C L O U D G A Z I N G
Gibson Mahnke
Instrumentation
Violin I
Violin II
Viola Cello
Performance Notes:
1. Circular Bowing - Bow in a circle to create a combined timbral shimmer of Sul Ponticello, Sul Tasto, and lateral bowing In this piece, the musicians are asked to circular bow both with and without de ned rhythm.
a Unde ned Rhythm - Circular bow without a de ned rhythm Match the intensity of motion to the dynamic intensity. At low dynamics, the bowing should be slow and focused on the timbral nuances and shimmers created by the technique. At louder dynamics, the circular bowing should be quicker and more frantic, with more white noise being produced.
b. With De ned Rhythm - Circular bow within the rhythm provided. Each subdivision should correlate with movement in either the upwards or downwards direction.
For more information on circular bowing, see: http://www.shakennotstuttered.com/leilehua-lanzilotti
2. Bow Placement Changes - Some of the most important aspects of this piece are the timbral di erences created when moving bow placement while playing. Special attention should be given to this aspect of the music A key for bow placements can be seen below:
m.s.t. - Molto Sul Tasto
s.t. - Sul Tasto
ord - Ordinary
s.p. - Sul Ponticello
m.s.p. - Molto Sul Ponticello
3. Double Stop Trill Motif - Although “Image A” has three groupings of 32nd notes written, these should be performed as a trill; tting as many notes as possible in the three-beat space. “Image A” and “Image B” are identical musical ideas, with “A” purely serving as a ushed-out version of the shorthand (Image B). This is done to provide clarity upon an initial read and during the early stages of rehearsal.
4. Aleatoric Measures - Measures 1, 21, and 105 are given suggested durations for which the musical material within them is performed. However, smooth, natural development of the material is more important than exact second durations The quartet should feel free to take as much time during these measures as they feel best conveys the musical ideas within them.
Duration: ca. 8’
Program Notes:
Dear Grandma,
When I was young we used to sit and watch the sky You used to point at every cloud, calling out animals, shapes, and anything else you could think of Your imagination was endless, and you were one of the few people who could keep up with the ever-running minds of my brother and I. We got to know you through the clouds, and no visit from you was complete without a look up at the sky
You no longer watch the clouds. As your memory continues to fade, so do the clouds. I wonder if you still remember the time we spent cloud gazing, or if it is one of the many life experiences that have slipped from your mind How long until I slip from your mind, a memory you can no longer nd?
Memory is a tricky thing. Life is a delicate balance of choosing what and what not to remember; what to hold on to and what to let go of In your case, there came a time when you no longer could make this decision for yourself. If your mind was a ling cabinet, at one point someone took it and dumped the contents onto the ground. Now you can no longer sort through a jumble of memories that were once so organized and easy to nd. Aging is a natural process and something we all experience during our lifetime However, it is hard watching the mind of someone fade far before their body starts to deteriorate. It is hard to watch someone lose the ability to understand and comprehend that which gives life joy and meaning.
All this brings me back to the clouds Wisps of air and water that, in the eyes of the right person, transform into something new. Your mind no longer allows you to see what you once could. The clouds are something you ’ ve lost.
It all makes me wonder: how long until I too stop cloud gazing?
F u l l S c o r e
L i k e m e m o r i e s i n a s e a o f t h o u g h t s
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