Niels Lyhne Løkkegaard
Colliding Bubbles (2022–23)
(surface tension and release) for string quartet doubling harmonica quartet
Dur. 28′30″
SCORE
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Composed with support from the Danish Arts Foundation
Supported by Koda’s Cultural Funds Støttet af Kodas kulturelle midler.
Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond
Niels Lyhne Løkkegaard
Colliding Bubbles (2022–23) (surface tension and release) for string quartet doubling harmonica quartet
Dur. 28′30″
NOTE
Colliding Bubbles (surface tension and release) is a composition for string quartet and harmonica quartet, meaning that the string quartet both play their string instruments while at the same time playing harmonicas.
The title refers to different kinds of bubbly matter which are set to collide within the composition, leading to different ruptures and the possible release of surface tension.
The collision of bubbles unfolds partly in relation to sound, where small fluctuations appear in the encounters between the harmonicas and the string instruments and partly in relation to a more performative or conceptual bubble where the instruments, representing different systems or bubbles, will collide; the very celebrated instruments of the classical string quartet and the perhaps more prosaic harmonica.
PEFORMANCE NOTES
• The harmonicas (Blues Harps) should be mounted on harmonica arms attached to microphone stands. (Hohner Blues Harps are recommended since they are made of steel which is important due to the magnet on the harmonica arm.)
• The numbers notated within boxes refer to the tone holes of the harps, e.g. 9,(10) .
• The dynamic is mezzopiano throughout the piece.
• When playing the harmonica (and stringed instrument) play softly, meaning no hard attacks and no hard cut-offs, aim for a dal niente – al niente feel when playing.
• Due to the moisture generated on the reed plate within the harmonica while playing, tones might fail to come out. Don’t panic and don’t make a hard attack. Try to play as softly as possible.
• Throughout the piece softness is prioritised above precision, meaning that it is more important to enter and end a tone softly, than to be on the precise second mark written in the part.
• The volume of the string instruments and harmonicas should be balanced throughout the piece, thereby creating a sonic texture in which it is difficult to hear which instrument produces which sound.
• The piece should be performed using timers, without a conductor.
INSTRUMENTATION
Violin 1 / Hohner Blues Harp (G)
Violin 2 / Hohner Blues Harp (G)
Viola / Hohner Blues Harp (C)
Violoncello / Hohner Blues Harp (C)