Lapsus memoriae [ Epitaffio in memoria di una città immaginaria ]

angus lee

Lapsus memoriae [ epitaffio in memoria di una città immaginaria ] op. 33a [i]

[ 2018; ver. II « version Manoury-Francesconi » ]

for flute, samples and live-processing

full score

Lapsus memoriae [ epitaffio in memoria di una città immaginaria ] Op. 33a [i]

for flute, samples and live-processing

[ 2018; ver. II « version Manoury-Francesconi » ]

preliminaries

Prefix : Beatae memoriae. (If we could still remember.)

December 1984 : Queen and Peasant. Empire and Republic. Devolution and Centralisation; a pledge, an oath, a certain "declaration".

Mina Godenzi would not have seen retirement coming in less than a decade. The future of a people – their hopes, their prospects – [be–]tra[y–/d]ed in the name of peace. What a cliché that Big Brother is still watching. Christmas in July.

2009 : Lehman Brothers: The Fame Monster(s). Donald and Wh[o/en]: Bad Romance. An era of crisis, a time of peace.

Return of the collateral son. "There is a time for everything, and a season for every activity": 'Tis the season to be jolly, fa–la–la–la–la, la–la–la–la. An imposed joy, an imposed anthem. Heaven on Earth. [undefined] 2034 : _____ is a country... one of the longest histories... world. The pepeol... created a culture of... revolutionary tradition.

—wan is... sacred territory of... China. (T)he inviolable duty of all... pepeol, including our compatriots in Tai—, to... the (great task)... reunifying the –landMUTTER–. The... multi–national State... to be strengthened. (N)ecessary... big-nation chauvinism... local national chauvinism.

Suffix : Damnatio memoriae. (We can no longer remember.)

general – this piece is conceived for, and ideally performed on, a Kingma-system flute equipped with a Glissando headjoint; – the piece is, however, performable without the above specification; – the composer would like to express the gratitude to M. Tom Mays, Philippe Manoury and Luca Francesconi for their suggestions for alterations in the score, as is reflected in this current version.

tempi / synchronisation – granted that an inevitable amount of discrepancy may necessarily be present between the live performer [ physical time ] and electronics [ ideal time ] – and the fact that this has been taken into consideration in the creation of the samples – it is highly recommended that the indicated tempi be observed as diligently as possible;

electronics – the electronic components of the piece are controlled by the CRT Max / MSP patch developed by Tom Mays, with further extension by Man-kit Hui. The piece utilises a sample-playback function and a sound-processing module, which includes :  a reverb function;  a granular synthesizer;  a harmonizer; and  a chorus function – while the live-processing effects are wired to the ‘central [ 5th ]’ channel, the [ mono ] samples are played back in the ‘surround [ 1st – 4th ] channels.

notation – all accidentals are valid not only for the note they immediately precede, but also the remainder of the measure; – a three-line staff is employed to represent [top-down] the home position [ no extension ], midway position [ half extended] and the third position [ fully extended ]. The resultant transposition of sound is notated in a regular 5-line staff below the flute line, bracketed ‘suono reale’; – multiphonics are notated with a numbering system, as illustrated below : T [ left hand only ] = thumb 2 = index finger 3 = middle finger 4 = ring finger 5 = small finger

– the following is a compendium of unconventional notations and their respective explications:

harmonics: the diamond [ lower ] note-head denotes the pitch to be fingered, while the upper note-head denotes the partial at sounding pitch

breathy tone quality an “X�-head denotes a key-click, while an arrow-head denotes a tongue-pizzicato

a note to be played with the embouchure hole completely covered

a standalone diamond note-head refers to a whistle tone performed with embouchure hole at open position; an additional circle above the note-head refers to a whistle tone at the same pitch performed with alternative fingering

an alternative form of whistle tone, performed with embouchure hole at closed position; the lower, solid diamond note-head denotes the fingered pitch, while the upper, hollow diamond note-head denotes the partial [ sounding pitch ] heard

tongue-ram : the upper, solid diamond note-head refers to the note to be fingered, while the lower, triangular note refers to the pitch produced

a growling, rumbling sound effect performed with embouchure hole at closed position, fingering the indicated pitch in addition to [ tongue ] flutter-tongue note :

the rapid succession of multiple techniques indicated above may require transitioning between different playing positions, resulting in a limited degree of [ necessary ] compromise in sound quality.

alternatives – most multiphonics utilised in the piece are only performable on a Kingma-system flute. For performers utilising a regular Boehm-system flute, sing the lower [ in the case(s) of multiphonics with three or more notes, the lowest ] pitch while playing the upper; – the two cases [ only present in the toccata section ] in which performers without a Kingma-system flute would require an octave-up transposition are the Bb[3] in measures 21, 24, and 28; – all other glissandi are theoretically performable on a regular Boehm-system flute, albeit with slight compromise in sound result.

premiere performances commissioned by the Leisure and Cultural Services Department [ LCSD ] of the Hong Kong Government for the Académie Musica-Philippe Manoury world premiere 6th October, 2018 Salle de la Bourse, Strasbourg, France

by Andrea Vecchiato [ flute ] and Angus Lee [ electronics ] presented by Festival Musica 2018

asian premiere 14th October, 2018 Theatre, City Hall Hong Kong

by Angus Lee [ flute ] and Man-kit Hui [ electronics ] presented by LCSD as part of the Our Music Talents recital series

[ full score ] for Andrea Vecchiato dedicated to Nicolas Tzortzis

commissioned by the LCSD, for the Académie Musica-Philippe Manoury

Lapsus memoriae [ epitaffio in memoria di una città immaginaria ] for flute*, samples and live-processing

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sample 1.2 glitch grains [ G ] ch.1 - 4 - 2 - 3

sample 1.3 glitch grains [ F# ] ch.3 - 2 - 4 - 1

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* this work is conceived for, and ideally performed with, a Kingma-system flute equipped with a glissando headjoint; it is nevertheless possible to perform the piece without these specifications. Refer to the alternatives section for details. ** accidentals refer not only to the notes they precede, but also the remainder of the measure.

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