 5

6

5

6 7 ≈ U̇ U œ œ œ œ œ œ œ œ œ œ 2 4 5 # œ œ œ ≈ b œ œ œœ œœ &4 4 œ ≈‰ œ . ≈ ‰ 4 œ b œ œ œ œ œ œ ≈ b œ ≈ b œ ≈ œ œ≈ #œ œ œ π S S S S SS ƒ5 39

© 2018 by Edition•S, Copenhagen Engraving by Ejnar Kanding

5

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10

44

&œ œ π

œ

b œ ≈ ‰ 44 œ

3 U ≈ ‰ ≈ œ # œJ ‰ . # œ œ p

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Œ #œ Œ bœ & Ow 60

Ó 64 Ow

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44 Œ œ Œ b œ Ow s.pont

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Version 3.0: 16.7.2014

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Kanding: Berge des Urleids - violin&max - 10 -

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