Brown SMALL PIECES

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Peters Contemporary Library

BROWN Small Pieces for Large Chorus

EP 11142

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ISSUU Version EARLE BROWN For perusal only Small Pieces for Large Chorus

ALLE RECHTE VORBEHALTEN

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ISSUU Version For perusal only

ISSUU Version For perusal only

Earle Brown

SMALL PIECES FOR LARGE CHORUS (1969) Dedicated to Richard Franko Goldman

Program Note

Directions for Performance

Among other things, the “Small Pieces” seem to confirm

I

the fact that I am a “sound” rather than a “literary”

Page 1, system 1: all parts have the same material as the

composer; any poetry that I admire enough to think of as

sopranos, but in their own characteristic registers.

For clarity of cueing, the four sections must be arranged:

Soprano

Alto

Tenor

Bass

a text I admire too much to change the natural rhythm Duration: variable

and pitch inflection that it has when it is simply read.

System 2: “shsss,” all parts

These “texts,” therefore, are composed of simple vowel

“HA Hiss Shh Hoo Kch.” This passage is as fast as

sounds, parts of words and vocal “noises.”

possible but clearly articulated.

Of the three pieces, the first is on a phonetic text and

All attacks are conducted. Flexibility between attacks is

the pitch is graphically indicated as a line-drawing;

inevitable and must not be discouraged.

p

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it begins as a 4 part, parallel ensemble cluster and becomes a polyphony of 4 independent parts. The

II

second piece is precisely notated as to pitch and time

Page 2: each of the seven chords is conducted.

and is basically a rather static study on two “chords”

The first chord is 30 seconds, of which the last 4

and sonic relationships and interferences between

seconds is a diminuendo ( P

them. The third piece is “open form,” based on 5

Throughout this passage, the singers breathe normally

different kinds of sound material. With the 4 sections

when necessary, with no strain — but not together.

(S.A.T.B.) it gives 20 elements that may be combined and juxtaposed as the conductor(s) wish, resulting in a different form for the piece in each performance.

o ).

ISSUU Version For perusal only Page 3: the last chord of page 2 is held for a further

Left hand “5” signals the final chord during which the

The third event: sustained sounds and/or glissandi —

2 seconds. The next signal (L.H.) removes all 2nd

vowel “AY” is slowly transformed to “EE.”

the pitch indication is approximate. Glissandi up or down

sections; these are restored 6 seconds later. The last

are indicated by raising or lowering the left hand.

signal removes all first sections; 2nd sections

III

complete the phrase.

Page 4 is entirely “open-form.” The procedure is the same

Events 4 and 5 are self-explanatory.

as before, though in this case there are five events to be The following passage is “open-form.” The conductor

manipulated, each of which may be individually stopped,

In this third piece a second conductor could be

controls the sequence of the chords, their juxtaposition,

or simply replaced: within a sequence of events, a new

designated from the chorus, to conduct two of the

their duration and dynamics. The fingers of the left hand

indication to the same section will automatically stop a

sections while the other conductor conducts the

indicate the chosen chord. The size of the right hand

previous one. Superimposition of events is possible if

other two, i.e., conductor 1, sopranos and altos; conductor

down-beat (initiating the chord) indicates loudness.

S.A.T.B. are cued independently. The conductor may also

2, tenors and basses. Very rich juxtapositions of tempi,

control register by varying the height of his left hand.

dynamics, textures and densities can be achieved.

The individual chord is stopped using the same

Dynamics are indicated as before, by the size of the right

procedure. Chords may be superimposed; a second

hand down-beat.

may be introduced whilst the first continues. If any singers are thereby given more than one

The graphic notation clearly suggests the character of

tone, they should sing both alternately, at a slow

events 1 and 2. In the first, the style is basically legato,

tempo, legato. A random mixture of vowels is used.

each singer using a random mixture of vowels from those

The result should be spacious and relaxed.

available. In the second: lip, tongue or throat sounds are required, (with no chest resonance), basically staccato.

ISSUU Version For perusal only SMALL PIECES FOR LARGE CHORUS (1969)

Earle Brown (1926–2002)

Conductor: give each entrance (to entire ensemble in the case of first system; to individual sections in case of second system.)

The final sound of each phonetic is to be extended the full length of the graphic line. *All parts have the same material, but in their own characteristic register . . . it begins as a four part, parallel ensemble cluster.

Edition Peters 11142

© 2007 by Henry Litolff's Verlag GmbH & Co. KG, Leipzig

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All initial attacks of chords together, but during long fermata ( ) and thereafter, breathe normally when necessary, with no strain, but alternate breathing, so that pitches are always sustained by as many voices as possible.

2

3

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*I suggest indicating section 2 by two fingers of L.H. and section 1 by one finger or R. H. **RANDOM-MIXED VOWELS. Sequence, juxtaposition, duration and dynamics at discretion of conductor.

All events “HOLD until cut-off by conductor or until given another tone. If given more than one tone, sing both alternately at a slow tempo, legato.

Two Hand CUT-OFF means everyone. One hand CUT-OFF means ONLY the chord indicated by the L.H. fingers (1-4).

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S.A.T.B. may be cued independently with different events. Events are indicated by left hand of conductor. Dynamics by conductor.

Conductor may indicate (control) register by height of his left hand.

4

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Earle Brown

ISSUU Version For perusal only E a r l e B row n wa s b o r n i n 1926 i n L u n e n b u r g, 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.

Photo © Irène Zandel

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