Bára Gísladóttir: the worlds within our petty voids

Bára Gísladóttir the worlds within our petty voids for flute, oboe, violin, viola & cello Dur. 7′

For ensemble recherche

SCORE

(2019)

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

Composed with support from The Icelandic National Broadcasting Service and STEF (Composers Rights Society of Iceland).

Komponeret med støtte fra Ríkisútvarpið og STEF.

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

Bára Gísladóttir the worlds within our petty voids

(2019)

for flute, oboe, violin, viola & cello Dur. 7′

PERFORMANCE NOTES Flute Whistle tones (w. t.)

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. Ex: o wo wo ow wo b w o w o wo w ~

Whistle tones with closed embouchure Close the embouchure and with very light pressure obtain a harmonic range. To ascend within the range, increase the pressure. closed flute “”

œ

w Harmonic timbral trills bw b~

bœ6

w b~

square notesnotes are sungare (in the octave(in mostthe natural for the performer) square sung octave most natural for the performer)

Oboe

_

Without reed, carefully exhale (lips close to the aperture of the oboe with very strong lip pressure) – producing soft harmonic-like high sounds.

!

Without reed, carefully inhale (lips cover the aperture of the oboe) – producing extremely soft harmonic-like high sounds.

bœ6

square notes notes are sung (in octave most natural for the performer) square arethesung (in the octave most natural

for the performer)

Multiphonics strong air-pressure

a little more reed than normal

very strong air-pressure

µw ‹ bµw w bw & w

#µww ¢ & µw

much more reed (push inwards)

Strings m.s.p. – molto sul ponticello s.t. - sul tasto gradually move from one technique to the other

~

harmonic

w~

artificial harmonic

˙O

˙

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.

bO ™

#˙ ™

O™

˙O

˙

!

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

Ȯ ™™ 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.

the highest possible note

Overpressure The overpressure is indicated by black graphics above staves:

w The overpressure occurs only once in the piece and should be as full as an overpressure can get, with as little pitch-audibility as possible.

Other things to keep in mind: Some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come.

The techniques indicated at each time should be maintained until otherwise stated (ex. which strings to play, which bow position etc.)

for ensemble recherche

the worlds within our petty voids Bára Gísladóttir 2019

q = 40 Flute

° 4 &4 w

w

w

5 4 ˙™

˙

6 4 w™

3 4

w

w

5 4 ˙™

˙

6 4 w™

3 4

O

6 4O

O

6 œ‚œ‚œ‚O 4

p

Oboe

4 ¢& 4 w p III s.t. senza vib.

Violin

° 4 &4 ˙

‚

œ

O™

œ

O

œ

3 5 ‚ œ ‚ 4 ˙™

œ‚ œ‚ œ

‚

œ

O™

œ

3 4

O™

mp II s.t. senza vib.

Viola

B 44 œ

‚

œ ‚ œ

w

5 O™ 4

3

œ

O

3 4

6

mp I s.t. senza vib.

˙™

~

‚

œ‚œ ‚œ˙

œ

?4 Violoncello ¢ 4

‚

œ

O

œ

5 4

O

O™

6 4

3 4

5

mp

= add voice to make the multiphonic as strong as possible closed flute “”

œ

w™ 6 w™ 4 w™

6

growl Fl.

° 3 &4

ææ ˙™

7 æ 4 wæ

ææ ˙™

4 Ó 4

Œ œ

5 4 ˙™

w

4 4

˙

pp f

‹ 6 &4

Ó™

µ ˙˙ ™™™ µµ˙µ ˙˙ ™™™ µ˙

w w w 4 ww 4 w

7 æ 4 wæ

3 ¢& 4 ˙™

4 4

∑

remove reed and staple

flutter Ob.

5 4

∑

ææ ˙™

6 æ 4 ˙™æ

B˙˙ ™™

4 w 4 w

f

5 4 _™

∑

_

4 4

ff (ppp)

m.s.p.

