Bára Gísladóttir: COR

Bára Gísladóttir COR (2021) for orchestra Dur. 15 35

Commissioned by and written for the WDR Symphony Orchestra, 2021

SCORE

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Composed with support from the Danish Arts Foundation With support from Koda’s Cultural Funds.

Projektet er støttet af Kodas kulturelle midler

Written with support from the Artists’ Salary Fund of the Icelandic State.

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

Bára Gísladóttir COR (2021) for orchestra Dur. 15 35

It seems as if the word core is of uncertain origin, etymologically speaking. It either derives from cuer/ cor (Old French/Latin), meaning “heart”, or cors/corpus, meaning “body”. Cor/Kor is also the word stem or word for “choir” in several languages.

COR is built on a collage of these aspects, where the intention is to shed light (or darkness if you will) on their existential unity.

INSTRUMENTATION Flute 2 Bass Flutes 2 Oboes Cor Anglais Clarinet in Bb 2 Bass Clarinets in Bb 2 Bassoons Contrabassoon 4 Horns in F 3 Trumpets in Bb 2 Trombones Bass Trombone Tuba 4 Percussionists Percussion 1 1. Tam-tam (the largest possible) a. Cardboard roll (hard and stiff) b. Superball mallet c. Thimbles (5) d. Big Gong mallet 2. Bass drum (can be shared with Perc. 2) a. Hard medium-sized mallets 3. Temple bowl (A4) a. Temple bowl mallet 4. Thunder sheet a. Drumsticks b. Superball mallet 5. Crotales (B6, E7, B7) a. Bow b Crotales mallet 6. Wind chimes 7. Small handbell 8. Thunder drum 9. Plattenglocken (E3) a. Leather glocken mallets

Percussion 2 1. Tam-tam (the largest possible) a. Cardboard roll (hard and stiff) b. Thimbles (10) c. Superball mallet d. Big gong mallet 2. Temple bowls (F 3, E4, A4)) a. Temple bowl mallet 3. Thunder sheet a. Drumsticks b. Superball mallet 4. Crotales (B6, C 6, B7) a. Bow b Crotales mallet 5. Wind chimes 6. Small handbell 7. Bass drum (can be shared with Perc.1) 8. Plattenglocken (E3) a. Leather glocken mallet

Percussion 3 1. Tam-tam (the largest possible) a. Cardboard roll (hard and stiff) b. Superball mallet c. Thimbles (5) d. Big gong mallet 2. Thunder sheet a. Thimbles (10) b. Drumsticks c. Superball mallet d. Bow (Double bass) 3. Vibraphone (pitches used are E4 and B5) a. Bow (Double bass) 4. Sleigh bells

Percussion 4 1. Tam-tam (the largest possible) a. Cardboard roll (hard and stiff) b. Thimbles (5) c. Big gong mallet 2. Thunder sheet a. Thimbles (10) b. Drumsticks c. Bow (double bass) d. Superball mallet 3. Temple bowl (E3) a. Temple bowl mallet 4. Sleigh bells 5. Plattenglocken (E3) a. Leather glocken mallets

7 Double Basses (amplified) The score is transposed.

AMPLIFICATION The basses should be amplified with microphones that work well for the instrument. I’d prefer using AKG C414 EB microphones, but I realise that is most likely impossible for these settings. Then I would recommend using DPA 4011 Cardioid microphones (or similar). It should be kept in mind that the amplification level should merge as well as possible into the acoustic sound, but still obtain a sort of “solo quality” that characterises the bass section of the piece. The amplification should be sent to a PA behind the orchestra. Monitors could be necessary depending on the acoustics of the hall.

SETUP Preferably, the double basses should be situated in the centre up-front on the stage, with the rest of the orchestra placed in their traditional order, but close to the basses (where the strings would normally sit).

EXPLANATIONS WOODWINDS Flute and Bass Flutes Voice Square notes should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably somewhere close to the pitch given.

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

U

! _

Highest possible voice pitch

ææ w)

This type of notation can refer to growl on the one hand and voiced flutter on the other.

Which technique it is will be indicated above. The growling should be performed in the form of a voiced throat flutter. If you cannot do a throat flutter, you can fake it with a flutter that is a bit rougher and unsteadier than the general one.

Lowest possible voice pitch

The voiced passages are often fluttering in pitch. This is indicated with wavy glissandi, e.g.:

w)

Uw

Uw

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 freely between the possible overtones. E.g.: o w

wo

wo

wo

wo

b wo

wo

wo

~

Harmonic timbral trills wo

wo ~

~

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: There are also places in the parts simply marked with bisbigliando (bisb.) asking for a colour trill not as specific as the harmonic timbral trills.

Multiphonics (mph.)

The multiphonics in the bass flutes do not require a specific fingering or outcome.

Simply a fundamental is given, followed by a description of the desired outcome.

Oboes and Cor Anglais Voice Square notes should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably somewhere close to the pitch given.

! ææ w)

Highest possible voice pitch Voiced flutter

The voiced passages are often fluttering in pitch. This is indicated with wavy glissandi, e.g.: ! w)

w)

w

Multiphonics (mph.)

