BROWN
Modules I, II & III
for Orchestra Score
EARLE BROWN
Modules I, II & III for
Orchestra
Score
Earle Brown
MODULES I, II & III
modulE s i & ii ( 1966 ) commissioned by the o rchestre National de l’ o RTF, Paris modulE iii ( 1969 ) commissioned by the Zagreb Biennale
score (in C)
Any of the three modul E s must be performed simultaneously with one of the other two modul E s Every performance requires two conductors.
i nstrumentations for all three possible combinations:
MODULES I and II
3 Flutes
1 o boe
1 Eng. Horn
2 Clarinets in Bb
1 Bass Clarinet
2 Bassoons
1 Contrabassoon
4 Horns in F
4 Trumpets in C
3 Trombones
1 Contrabass Tuba in Bb
16 First Violins
14 s econd Violins
12 Violas
10 Violoncellos
8 Contrabasses
MODULES I and III
4 Flutes
2 o boes
2 Clarinets in Bb
2 Bass Clarinets
2 Bassoons
3 Horns in F
4 Trumpets in C
2 Trombones
1 Contrabass Tuba in Bb
1 Piano
1 Harp
1 Vibraphone
1 Xylophone
1 m arimba
16 First Violins
14 s econd Violins
12 Violas
10 Violoncellos
8 Contrabasses
MODULES II and III
3 Flutes
2 o boes
1 Eng. Horn
2 Clarinets in Bb
1 Bass Clarinet
2 Bassoons
1 Contrabassoon
3 Horns in F
4 Trumpets in C
3 Trombones
1 Piano
1 Harp
1 Vibraphone
1 Xylophone
1 m arimba
16 First Violins
14 s econd Violins
12 Violas
10 Violoncellos
8 Contrabasses
d uration: Approximately 10 - 20 minutes
i f performing modul E s i and ii , each conductor needs an arrow indicator with numbers 1 - 4 (provided with score) to show the musicians which page to perform from. i f
performing modul E iii , with either modul E i or ii , only one arrow indicator is needed.
directions for Performance
MODULE I and MODULE II are to be considered as two separate scores which may be performed simultaneously, or either one of them may be performed simultaneously with modul E iii . . . . Any two of modul E s i , ii or iii will not exceed the instrumentation of a normal large orchestra. There must be a conductor for each modulE being performed.
There are 4 pages for each of modul E s i and ii . Each page has either 4 or 5 chords; the chords may be played in any sequence and each may be held for as long as the conductor wishes, at any constant or variable loudness.
Each conductor of each modul E must have an arrow indicator which will inform the musicians of the page ( 1, 2, 3, 4 ) from which he will choose chords . . . .
From any of the pages, the precise chord which the conductor has chosen is indicated to the musicians by the fingers of his left hand. The left-hand indication is to be a preparation preceding the down-beat given by the right hand for the moment of attack. The size and speed of the down-beat must give the loudness and character of attack which is desired.
All chords are fermata ( U ) , to be held by the musicians until specifically cut off by the conductor. (Wind instruments are to breathe when necessary and comfortable and to re-sound the note for as long as the chord is held by the conductor.)
The score is written in “C” concert.
Parts are transposed where necessary.
Each chord on score pages 2 and 3 of both modul E s i and ii utilize all the instruments scored for that modul E : i.e., no two or more of the chords on those pages can be sounded simultaneously in any one modul E . Any change from chord to chord will involve all of the conductor’s musicians.
o n pages 1 and 4 of both modul E s i and ii , the first four chords may be combined and overlapped in any sequence and combination: i.e., they are four small chords which, when played simultaneously, add up to the full instrumentation of that modul E
Chords number 5 on pages 1 and 4 of both modul E s i and ii utilize the full instrumentation of that modul E
i n regard to forming and conducting relationships between the two modul E s :
Chord number 5 of page 1 of modul E i is intervallically the same as the summation of chords 1 through 4 of modul E ii , but orchestrated differently. (Chords 1 to 4 of modul E ii sounded simultaneously with chord 5 of modul E i will produce an intervallic unison between the two modul E s , in a contrasting color distribution.)
The same is true between chords 1 to 4 of modul E i and chord 5 of modul E ii
The same condition exists on pages 4 of both modul E s i and ii except that the orchestration of the intervals between the two modul E s is as exactly alike as the two instrumentations allow.
do not physically separate the two groups . s eat the musicians normally but distribute the parts so that alternate chairs have materials for alternate conductors. The two groups are to be uniformly intermixed on the stage. (This allows any one chord of any modul E to sound from the total stage-space and eliminates the distraction of visual and/or sonic competition, which is not the intention in the work.)
No musicians can be too far to the right or left of the conductors because they must have a clear sight-line to the arrow indicator.
The arrow indicators should be placed in front of the podium, facing the orchestra, within comfortable reach of the conductor and in full view of all musicians.
Additional information
The following text has been excerpted from a letter, dated 22 m ay 1968 , from Earle Brown to Toru Takemitsu, in which Brown provides instructions for the conductors s eiji o zawa and Kazuyoshi Akiyama relative to their rehearsal and performance of this work in Tokyo in the same year.
