Issuu

Laurence Osborn

Automaton for Solo Harpsichord and Chamber Ensemble

Full Score © Laurence Osborn 2019

Automaton Instrumentation Flute db. Piccolo Oboe Clarinet in B flat db. Bass Clarinet Harpsichord (solo) Violin Violoncello Duration: 12 minutes The score is written in C. All usual octave transpositions apply. Commissioned by Britten Sinfonia for first performance at West Road Concert Hall, Cambridge, Tuesday 1st October 2019, and following performances at Wigmore Hall, London (2nd October) and St Andrew’s Hall Norwich (4th October). Performed by Mahan Esfahani (harpsichord), Emer McDonough (flute), Nicholas Daniel (oboe), Joy Farrall (clarinet), Thomas Gould (violin), and Caroline Dearnley (violoncello).

This commission was supported by the generosity and vision of donors to Britten Sinfonia’s Musically Gifted campaign: John and Penelope Robson John Stephens One anonymous donor

Performance Directions: Harpsichord Instrument: Automaton was written for a harpsichord with has the following specifications: upper  - 16’, 8’, lute stop (only available on 16’). manual - 8’, 4’, lute stop; lower manual

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Manuals: The harpsichord stave is always separated by right and left hand, rather than by manual. The lower manual is marked I, and the upper manual is marked II.

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  isnotated    but  with   alone,   thepart  as played,    as heard, Stops: When the 4’ and 16’ stops are rather than the  used   following clefs: 

 

 = 4’ only 

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    = 16’   only  

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 

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   

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When the 16’ stop is used together  with the 8’ stop, the part is notatedas played, and the clef does not change.

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                is a list of when the different stops are used throughout the piece: Here 41 8’ 21 1 - 41 - I: 16’ only, lute 31 stop; II: bb.   bb. 42 - 79 - I:  8’ only,  ord;II 8’,lute   stop    80 - 169 - I: 8’, II: 8; (ord.)  bb. bb. 172 - 176 - II: 4’ only bb. lute stop; 51 II: 8’ 31 193 - 201 - I: 16’ only, 41 bb. II  202 - end - I: 8’+ 16’ (ord.);    - 8’ 

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Cadenza: From bb. 239 - 259 there is a cadenza for the harpsichord, mainly written in flexible metre. Bar divisions are dictated by changes in the bass note in the left hand. The rhythm is intended to be interpreted with a degree of freedom, 61 41 and the beaming is there to51provide suggested durations, accelerations and decelerations. Crotchet = 84 may be used as    it isexpected  However, the   forthe tempo     section,  but  that  the performer   maydeviate  from this. a reference point   in this small sections with specific tempo markings must be adhered to. 71 51 61 Performance Directions: Ensemble

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 

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 (Cl.)   ‘tongue  8slap’.   indicates    

                                      Strings:          8       14         bemedium  is only      Indicates ‘baby vibrato’. This should    extremebowpressure.  This     Indicates                   paced,  andwide. Theresult should  sound like  a   ever executed  onopen strings.  The sound should   beginner’s      vibrato.        be all noise, and no specific pitch should be         audible.     24  14                It isalways           Indicates ‘ricochet’. specified              whether the player should use the wood or hair           of the bow         

 8  

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24   

  24

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    

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              (Fl.   and Cl.)   indicates  use  of a ‘breathy’  tone. The (Ob.) indicates ‘timbral        trill’.     notated pitch should be audible.    71

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 Winds:

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34     

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  44

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   34  

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                         44 34            

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Programme Note An automaton is a mechanical object designed to play the role of a human being. Unlike the robot or the computer, both of which attempt as best they can to disguise themselves as humans, an automaton keeps its artificiality on show. I've always found something endearing in this naive, mechanical representation of humanity. The sound of the harpsichord is perceptively inseparable from the mechanical means of its production: the instrument sounds like a machine because you can literally hear its mechanism in action. But it is also an instrument that enables an extraordinary degree of sensitivity, expression, and personality on behalf of the performer. When I hear the harpsichord, I feel like I am hearing a musical automaton: a sound that blurs the boundaries between the mechanical and the human. The music in Automaton is sometimes human, sometimes mechanical, and sometimes both.

Automaton