Liebesbriefe II (2011) for solo trombone and audio tracks Dur. 16’
Commissioned by Niels-Ole Bo Johansen for his 50th birthday concert
Composed with support from the Danish Arts Foundation
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Commissioned by Niels-Ole Bo Johansen for his 50th birthday concert
Premiered by Niels-Ole Bo Johansen at the Concert Hall Aarhus 13 March 2011 duration 16 min.
Equipment needed for this piece:
Sound reinforcement system computer with MaxMSP Runtime either technician or a pedal system to cue the audio tracks There are two click track files for the 2nd and 3rd audio track, which should be played over headphones
This piece is written for solo trombone and audio tracks. The solo trombone should be amplified slightly to mix with the sound of the audio. The 7 audio tracks are stored in a maxpad file and should be performed using the MaxMSP Runtime software. It enables the soloist to cue the audio tracks with a foot pedal, which is necessary for this piece if it is played without a technician present.
This piece is performed with harmon mute throughout.
The players score attempts to notate a representation of the audio tracks, making it possible for the player to navigate through the piece. It is not an attempt to notate precisely what is happening in the tracks, except for a few places. Very often, the music notated in this score are only cue notes, leaving out much of the actual music. Often, only time indications or only the music of the solo trombone are to be found in this score, which does not mean that the audio file is silent! A recording of the piece's first performance by Niels Ole Bo Johansen is enclosed with this material.
A general note to the performance: the foundation of this piece are intimate letters, which are not in any ways to be printed, neither in programme notes nor in any other form. Except from the vocal part in the audio file, every single word of this piece should be played, not sung or spoken. The soloist must use the harmon mute and the right hand (wa-wa) to achieve as much closeness to the spoken word as possible. Closeness to the spoken words is always more important than playing the excact written notes. A recording of the words spoken is enclosed with the material.
Music written in a staff frame allows the player to place the pitches freely somewhere close to the pitches they would have been, had they been written in an ordinary staff. This means that a note arround f.ex. E can be higher or lower +/- approx. a minor third. The main goal of this notation is: infinite amount of pitch possibilities, like in bird's song, less heavy reading and a controlled melodic direction
Repeat the section between the repeat bracket untill the next cue
Example of a representation of music of the audio track: a similar figuration or texture continues after the initial figure or section and goes on after the arrow ends
Example of a representation of music of the audio track: a similar figuration or texture continues after the initial figure or section and stops at the vertical line
Notes without ledger lines: place them grafically or in relation to the other notated parts or the notated timeline. Dotted notes should be played staccato, otherwise the line after the note (which could at the same time indicate a glissando) grafically indicates the length of the note
Notes above c'' in treble clef can be transposed down. Play the textures notated in extreme registers as extremely high as you can
Col legno battuto: for the strings: strike the string with the stick of the bow (crucial part of the soundscape of the audio file)
Cue the first audio track (Lb 1) with the foot pedal. A.T. = Audio Tracks – notes in the middle of the staff represent cueing of Max/MSP, notes above the staff represent click track
The "wo die Un-" should not be slurred, but articulated. A glissando line should not be confused with legato
Players score
Entire piece played with harmon mute (+ reight hand for wawaeffect during the texted sections)
Thomas Agerfeldt Olesen 2011
End of section C
if you haven't finished section D, stop playing emmediately when hearing the cue below – if you did finish, await the cue
Platz,
at some point, the texture of the
...and at some point, the audio
arrives at this chord:
(audio
(Nelly Sachs)
œ Ich glaube an die Durchschmerzung an die Durchseelung der Staubes als eine Tätigkeit wozu wir angetreten Ich glaube an ein unsichtbares Universum darin wir (7th audio track,"Credo") a played imitation of the same text as in the vocal part a played imitation of the same text as in the vocal
a played imitation of the same text as in the vocal part
transformation:
transformation:
From the moment you enter, there is 1:03 left of the audio track. Preferably, you should play your section in about 0:500: 55 leavingthe audio track 8 -13 sec. to finish.