Oboe 1

‹ & &

nw w w µw

— strong air-pressure

w w

bw w ‹ nw w µ & w

‹ &

&

&

w w

bµ w w Bw w ##w w

‹ &

bb ww w BB w b w b ww

&

— a little more reed than normal (push inwards)

Oboe 2 — normal air-pressure

— strong air-pressure

‹ &

Bw #w w w

w Bw

&b

— a little more reed than normal (push inwards)

Cor Anglais The multiphonics written for the Cor Anglais are not as specific as in the oboes.

Simply, a fundamental is stated along with a description of the desired outcome.

Clarinet in Bb and Bass Clarinets in Bb Voice Square notes should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably somewhere close to the pitch given.

U

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

!

Highest possible voice pitch

ææ w)

This type of notation can refer to growl on the one hand and voiced flutter on the other.

Which technique it is will be indicated above. The growling should be performed in the form of a voiced throat flutter. If you cannot do a throat flutter, you can fake it with a flutter that is a bit rougher and unsteadier than the general one.

The voiced passages are often fluttering in pitch. This is indicated with wavy glissandi, e.g.:

w)

Uw

Uw

The wavy glissandi can also occur during ordinary notes, and should then be implemented solely with the embouchure, e.g.:

w

Multiphonics (mph.)

The multiphonics do not require a specific fingering or outcome. A fundamental is simply given, followed by a description of the desired outcome.

nw nw

Bassoons and Contrabassoon Voice Square notes should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably somewhere close to the pitch given.

U

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

!

Highest possible voice pitch

Multiphonics (mph.)

Bassoon 1

#w ww & w w Bw

Bassoon 2

&

w w w w w

At times, there is an occurrence of less specific multiphonics and multiphonic trills in the piece.

Here, a fundamental is given with a description of the desired outcome.

Helicopter tonguing N.B.: The technique is always performed with air-flow, to make it more audible. An example can be found in the following video at 3 14 : https://youtu.be/DCmn93c5MBE

ææ w BRASS Voice Square notes should be voiced, preferably in the octave written, but otherwise in the octave that feels best for the performer. The voiced parts of the piece are absolutely not required to be in perfect tune, but preferably somewhere close to the pitch given.

U

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

! _

Highest possible voice pitch

ææ w)

This type of notation can refer to growl on the one hand and voiced flutter on the other.

Which technique it is will be indicated above. The growling should be performed in the form of a voiced throat flutter. If you cannot do a throat flutter, you can fake it with a flutter that is a bit rougher and unsteadier than the general one.

Lowest possible voice pitch

The voiced passages are often fluttering in pitch. This is indicated with wavy glissandi, e.g.:

w)

Uw

Uw

The wavy glissandi can also occur during ordinary notes, and should then be implemented solely with the embouchure, e.g.:

w Other things to keep in mind It is a general rule of thumb that any technique given in the piece should be continued until otherwise stated/the occurrence of a new technique. At times dashed lines are added above bars where the certain technique given should be sustained. At times dashed arrows are added above bars, indicating the gradual change from technique to the other.

PERCUSSION COR contains some intense screeching on the Tam-tams with cardboard rolls. It is essential to put quite a bit of rosin on the instruments for the optimal effect. During extreme screeching/dragging/ what have you in the piece, overpressure graphics are added above staves, e.g.:

The CORe of it all The core of COR consists of a mad percussion solo, where all four percussionists create something like this: https://youtu.be/mL2r6E1E7sM The solo is divided into a massive crescendo for two minutes, followed by 42 seconds of absolute volume climax. Early on in the crescendo, you are accompanied by the double basses until you suffocate them in noise, then the conductor cues them out. The white dashed barline marks the exit of the basses. The conductor will cue you into the climax and I suggest Percussionist 1 leads the crescendo and is in contact with the conductor. Make sure there is no diminuendo whatsoever during the 42 seconds of climax. When the conductor cuts you off at the end, let the noise vibrate, creating a textural fade to welcome the entry of the rest of the instruments.

J °

42''

2'

really the most noise possible (now keep that for about 42'') let vib. when conductor cues you off

soli improvise: a slow, steady built up crescendo on the tam-tams

1 2 Perc.

3 4

ffffpossibile

Other things to keep in mind ? w #w tremolo should not be rhythmical, but as fast as possible.

Passages marked with ? ? ? ? ?

w

~

w w

w

w

µw

w

perc. and D.B. soli travel between the loops above, spending ≈ 5'' - 18'' at each one the conductor will cue you out when the percussion starts to properly suffocate the basses Db. 1 - 7

¢

? ffffpossibile

DOUBLE BASSES s.t. – sul tasto ord. - ordinario s.p. – sul ponticello m.s.p. – molto sul ponticello gradually move from one technique to the other Harmonics and harmonic trills/trem.

w~

Harmonic

~

Artificial harmonic

˙

#˙ ™

˙O 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.

O™

‚

Gliss from the very start of the tremolo.

A tremolo of four lines should be played as fast as possible. There are a few spots where tremolo increases and decreases in speed, indicated in the following way: It should be kept in mind that some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come.

