Issuu

iliarization 4 Studies for Harp (2022)

Defam

Composer Notes

By removing an object from its normal context ( even in the most bizarre way) , for a moment, that object becomes strange, unfamiliar, an empty space in a well-known narrative. When we finally recognize the object, we understand it more clearly than how we originally would. The slow perceptual process due to the increase of difficul ty and length, forces us to attend to the object with a more than usual intensity. This intensity is tried to be achieved in this piece. The decontextualization and extensive use of some particular parameters hopes to sparkle a new point of start, a source for creation.

The piece tries to accentuate those musical aspects that are often taken for granted as deeply rooted in preconceptions of our everyday life. My approach criticize the method of musical transparency. Instead of working with musical element s that reinforce one another to create a unified effect. I wanted to operate with musical elements which competed with or strained against each other. This implies how the primal aim of the music is to call attention to itself, even if just as a form of noise.

Each of the four movements try to recall attention to specific elements by creating contrast between them and their features . The first one explores the musical phenomenon of the cluster. The three staves try to emulate th e contradiction between pitches, techniques and sounds. The second movement for amplified harp tries to experiment with the technique of damping. This technique is brought to its extent, by creating complicated technical passages between sound (the arpeggios) and what remains of that sound (the hand damping). The third movement accentuate the use of pedals. Isolated pedal sounds are tried to be achieved, the separation from tonality and musical tempo also tries to foreground the pedal noises. The last movement combines various aspects and focused on the technical use of the strings. Different methods are researched as the whistling sounds, harmonics and playing with nails. I wanted to highlight the interaction between hands and strings and its various techniques.

Influence and inspiration for this composition co mes from artists like Boulez, Salzedo, Takemitsu, Renié, Sciarrino and Hindemith. I experimented with the technical freedom of pieces like Luciano Berio s Sequenza II I asked myself how will I find art in everyday objec s I had o break he eil of familiari from he orld

Performance Instructions

A short pause is recommended between movements. Duration: each movement ca. 2 minutes

                                                                                       Defamiliarization

5 3                                                                                                            Libero. Quasi senza tempo  ca.60 C pedal buzz (metallic sound) only damp low strings C B G A D F G A sim. E F G keep repeating fast bisbigl. slap strings (col palmo) *let the cluster resonate sempre D C B E F G A            

numero 1°

                                                                                       13 11 9 7                                                                                                                                   C D E E F G A strumming glissando D F G                  2

(for amplified harp) place a cloth on the low part of the lower strings to stop resonation

                                       Defamiliarization numero 2° 13 9 5                                                                                                                                                                                             Con gusto, giusto  ca.140 damping in rhythm

D C B E F G A

                 24 23 22 21 17                                                                                                                                                                                                                                                                                   ca.60 sempre dolce rallentando sempre legato leggiero dim.. sons étouffés (staccato damping)     2

                      29 28 27 26 25                                                                                                                                                                                                                                                  B subito D espressivo molto legato crescendo molto più vivace      3

        30                                      molto dim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  4

                          Defamiliarization

8 7 5 6                                                                                                                                                                                                                                                                                              Libero, ma tormentato  ca. 135-144  = 52 G B G D a tempo take time between the fragmeted shapes C E A B D C B E F G A A D rall. rall.. F E B A B B B D sim. ped. gliss.           

numero 3°

                                                     21 20 16 12 9                                                                                                                                                                                                                                                                                                   Libero, simile a tempo 2°  ca. 135-144  ca. 135-144  = 52 C G A sim. C (ped. trill) *change pedal as fast as possible C A R.H. C espressivo C D C B E F G A L.H.      2

    26 25 24 23 22                                                                                                                                                                                                             C B repeat x 3 D A a tempo rall.. G cresc. 3

  27                                    E B 4

             Defamiliarization

10 6 2                                                                                                                                                                                   3  ca.96  ca.68 G with nail D C B E F G A whistling sound slide hand on lower metal strings ------------10 sec. ca.-----------sempre G dolcissimo crescendo 

numero 4°

         30 26 22 18 14                                                                                                                                                                                                                                                                                                                                                                                    3 3 3 3 3 3 3  ca.68 B C rallentando molto B L.H. G G sostenuto C espressivo dolce D ritardando F G dolce ord. near the soundboard (p.d.l.t.) ritardando ritenuto                   2

                          50 46 42 38 34                                                                                                                                                                                                                                                              mf      6 6 3 3 3 3 3  ca.68 C C D subito bisbigl. rapidly C whistling sound dolce D subito               3

          3                             4