Here is some information for the conductors. Please see that o zawa and the other conductor each get a . . . copy, or at least read this carefully.
All chords held (fermata) as long as the conductors wish.
the loudness can be varied in any way from chord to chord and during any one chord.
Rehearse moving from chord to chord (any one on the page to any other) so that there is not a break in the sound between the chords unless the conductors want a period of silence between.
i prefer that both conductors be conducting chords from the same pages at roughly the same time, i.e., both conductors on pages 1 , then pages 2 , then 3 , then 4 , etc., but changes of page not synchronized exactly , i.e., one conductor makes the change from page 1 to page 2 before or after the other conductor changes. d uring the page changes there will be an overlapping for some moments but statistically there is more time when the conductors are on the same pages than when they are on different pages.
Let all of this be very loose and natural and intuitive, but with awareness of the totality at every moment.
i ’d like it to be relatively slow moving-transforming and quite static with independent and simultaneous rising and falling of intensity (loudness). i t can be very gentle and also very powerful sound. i t should have a tremendous feeling of intensity — never very dramatic but dramatically simple and intense
i n Paris [ 7 February 1967 ] we (Eleazar de Carvalho and i) did pages 1 to 4 in sequence and then ended by doing pages 1 for the second time. You two [ o zawa and Akiyama] conductors can play the 4 pages in any sequence you like but after deciding the sequence you both must do the same sequence at roughly the same times (as described above). i f you wish, you can do the 4 pages in your sequence and then do any one or more pages for the second time. The general “tempo” of pages, however, should not allow you to do more than 5 or 6 pages in approximately 12 to 15 minutes of performance time. i t should not be less than 10 minutes. The maximum length should be determined (roughly) by your feelings of the extension of intensity that you feel possible between the materials, the musicians, and the two of you as conductors.
When you are on the pages together you can conduct the chords on those pages in any sequence: (left-hand signals to orchestra) any number of times, for any amount of time.
MODULE III must be performed simultaneously with one or more other modul E s . No combination of any two of m odul E s i , ii or iii exceeds the instrumentation of a normal large orchestra; the total number of strings required in a performance of any two of the m odul E s is 16 first violins, 14 second violins, 12 violas, 10 violoncelli and 8 double basses. (Each m odul E : 8. 7. 6. 5. 4 ). There must be a conductor for each m odul E being performed.
The orchestra of m odul E iii is divided into four sections: woodwind, brass, strings and percussion. Each of the first three sections has five chords; these chords may be played in any sequence and combination of two or three chords (one from each section) simultaneously, and each variable loudness. The fourth section has five groups of chords. Each group is controlled by a series of downbeats, not necessarily periodic; these groups of chords may be played in any sequence. m aterial from the woodwind, brass and strings may be combined and overlapped in any sequence and combination, and percussion groups added in any sequence.
The precise chord or group of chords is indicated to the musicians of a chosen section by the fingers of the conductor’s left hand. This is followed by a right hand downbeat signalling the moment of the attack. i n the case of sections 1 , 2 and 3 , the size and speed of the downbeat must define the loudness and character of the attack. d ynamics for the percussion section have been provided but may be scaled up or down in volume in proportion to the indications (softer or louder, but with the indicated balances maintained).
All chords in sections 1, 2 and 3 are to be held ( U ) until specifically cut off by the conductor. (Wind instruments are to breathe when necessary and comfortable and to re-sound the note for as long as the conductor holds the chord.)
The score is written in concert pitch. Parts are transposed where necessary.
in combining m odul E iii with another m odul E , the two groups must not be physically separated: the musicians are seated normally, but the parts are distributed so that alternate chairs have material for alternate conductors. This eliminates the distraction of visual and/or sonic competition, since competition is not the intention.
For all m odulE s the woodwind and brass (including horns) must be seated as two distinct groups to the left and right of the conductors so that signals for different chords and changes in dynamics in the two groups can be directed to only the desired section, without confusion.
s eating for maximum clarity of sectional cueing and independent modification of dynamics:
BRASS
Earle Brown
Earle Brown was born in 1926 in Lunenburg, Massachusetts, and in spirit remained a New Englander throughout his life. A major force in contemporary music and a leading composer of the American avantgarde since the 1950s, he was associated with the experimental composers John Cage, Morton Feldman and Christian Wolff, who – together with Brown – came to be known as members of the New York School. Brown died in 2002 at his home in Rye, New York.
Earle Brown wurde 1926 in Lunenburg, Massachusetts, geboren und blieb im Geist ein Leben lang Neuengländer. Ab den 1950er Jahren war er eine treibende Kraft in der zeitgenössischen Musik und einer der führenden Komponisten der amerikanischen Avantgarde. Enge Verbindung unterhielt er zu den experimentellen Komponisten John Cage, Morton Feldman und Christian Wolff, mit denen gemeinsam er später der sogenannten New York School zugerechnet wurde. Brown starb 2002 in seinem Haus in Rye, New York.