Thorvaldsdottir ARCHORA

Anna Thorvaldsdottir ARCHORA

for orchestra (2022)

ISSUU version for perusal only

Commissioned by BBC Radio 3, LA Philharmonic, Munich Philharmonic, Orchestre de Paris, Iceland Symphony Orchestra and Klangspuren Schwaz and first performed by the BBC Philharmonic Orchestra, conducted by Eva Ollikainen on 11 August 2022 at the Royal Albert Hall as part of BBC Proms 2022.

Duration: c. 19 minutes

Instrumentation

2 Flutes

Alto Flute

2 Clarinets in Bb

Bass Clarinet in Bb

2 Bassoons

Contrabassoon

4 Horns in F

Tenor Trombone

Bass Trombone

Tuba Bass Tuba

Percussion (3 players):

1: Large Tam-tam

Large Bass Drum

2: Large Bossed Gong (Db2)

Large Bass Drum

3: Large Bossed Gong (Dn2)

Large Tam-tam

Large Bass Drum

Grand Organ (optional, to be included only where available)*

Strings: Suggested division:

Violin I i: 3 desks; Violin I ii: 3 desks

Violin II i: 2 desks; Violin II ii: 3 desks

Viola I: 2 desks; Viola II: 3 desks

Violoncello I: 2 desks; Violoncello II: 2 desks

Double Bass I: 2 desks; Double Bass II: 1 desk (ideally at least 3 performers)

*The organ requires a 32 foot pipe and to be able to sound as low as B0 and C1. Please do not substitute for higher octaves. Where such an organ is not available, do not substitute the part with other instruments and leave the organ part out.

The score is in C. Bass Clarinet is written at pitch.

Orchestral parts are available on hire from the publisher.

Performance Notes

*

My music is written as an ecosystem of materials that are carried from one performer – or group of performers – to the next throughout the process of the work. As you play a phrase, harmony, texture or a lyrical line it is being delivered to you, passed on from another performer – performers – for you to carry on until it is delivered to another. All materials continuously grow in and out of each other, growing and transforming throughout the process.

*

When you see a long sustained pitch, think of it as a flower that you need to carry in your hands and walk the distance on a thin rope without dropping it or falling. It is a way of measuring time and noticing the tiny changes that happen as you walk further along the same thin rope. Absolute tranquility with the necessary amount of concentration needed to perform the task.

*

I have a tendency to write music in rather low dynamics. The lower levels of dynamics (in the p and mp area) indicate my wish for an approach to pitches and sound materials with a sense of ease and carefulness rather than merely indicating an audio level. I do not intend for harmonies – written in the p and mp range – to be too quiet but rather projecting a sense of serenity, but with determination, and with full presence and depth of the pitches. This piece – ARCHORA – is somewhat driven by intensity and urgency which is in turn polarised by gentle stillness and calmness. At certain moments the piece orbits louder dynamics that at other points are echoed by sections in lower dynamics and coloured by ethereal and textural dimensions of sound structures. I would kindly ask that harmonies in lower dynamics be ever so slightly overemphasised, as appropriate in the progression of the music, so that the pitches and harmonies are always carried with a strong sense of depth and projection, even in the dynamic level of p and mp, while adhering to the calmness of the atmosphere when applicable.

*

ISSUU version for perusal only

The piece is in one movement with the following atmospheric sub-sections listed in the score for inspiration WORLDS WITHIN WORLDS

DIVERGENCE

PRIMORDIA

These sub-section atmospheric indications are not meant to be featured in a program with the title of the piece, which is solely ARCHORA *

In measures 127 through 140 there is an ever so slightly faster tempo (from quarter note 40 to quarter note 42) — it is asked that these somewhat lyrical measures are carried with fundament and will not be too fast, merely moving slightly forward in tempo.

Notation

General

All glissandos should be played throughout the duration of the note value they are written by. For example, w , slow glissando that starts at the beginning of the note and glissandos throughout the four beats of the note value. Similar with i , faster glissando (depending on the destination of the following pitch). During glissandos, please keep full presence and depth of the tones throughout.

Accidentals apply to one measure at a time and are on occasion reapplied within a measure for convenience.

(h)Above a note indicates the note’s duration (applied for quarter note and a half note with stems only).

The indications ‘lyrical’ apply to the passage they are written above.

Three tremolo lines refer to playing quick tremolo notes rather than rhythmic 32nd notes. When playing on tremolo (or flutter tongue) there should not be an accent on the beats where the pitches change or between measures – the tremolo should be even throughout the passages as they move between pitches and measures.

Woodwind

When notes are slurred throughout an extended period of time and during long phrases without rest, breathe where necessary – not synchronised between performers.

When indicated to glissando between tones, bend the pitch as indicated.

Abbreviations

ord. – ordinary, takes back effects previously applied

fl. – flutter

t. – tongue

k.cl.t.r. – key click and tongue ram (on flutes)

k.cl.sl.t. – key click and slap tongue (on clarinets)

Flutes and Clarinets

Diamond notehead on the centre line of the staff indicates an air sound with no pitches sounding.

