ALVARADO
REW • PLAY • FFWD
for Orchestra and Electronics
Full Score
FRANCISCO ALVARADO
REW • PLAY • FFWD
for Orchestra and Electronics
Full Score
Commissioned by SWR for Donaueschinger Musiktage 2024
Thanks to : the Donaueschinger Musiktage team, the SWR Orchestra and Lydia Rilling for her trust and support
ORCHESTRA
1 Piccolo
2 Flutes in C 2 Oboes
1 English Horn
2 Clarinets in B-
1 Alto Clarinet in E2 Bassoons
1 Contrabassoon
4 Horns in F
3 Trumpets in C (straight and wha-wha mutes)
3 Trombones (straight and wha-wha mutes)
1 Tuba
Percussion 1
Tam-tam (big); 2 Spring Coils (two sizes); 4 Roto-toms (10″, 12″, 14″, 16″) Vibraphone; Anvil; Spring Drum; Diatonic Harmonica in A
Percussion 2
Guiro; 3 Splash Cymbals; 2 Cymbals; Tubular Bells; Snare Drum Chimes; Diatonic Harmonica in A
Percussion 3
Ratchet; 5 Wood Blocks; Suspended Cymbal; 2 Tom-toms (14″, 16″) Glockenspiel; Waterphone; Crotales (E5, F+5)
Percussion 4
Slapstick (big); Triangle; Xylophone; Thunder Sheet Diatonic Harmonica in A
Percussion 5
Bass Drum; 3 Timpani (81 cm, 66 cm, 74 cm); Diatonic harmonica in A
Piano prepare a plastic card, one set of thin chains attached, a fishing line and rosin (for the fishing line)
Electric Guitar delay, distortion, whammy, reverb, volume, freeze & compression pedal; bottle neck, e-bow, whammy bar & cello bow (with resin)
Violin 1
Violin 2
Viola
Violoncello Contrabass
Ideal number of strings: 14.12.10.8.6
Score in C
Duration: approx. 15 min.
ABBREVIATIONS
SP: sul ponticello
MSP: molto sul ponticello
ST: sul tasto
MST: molto sul tasto
ORD: ordinario
lb: legno battuto
lg: legno gettato
lv: let vibrate
Woodwinds
Harmonic trill (flutes)
PERFORMANCE NOTES
Trill made from the harmonics of two different fundamental notes, obtaining the same note.
Dal niente
Try, as much as possible, to mask the attack by playing extremely pianissimo before starting a crescendo
Piano
A fishing line must be attached beforehand to the low F+ string. It is very important to put a considerable amount of rosin on the fishing line in order to produce sound. Pull the string with the thumb and index fingertips and rub. Alternating left and right hands can produce a continuous sound imitating a lion roar.
The set of thin chains must be attached to form an amalgam (like chimes or a set of keys). You can attached them with a small quickdraw. The idea is to create this ball of little chains that will caresse the pins producing a “chimes” type sound, delicate and granular.
You can rub the strings with a plastic card or a guitar pick. Choose what it is best for you.
Electric guitar
For the bowed parts, a cello or contrabass bow would be ideal, especially because of their reduced size.
Play the bow between the nut and the first fret. The bow is played with the right hand coming under the left hand. The left hand plays ‘normally’.
Bow contact points with the string are very important and can produce a lot of different harmonics. Practice can help to control as much as possible the different nuances.
Speed and pressure will change the dynamics. In the score, the resultant notes are indicated between brackets, but is natural to sometimes hit different harmonics. This will not be an issue regarding the musical result. Put your efforts in the musical intention more than the pitch accuracy.
The electric guitar must be equipped with a whammy bar.
Strings
Tremolo + trill.
Indicated as ‘trem. + trill.’, this effect combines a bow tremolo with an harmonic trill with the left hand. The resultant sound is complex and aerial, from which different harmonics appear randomly.
As high or as low as possible
A note with an upwards or downwards arrow head indicates that the highest or lowest position must be reached on a given string.
sffz sffz sffz sffz
sffz sffz sffz sffz
sffz sffz sffz sffz
sffz sffz sffz p sffz
sffz sffz sffz sffz
sffz sffz sffz sffz
sffz sffz sffz sffz
sffz sffz sffz sffz
sffz f
sffz
obtain different harmonics free bow changements
#œj‰
#œ j ‰
nœ j
œj‰
J‰ œ J‰œnJ‰œ#J‰œnJ‰œJ‰ #œJ‰œ#J‰œnJ‰œJ‰ œ œ J‰ œ œ J‰œ œ J‰œ##œj‰œnnœj‰œ #œ j ‰#œœJ‰œ œJ‰œnœJ‰œœ j
nœJ‰ œ J‰œJ‰œJ‰ bœJ‰œnJ‰ œ ##œJ‰ œ #nœJ‰ œ nœJ‰ œ
J‰ œ J‰œ#J‰œnJ‰œJ‰œ#J‰nœJ‰œ#j‰œnj‰œj‰ œ j‰ #œ j‰ œ j‰ œ j‰
œj‰Œ
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Francisco Alvarado
Francisco Alvarado (b. 1984) studied composition at the Universidad Católica de Chile, and later continued his studies with Stefano Gervasoni at the Paris Conservatory. Between 2013 and 2015, he participated in the Cursus 1 & 2 programs at IRCAM in Paris.
He addresses topics and questions of our time in collaborative projects with other contemporary artists.Notable collaborators include Maëlle Dequiedt, Mohamed Mbougar Sarr, Florentin Ginot, Alex W. Inker, and Rémy Reber, among many others.
His work has garnered significant recognition, receiving distinctions such as the Musica Festival Academy’s prize and the CDMC prize at the INJUVE academy in Madrid. His compositions have been commissioned by prominent institutions like the Donaueschinger Musiktage, the MUSICA festival, IRCAM, the Festival Messiaen, the Royaumont Foundation, Radio France, the CNSMDP, ensemble C Barré, and United Instruments of Lucilin, among others.
Francisco Alvarado (*1984) studierte Komposition an der Universidad Católica de Chile und setzte später seine Studien bei Stefano Gervasoni am Pariser Konservatorium fort. Zwischen 2013 und 2015 nahm er an den Programmen Cursus 1 & 2 am IRCAM in Paris teil.
Er greift Themen und Fragen unserer Zeit in gemeinsamen Projekten mit anderen zeitgenössischen Künstlern auf. Da-zu zählen neben vielen anderen Maëlle Dequiedt, Mohamed Mbougar Sarr, Florentin Ginot, Alex W. Inker und Rémy Reber. Sein Werk hat große Anerkennung gefunden und wurde u.a. mit dem Preis der Musica Festival Academy und dem CDMCPreis der INJUVE-Akademie in Madrid ausgezeichnet. Seine Kompositionen wurden von prominenten Institutionen wie den Donaueschinger Musiktagen, dem MUSICA-Festival, dem IRCAM, dem Festival Messiaen, der Fondation Royaumont, Radio France, dem CNSMDP, dem Ensemble C Barré und United Instruments of Lucilin in Auftrag gegeben.