Brown NEW PIECE

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Peters Contemporary Library

BROWN New Piece Score

EP 11118

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ISSUU Version BROWNonly For EARLE perusal New Piece

Score

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P R I N T E D A N D D I S T R I B U T E D B Y FA B E R M U S I C

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Earle Brown

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NEW PIECE (1971)

NEW PIECE is related to the MODULES series for large

orchestra, but texturally much simpler. Each of four groups of instruments is orchestrated on a single interval: 5ths, octaves, minor 9ths, and 10ths. The conductor may combine, shape, and form them in various ways. As in MODULES , “a simple sonic event.” The four groups are

positioned around the audience.

Earle Brown

Duration: Approximately 6 to 11 minutes

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NEw PiEcE (1971)

Litolff/Peters Nr. 11118

Edition Peters 11118

Earle Brown (1926–2002)

© 2007 by Henry Litolff ’s Verlag

© 2007 by Henry Litolff’s Verlag Ltd & Co. KG, Leipzig

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Instrumentations There are several instrumentations for NEW PIECE .

Written for an Earle Brown Portrait Concert (New York City, 12 November 1972), the instrumentation of NEW PIECE was originally arranged to match the 18

instruments of AVAILABLE FORMS I (previous page):

Version “Aspen “81”: 1.1.3.1 Woodwinds, 1.1.1.0 Brass, 3.2.2.2 Strings

Brown later adapted the instrumentation for other ensembles or to fit the instrumentations of other compositions of his, such as FROM HERE or EVENT: SYNERGY II as they were performed along with NEW PIECE in the same concert. When played in the same

concert as EVENT: SYNERGY II , the instrumentation scored on the following page can be used:

Version “Durham, 1981” 2.2(2. Eh).4 (3 Eb, 4 B. Cl) Woodwinds, 4.2.2.0 Strings

Alternative instrumentations fitting EVENT: SYNERGY II and FROM HERE , and three more variations, are listed in the appendix.

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NEw PiEcE (1971)

Litolff/Peters Nr. 11118

Edition Peters 11118

33463

Earle Brown (1926–2002)

© 2007 by Henry Litolff ’s Verlag

© 2007 by Henry Litolff’s Verlag Ltd & Co. KG, Leipzig 6/13

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Directions for Performance Excerpts from correspondence between Earle Brown and the conductor Neil Rolnick, 19 September 1976:

ABOUT SEATING The minor 9th and the 10th are at opposite sides of the stage with as much separation as possible, but each interval-group clustered closely.

The octave and 5ths should be placed at opposite corners at the back of the hall (which side for which interval is not very important), to your taste.

INSTRUCTIONS FOR ALL PLAYERS Ideal: all notes to be sustained (in balance) very quietly for long periods of time.

INSTRUCTIONS FOR WIND PLAYERS Wind players breathe when necessary without strain.

Re-enter with as little attack as possible and come back to given dynamic as quickly as possible.

INSTRUCTIONS FOR GUITAR, VIBRAPHONE, PIANO Guitar (with amp), vibe, and piano play quiet, even tremolo or, especially in case of piano, strike keys in non-periodic rhythm so that the sound of the interval is statistically constant.

The pianist could also tremolo on the strings with yarn mallets.

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INSTRUCTIONS FOR VOICE

Don’t be impatient or try to make it too “interesting.”

If the instrumentation with voices is used there should be at least two and hopefully three

It has proven to be a real spell-binder when you get the

voices on each pitch so that they can breathe

mood right. Let your compositional time-sense determine

“out of sync” and maintain a steady sound.

the duration in performance.

INSTRUCTIONS FOR VIOLIN

You will get a feed-back from musicians and audience

The high 5th is difficult for violin to hold for long periods,

(and your gut) when it has realized itself and the intensity

but insist. Let violin experiment with harmonics and

is about to drop. Don’t force it. Don’t crescendo to the

fingerings, etc., until most comfortable is achieved.

point where the balances go off.

ABOUT CONDUCTING

ENJOY

I have so far always conducted it myself, from a central position, visible to all in all groups.

Decide if with or without mutes (trombone might be in cup or felt hat).

You must not over-rehearse it and lose the intensity of the musicians. It has to be gotten into and done as a lowkey, high-intensity meditation.

Signal very clearly, give them time to see that you are about to give them a down-beat so that you always get

together, balanced, full chords. Add, subtract, combine the four intervals any way you wish, building a quiet, rather slow, but full and strong sonic, textural, meditative, GORGEOUS “composition.”

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Appendix Six more instrumentations: 1. Use when performed in the same concert as EVENT: SYNERGY II

2. Use when performed in the same concert as EVENT: SYNERGY II

3. Orchestration for Neil Rolnick and Port Costa Players, September 1976, use when performed in the same concert as FROM HERE 4. Rotterdam version (IV), 8 March ‘74 5. Rome version ‘87 6. Leipzig version ‘95

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2.2.4.2 Woodwinds, 3.2.2.0 Strings Use this instrumentation when NEW PIECE is performed in the same concert as Earle Brown’s EVENT: SYNERGY II.

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2.2.4.2 Woodwinds, 4.2.2.0 Strings Use this instrumentation when NEW PIECE is performed in the same concert as Earle Brown’s EVENT: SYNERGY II .

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6S.6A.3T.3B Voices, 1.0.1.0 Woodwinds, 0.0.1.(or 1) Brass / Pn, Vib, amplified Guit./ 1.0.1.0 Strings Use this instrumentation when NEW PIECE is performed in the same concert as Earle Brown’s FROM HERE .

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1 (or Ob).0.2 (or alto Sax) (2 B. Cl).0 Woodwinds, 0.2 (or 1 and Fl).3.0 Brass, 5 (or 4 and Fl).2.3.0 Strings

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Version: Leipzig, 1995

Version: Rome, 1987

Voice /1 (alto).1 (or Fl).2 (2. bass) .1

Voice / 1(alto).0.2 (2. bass).1 Woodwinds, 1.1.1.0

Woodwinds /2 Pn, Mar, Vib / 2.1.1.0 Strings

Brass / 2 Pn, Vib /2.1.1.0 Strings

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ISSUU Version For perusal only 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.

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