When indicated to “perform on air with no pitch – with subtle ‘s’ sound formation for a subtly distorted sound on air” this should produce a subtle ‘white noise’ sound. In these textures, as always, breathe where necessary – not synchronized.

When not solely sustained on centre line of the staff (no pitch), played on air with very slight pitch colours to the air sound – the airy quality should be much more prominent than the pitches.

Dynamics on airy notes are relative to the sound of the effect, so they should be aimed at projecting relative to the nuance of the sound rather than in the same dynamic as a pitch with the same dynamics would. It is asked that the ethereal airy textural effects should not be overemphasised or overdramatised – the airy sounds are intended to be a textural dimension to the overall sound texture – that at times gets overshadowed by other textures – rather than to be an overly prominent feature.

Tremolo lines indicate flutter tongue.

Flutes

Tongue flicks on air, written in rhythmic patterns (as a controlled flutter).

Key clicks and tongue ram, for percussive effect. The upper notehead (x) indicates the key click, the lower note is the sounding pitch/color effect. Abbreviated k.cl.t.r.

Bisbigliando: In measures 68–74 there is an indication for “slow bisbigliando” in the flutes, the desired effect is that the bisbigliando trill is performed on subtly varying slow speed on the trilling effect, but to not trill at a high speed and to vary in the somewhat slow flutter speed throughout the written passages.

Clarinets

Bassoons

Brass

Key clicks and slap tongue, for percussive effect. The upper notehead (x) indicates the key click, the lower note indicates the low percussive slap effect. Abbreviated k.cl.sl.t.

ISSUU version for perusal only

Double tongue on airy textures with slight pitch colours coming through. Abbreviated d.t. on air. The airy quality should be much more prominent than the pitches as much as possible.

When notes are slurred throughout an extended period of time and during long phrases without rest, breathe where necessary – not synchronised between performers.

In a few places in the piece low trombone pitches are written in the pedal tone range (down to F), and in a very low range on the tubas. These notes are not expected to be clear and focused but rather to have the natural rumbling sound that appears in this lowest range on the instruments.

Diamond noteheads indicate air sounds with no pitch sounding – airy note heads are placed on the centre line of the staff, but should not produce any pitch.

When indicated to “perform on air with no pitch – with subtle ‘s’ sound formation for a subtly distorted sound on air” this should produce a subtle ‘white noise’ sound. Brass performers might prefer to remove the mouthpiece and perform this effect straight into the instrument where possible – explore for the best way to perform the sound for a subtle white noise and synchronize in technique between performers. In these textures, as always, breathe where necessary – not synchronized.

Tongue flicks on air, written in rhythmic patterns (as a controlled flutter).

Dynamics on airy notes are relative to the sound of the effect, so they should be aimed at projecting relative to the nuance of the sound rather than in the same dynamic as a pitch with the same dynamics would. It is asked that the ethereal airy textural effects should not be overemphasised or overdramatised – the airy sounds are intended to be a textural dimension to the overall sound texture – that at times gets overshadowed by other textures – rather than to be an overly prominent feature.

Percussion

All Bass Drums need to be placed horizontally in order to be able to place objects on the skin. Allow resonance of instruments to continue and do not stop or dampen unless otherwise indicated.

At the start of the piece a small metal chain is resting on skin of each bass drum and a small metal chain is hanging over surf aces of the tam-tams and gong as indicated.

Percussion I

Large Tam-tam

Large Bass Drum

Percussion II

Large Bossed Gong (low Db2)

Large Bass Drum

Percussion III

Large Bossed Gong (low Dn2)

Large Tam-tam

Large Bass Drum

Objects needed for each percussionist

Small metal chains to place on skin of bass drum and place over tam-tams and gong for subtle distortion sounds (two each)

Thick-haired wire or copper scrubbing-brush (one each)

^ Large soft bass drum mallet (two each)

⁄ Soft yarn mallet (two each)

• Wire brush mallet (one each)

® Superball mallet (two each)

§ Drum sticks (two each)

– Double Bass Bow (one each)

Techniques

Thick-haired wire scrubbing-brush – when indicated, use brush to sustain over skin of bass drum or surface of tam-tam or gong. It is desired for the sound to be sustained (by the stroke of the brush against the surface/skin) without an initial attack. This should result in a distorted sound.

When indicated to perform circular strokes on surface: Sustain with the indicated mallet or object in circular strokes on skin of bass drum or surface of tam-tam or gong as indicated in large circular strokes.

Sustained back and forth tremolo strokes on tam-tam for sustained distorted sound. This effect is also performed with wire scrubbing-brushes as indicated.

When written with regular mallets, refers to playing rolls (rather than rhythmic 32nd notes).

ISSUU version for perusal only

Indicated with wire scrubbing-brush: use a thick-haired scrubbing-brush to sustain over surface of tam-tam or gong (as indicated) in one quick stroke. There should not be an attack on the beat but rather the sound should be sustained (by the stroke of the brush against the skin/surface) without an initial attack. Results in distorted white noise sound. Indicated with the following text when appears for the first time for each performer: sustained stroke on surface of tam-tam from center to edge in a quick motion with scrubbing brush - for distorted sound.