3 ° 3 7 Vln. & 4 œ ‚ œ ‚ œ œ ‚ 4 w

~

˙™

O™

6 4 w™

≤ Œ ‚

4 Ó 4

~™

f m.s.p.

Vla.

> B 43 ‚™ œO

7œ 4

˙™

O™

˙™

O™

6 w™ 4

Vc.

O™

?3 ¢ 4

w

~

˙™

O™

7 4

w™

5 4 O™

O

4 4

~

5 O™ 4

O

4 4

O™

O

ppp

~™

≤ Œ ‚

4 Ó 4

f m.s.p.

˙™

~

ppp

‚≤

~™

6 4

4 Ó 4

~

5 4

Œ

f

4 4

ppp

=

wo 12

w.t.

Fl.

° 4 &4 ~

~

6 4 ~™

4 4~

∑

(ppp)

Ob.

4 ¢& 4 _

_

6 4 _™

4 4_

∑

wo ~

~ o growl ææ w

˙o ™

5 4 O™

˙o ™ O™

˙o

˙o O

O

4 4 o

ææ ˙

4 4

mp

5 4

ææ ˙™

pp

Vln.

Vla.

° 4 &4 O

w~

6 4 w™

B 44 ~

~

™ 6~ 4

?4 ~ ¢ 4

~

˙O

p

Vc.

6 ~™ 4

w~ ™™

4 4 w~

~

4~ 4

~

ppp

4w 4

w o ~

w~

5 4 ˙™

˙O ™™

˙

™ 5˙ 4

O™

˙

5 ˙™ 4

O™

˙

mp

~

4 4 o O 4 4 ˙O

pp

~

~

~ pp

O

4 4

wo

2

wo ~

19

Fl.

° 4 &4

∑

wo ™

wo ™ ~™

6 4 ~™

~

w.t.

4 4

∑

∑

5 4 O™

6 4 ~™

4 4

O

(ppp) pp

Ob.

Vln.

4 ¢& 4

ææ w

ææ ˙

° 4 &4

6 4

Ó o

6 4 ~™

~

∑

4 4_

∑

_

4 4

w~ ™™

∑

∑

5 4 _™

_

6 4 _™

4 4

5 4 O™

O

6 4 ~™

4 4

6 ™ 4~

4 4

pp

Vla.

~ B 44

~

ppp

™ 6~ 4

~

4~ 4

~

™ 5O 4

O

O™

O

ppp

~™ Vc.

~

?4 w ¢ 4

~

~

~™

~

6 4

4 4

5 4

6 4

4 4

ppp

=

” flute “closed œ 26

w.t.

Fl.

° 4 &4 ~

5 4 O™

w

4 4

O

∑

w

7 4

w

7 4

~

7 4

w

7 4

∑ w

pp

p replace reed and staple

Ob.

4 ¢& 4 _

5 4 _™

_

4 4

_

∑

∑ w p s.t.

° 4 Vln. & 4 ~

5 ™ 4 O˙ ™

~

4 O˙ ™™ 4

O˙

‚œ œ ~w

~w

w

mp s.t.

Vla.

~

B 44 w

~

w

5 O™ 4

4~ 4

O

~

w mp s.t.

w~ Vc.

w~

O™

?4 ¢ 4

O

w

5 4

b ~w

b~ w

w

4 4

7 4 mp

=

33

very airy growl very airy Fl.

° 7 &4 w

4 Ó 4

˙™

Œ

ææ œ

ææ w

ææ w

pp

ææ ˙™

5 bœ6 4 ˙) ™™

˙

4 4

6˙ 6

4 4

p

µw w µw ‹ µµ w w 4 & 4 µw

Ob.

7 ¢& 4 w

4 Bw 4 w

˙™

Œ

Œ

∑ w)

ff

6˙ 6

6˙ 6 6

5 4 ˙™

p pp

p

m.s.p.

° 7w Vln. & 4

˙™

4 Ó 4

‚

O

Œ

O æ æ

pp

w

~

5 ™ 4O

~

w

p

O™

O O

4 4

pp

m.s.p.

