Foundling

Foundling for

Soloist and Ensemble

About the Solo Part

The soloist is encouraged to be very dramatic, interpreting the text through their voice, facial expressions, and physical movements. Unless otherwise indicated, they should speak the text and use natural speech rhythms or exaggerations of natural speech rhythm. Sounds within the words may be stretched out as desired.

The solo part may be split between multiple individuals as desired.

If performing without a conductor, the soloist can serve that role. In that case, they should indicate cues using gestures that are organic to their performance. They should not face the ensemble.

The soloist may be amplified as needed.

About the Ensemble Part

Each member of the ensemble will perform with a ringing metallic percussion instrument as well as their voice. The ensemble part is notated on two staves: the top is for the percussion instruments, the bottom for the voices.

Percussion instruments should be quasi-pitched or unpitched. They should have rich overtones and be capable of ringing for at least a few seconds after being struck. All instruments should be allowed to vibrate throughout.

The size of the ensemble is left to the discretion of the performers. It is suggested that at least 5-8 people be included.

Performance Instructions

The start of each system will be initiated either by a conductor cue (indicated by a vertical arrowsee key below) or by the soloist performing a particular sound/gesture.

Approximate durations are given above each system to suggest pacing.

Within each system, horizontal placement approximates the relationship between sounds/gestures but is not strictly proportional.

Breath marks indicate an actual breath or short pause if no breath is needed. A fermata indicates a longer pause over a silence or sustained sound. Unless otherwise indicated, ensemble members should stagger breathe as needed during sustained sounds.

Notation Key

Conductor cues. If no arrow is given, precise synchronization is not necessary. When no cue is given at the beginning of a system, the soloist will start the system.

A cued countdown

Dotted lines show vertical synchronization between the solo line and various ensemble events. These will not be cued by conductor. Rather, the ensemble should listen to soloist to determine when to enter.

Gestures performed/repeated in sync

Gestures not performed/repeated in sync. Entrances should be staggered, and each performer should proceed independently. If a synced box starts with a cue, performers should begin entering at the cue, but should still stagger their entrances.

Performers should start together but proceed at their own speeds and repeat independently

Fuller texture with no obvious breaks

Sparse texture, pauses between sounds acceptable

Performers transition one by one from current sound/gesture to next

Sustain sound for duration of line

Smoothly morph from one sound to the next

Program Notes

Foundling started as an experiment in which I list all of the things I normally do in a piece of music and then purposefully avoided them. The work is written for a speaking, singing soloist accompanied by a flexible ensemble of musicians who vocalize and play small percussion instruments. The text is a found poem in the sense that I selected 1-3 words from a variety of poems and then alphabetized them to create the text. The music is an exploration of vocal and percussive color inspired by the sound and meaning of the words. The title Foundling is both one of the words in the text and a reflection of the process I undertook in creating work.

Contact Information

Jessica Rudman | jessica@jessicarudman.com | www.jessicarudman.com

var y pitches, contour, and/or rhythm

continue to var y and cresc .

var y pitches, contour, and/or rhythm

20-30" 20 in no - cence -

20-30" 21

continue to repeat exactly

U

sing soloist's version in sync with them (in any octave)

U

in

f glor ious no - cenceS V.

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ff no - cence -

continue to repeat exactly

U U U U œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8

cence - in ff no

-

mimesis, mimesis mir ror s, mimesis mir ror s muscadine,

mimesis mir ror s muscadine nour ishment, mimesis mir ror s muscadine,

words remain rhythmic , but pauses get longer

mimesis mir ror s, mimesis, mimesis mir ror s,

mimesis, mimesis, mimesis,

finish last repetition and hum softly on same note, breathe as needed

30

f rhythmically shield shreds

31

shreds silver sirens sirens savage shield shield shreds silver

uncomfor tably long

choose a note that can be matched by all members of ensemble

match the soloist's note in same octave

slide to cluster no cresc cut off

even longer