Erratic and sporadic short arrhythmic attacks and subtle strokes on various places on the surface and sides of tam-tam or gong as indicated – avoid to play too frequently or in any regular patterns, almost as if on one’s own path separated from the others.

Abbreviations

sust. – sustain

str. – strokes

trem. – tremolo circ. – circular

pr. – pressure

scr. – scrubbing (referring to scrubbing brush)

Organ (optional, to include where available)

Where such organ is not available, do not substitute the part with other instruments or other octaves.

Starting in measures 89 there are deep droning pitches written on an organ staff and organ pedal staff. It is desired to include these low droning pitches where possible, where there is a large organ that has the size to produce those pitches and drones. It requires a 32 foot pipe and to be able to sound as low as B0 and C1. Please do not substitute for higher octaves, it is only intended to be played at the deep droning low register.

The sound should have a warm quality, somewhat with a character of a human voice or string like quality to the deep droning eff ect. Please find and select the appropriate settings to produce such a sound in this low register.

Strings

The parts for the Double basses are written down to low B – in the case where low B is not possible the double basses need to reach down to C. In the passages where low B is written but not possible to play (for someone or all), please play B an octave above.

Bow Strokes

When notes are tied through an extended period of time – change bow where necessary. During long sustained notes please change bow as often as necessary, not synchronised, it is not intended for bow strokes to be too slow but rather of the required speed each time for the tone to be fully carried with depth and fundament.

Vibrato

In lyrical and “expressive” passages please apply vibrato.

When “senza vibrato” is indicated it applies to the passage it is written above.

During glissandos and harmonics please play senza vibrato.

In passages where no indications are written for vibrato or senza vibrato, collectively apply vibrato as desired.

Quartertones

B Quarter tone flat

I Quarter tone flat below b

μ Quarter tone sharp

˜ Quarter tone sharp above #

Special noteheads and effects

(example from the viola part, quarter note and eighth note shown) for airy effect – place left hand/fingers (not only one finger) lightly to cover the indicated string, around the given pitch area, not on harmonic. Fingers are not to be placed on exact pitches. This produces an unpitched airy sound. The upper notehead indicates the airy technique, the small notehead below indicates the open string where the technique is to be played.

(example from the cello part, quarter notes and half note shown): When the airy note head is written with a glissando, slide the hand up and down the string as indicated. This will produce slight harmonic colours in the airy sound as the hand glissandos over the string(s), but the aim is for the sound to be as pitchless as possible.

Much bow pressure performed on muted string, not on a pitch (as indicated by the notehead). When written on a short note value (sixteenth note) this should produce a non-pitched percussive attack to the muted string. The short notes on much bow pressure work best when performed close to the frog.

When indicated to play with much bow pressure on a longer sustained note – apply a bit more (than ordinary) bow pressure to the string for a subtle atmospheric sustained distortion sound through continued movement of the bow. Not so much bow pressure that the flow of the bow is disturbed or that the sound becomes too aggressive or too scratchy, but rather subtly distorted sustained sounds, similar to white noise. The following indication is written with the first appearance of the technique in each part: Subtly on m.b.pr. (not too much pressure) for subtly distorted sound on air - very slow bow stroke(/-s), change bow where necessary, not synchronized (mute strings with fingers).

When indicated to perform airy noteheads in arpeggio patterns between strings “with subtle airy pitch colours”, keep fingers/hand on strings and articulate “on air” – subtle pitch colours will naturally appear through the airy sound.

ISSUU version for perusal only

Col legno saltando on muted string.

When airy/muted noteheads are indicated with ord., it refers to playing normally on the written effect and merely serves to take back indication of otherwise performing such as with sul pont., much bow pressure etc. When performing on air with ordinary bow pressure it should result in an airy sound.

Dynamics on airy notes are relative to the sound of the effect, so they should be aimed at projecting relative to the nuance of the sound rather than in the same dynamic as a pitch with the same dynamics would.

There are two versions of accelerando on airy textures:

Bow strokes back and forth as indicated in an accelerating motion.

Hitting the string with bow hairs and having the bow bounce on the string in an accelerating motion.

The same pattern is also written on ordinary notes and with col legno.

Indicates to gradually move from the former technique to the next as indicated, such as moving from sul pont. to ord., from ordinary pitch to muted string or ord. to m.b.pr. etc.

Abbreviations

l.b.pr. – light bow pressure (flautando), resulting in a light, airy and transparent sound

m.b.pr. – much bow pressure sust. – sustained

ord. – ordinary, takes back all effects previously applied, including (but not limited to) sul pont.

b.str. – bow stroke

str. – stroke

ord.b.pr. – ordinary bow pressure

w. – with c.l. – col legno

s.p. – sul pont.

vib. – vibrato trem. – tremolo

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PRIMORDIA

ISSUU version for perusal only

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