Vla.

B 47 ‚ œ ‚ œ O

œ

4 Ó 4

O

Œ

‚ æ æ

~ æ æ

~ æ æ

pp

˙™

O™ #‚

5 4 #O ™

O

O˙™™

O˙

4 4

p

m.s.p.

œ Vc.

?7 ¢ 4

O™

˙™

O™

w

4 4

~w

~

O

‚œ œ

5 4

∑ ff

‚œ œ ˙

mp

4 4 pp

3 39

growl (not airy) Fl.

° 4 &4

w.t.

ææ w

ææ w

pp remove reed and staple

4 Ob. ¢& 4

ææ w

ææ w

∑

5 4 Ó™

∑

6 4 O

o (ppp) mp growl

ææ bw

∑

ææ w

ææ bw

pp

° 4 Vln. & 4 w

ææ nœ Œ o

Ó _

mp

~

_

6 4

O™

O

(ppp)

~

~

5 4

#~

~

~

5 ™ 4O

O

~

~ O™

O

~

w

5 4 _™

~

6 4

ppp

4 #~ Vla. B 4 ææ pp ~w ?4 Vc. ¢ 4

#~ ææ ~

#~ ææ ~ æ æ

~

5 4

6 4

ppp

=

closed flute “”

œ

46

Fl.

° 6 & 4 ~™

4 4~

5 4 ˙™

˙

4 4w

∑ w

w

mf pp (in)

6 Ob. ¢& 4 _ ™

4 4_

5 4 _™

_

replace reed and staple

4 4!

∑

∑ w mf

I s.t.

~™

O≤

~

° 6 Vln. & 4

4 4

5 4

4 4

∑

∑

O™

‚

w

Ó o O≤

pp

o O≤

pp

mf

I

~ B 46 ~ ™

Vla.

4 4

5 4

4 4

∑

∑

s.t.

O™

‚

w

Ó mf

I

~™ Vc.

~

?6 ¢ 4

4 4

5 4

4 4

∑

∑

s.t.

O™

‚

w

Ó o pp

mf

= add voice to make the multiphonic trill as strong as possible closed flute “”

œ

˙™ ˙™ ˙ ˙ 5 µ#˙˙ ™™ ˙ ™ ˙˙ ˙ 4 4 ˙ ™ n˙ ™ ˙ ˙ 4

53

growl Fl.

° & w

7 4w

ææ ˙™

w w w

∑

6 4

∑

5 4 ˙™

˙

3 4 ˙™

_

3 4 !™

pp ff

µb ˙˙ ™™ ™ bµ˙˙˙ ™™

˙˙ ˙˙˙

w Bµ w µ n w 4 w 4 w

5 #µ˙˙ ™™ 4 µ˙ ™

˙˙ ˙

4 nw 4 nw w

˙

w

‹ 5 &4

remove reed and staple Ob.

7 4w

¢& w

˙™

∑

(in)

6 4 Ó _

ff m.s.p. (senza vib.)

5 4 _™ (O) !™

!

!™

~™

O

molto vib.

° w¯¯¯¯¯¯¯¯¯¯ 7 w ¯¯¯¯¯¯¯¯¯¯ ˙™¯¯¯¯¯¯¯ 5 ˙™ Vln. & 4 4

O

4 4

6 4

ff

pp

5 4

3 4

ppp

m.s.p. (senza vib.)

w ¯¯¯¯¯¯¯¯¯¯ ˙ ™¯¯¯¯¯¯¯

˙™

molto vib.

w B ææ

7 4

Vla.

II

˙

5 4

w

~

6b~ 4

4 4 ff

pp

™

™

O

˙™

O™ ˙ O

5 bO 4

™ 3O 4

ppp

m.s.p. (senza vib.)

w ?

Vc.

~

w

7 4

˙™

˙ ™ ˙O ™™ ˙ ˙O

5 4

w ~™

œ O™

4 4

6 4

5 4

¢ ff

pp

ppp

6 4

O™

3 4