Overpressure The overpressure is indicated by black graphics above staves:

b˙

O

O

The overpressure is on different levels. At its fullest, there should be as little pitch-audibility as possible. The overpressure can increase and decrease. This is for instance indicated in the following way:

It should be kept in mind that as the overpressure varies, the dynamics do not necessarily do so – varied overpressure is a lot of the time performed within a single dynamic. Some of these passages are on the weaker side, for which a slow, stuttering bow is recommended.

The CORe of it all The core of COR consists of a mad percussion solo on the Tam-tams in the form of an improvisation with indications, starting at rehearsal mark J. The double basses accompany the improvisation for a while, that is until they are suffocated in the noise from the percussion department. During the improvisation, travel between the loops given in a random order, spending 5–18 seconds at each.

Feel free to visit a loop more than once. The overpressure may vary as you please, but there should definitely be an overall tutti overpressure texture going on through the whole improvisation. Bowing is free. The conductor will cue you out. As shown in the image below, the percussion will climax in noise for 42 seconds, then let vibrate.

J °

42''

2'

really the most noise possible (now keep that for about 42'') let vib. when conductor cues you off

soli improvise: a slow, steady built up crescendo on the tam-tams

1 2 Perc.

3 4

ffffpossibile

? ? ?

w

#w

w

~

w

? ? ?

w

w

w

µw

w

perc. and D.B. soli travel between the loops above, spending ≈ 5'' - 18'' at each one the conductor will cue you out when the percussion starts to properly suffocate the basses Db. 1 - 7

¢

? ffffpossibile

Subsequently the basses enter again. The entrance should be inaudible, becoming clearer as the noise from the percussion fades out:

18'' s.p.

Db. 1

°?

I “” ~≤

pppp s.p.

I

?

Db. 2

“” ~≤

pppp m.s.p.

I

?

Db. 3

~≤

pppp s.p.

I

?

Db. 4

~≤

pppp s.p.

II

?

Db. 5

~≤

pppp m.s.p.

III

? ~≤

Db. 6

pppp m.s.p.

III

Db. 7

¢

? ≤ w

pppp

Multiphonics (mph.)

From rehearsal mark N and towards the end, the double basses all play multiphonics on the E string. There are of course several possibilities, but no specific pitches are required. I suggest you place a finger somewhere on the harmonic spectrum between the fingerboard and stool, placing the bow below your finger position as shown in the photo below: Don’t worry if you don’t hit a multiphonic immediately, just keep searching for it until it comes. The same applies if the multiphonic should break, just calmly search for its reappearance. Once you hit a multiphonic that feels quasi safe and stable, I suggest that you stick to that one to the end and don’t change your fingering too much.

If this is still somewhat unclear, I can send video samples of what I have in mind.

Other things to keep in mind The techniques indicated at each time should be maintained until otherwise stated (e.g. which strings to play, which bow position etc.)

Amplification The basses should be amplified with microphones that work well for the instrument. I’d prefer using AKG C414 EB microphones, but I realise that is most likely impossible for these settings. Then I would recommend using DPA 4011 Cardioid microphones (or similar). It should be kept in mind that the amplification level should merge as well as possible into the acoustic sound, but still obtain a sort of “solo quality” that characterises the bass section of the piece. The amplification should be sent to a PA behind orchestra. Monitors could be necessary depending on the acoustics of the hall.

CONDUCTOR The CORe of it all The core of COR consists of a mad percussion solo on the Tam-tams in the form of an improvisation with indications, starting at rehearsal mark J, where something like this will be created: https://youtu.be/mL2r6E1E7sM The improvisation consists of a two minutes long build up and 42 seconds long volume climax. The double basses accompany the build up until they are suffocated in noise from the percussion. At this moment you should cue them out, just make sure to wait long enough so that the basses’ exit will not be perceived as a “cut-off”. The percussion should have become so loud that the basses’ exit is sort of inaudible.

After two minutes of crescendo, cue the percussion into the climax. Make sure it is as loud as truly possible.

J °

42''

2'

really the most noise possible (now keep that for about 42'') let vib. when conductor cues you off

soli improvise: a slow, steady built up crescendo on the tam-tams

1 2 Perc.

3 4

ffffpossibile

? ? ? ? ? ?

w

#w

w

~

w w

w

w

µw

w

perc. and D.B. soli travel between the loops above, spending ≈ 5'' - 18'' at each one the conductor will cue you out when the percussion starts to properly suffocate the basses Db. 1 - 7

¢

? ffffpossibile

Subsequently the basses enter again. The entrance should be inaudible, becoming clearer as the noise from the percussion fades out:

18'' s.p.

Db. 1

°?

I “” ~≤

pppp s.p.

I

?

Db. 2

“” ~≤

pppp m.s.p.

I

?

Db. 3

~≤

pppp s.p.

I

?

Db. 4

~≤

pppp s.p.

II

?

Db. 5

~≤

pppp m.s.p.

III

? ~≤

Db. 6

pppp m.s.p.

III

Db. 7

¢

? ≤ w

pppp

During the whole of section J, there’s not much you should do apart from the cuing. Maybe you could make some indications regarding the crescendo, it’s up to you.