Score (Solo Violin)
EDITION
KP00266
Kaija Saariaho ...DE LA TERRE
WILHELM HANSEN
Kaija Saariaho
...DE LA TERRE
EDITION WILHELM HANSEN AS Score/Solo Violin WH
Section 3 from the ballet MAA for solo violin, tape and live electronics
Kaija Saariaho
…DE LA TERRE
for violin and electronics
(third part of Maa, ballet music in seven parts)
Equipment used at first performance:
One good quality directional microphone
Lexicon LXP-15
Digital reverberation (eg. Lexicon PCM70)
Akai DD 1000 hard disk recorder system or DAT recorder
Mixer
Stereo amplification
The sound ideal for the amplification is a clear and rich ‘close’ sound. The microphone should be placer rather close to the instrument. The amount of amplification depends, naturally, on the concert space, but in this piece the amplified sound can cover the acoustic sound of the instrument. The general level can be set to be rather loud, but not painfully so.
REVERBERATION EFFECT
The reverberation used on the Lexicon LXP-15 is a program in which the reverb time is changed constantly by the amplitude of the input signal. The general idea here is, the quieter the sound, the longer the reverb.
The parameters of the program are marked in the set-up drawing (page 2). The amplified violin sound should blend well with the reverd sound but nevertheless remain slightly in the foreground.
The second reverb is used to soften the amplified violin sound and the Lexicon LXP-15 sound. No reverb is added to the pre-prepared audio material.
PRE-PREPARED AUDIO MATERIAL
Different equipment can be chosen to play the pre-prepared audio material:
1. Akai DD1000
2. DAT recorder
3. A hard disk recording/playback system eg SoundTools by DigiDesign). This will require: MacII (or later)
Hard disk with 200MB free space (minimum) (Accelerator card for pre-PowerMac models)
DAT I/O
Sound Designer II software
LiveList software
DATa software.
The audio material is available from the publisher as an optical disk for Akai DD1000 or DAT tape.
Current Version (November 2009):
Macintosh computer equipped with an audio interface compatible with Max/MSP (e.g. Motu 828mkII; Motu 896; Digidesign DIGI002; RME sound-card) to run a patch including stereo hard-disk playback of sound-files and simulation of reverberations. Check the piece on composer's page in http://www.chesternovello.com for the link to latest version of the patch.
Or
Audio CD player
Infinite reverberation (e.g. PCM81 or PCM91)
General reverberation (e.g. Lexicon PCM81)
Microphone for the violin
Mixer & stereo diffusion (possibly a return monitor for the violinist)
PCM81 parameters:
(start from Preset P3 1.9 Concert Hall)
Patch 0 src Int Mono Lvl
Patch 0 Dst Rvb Time Mid Rt
Patch 0 values 000 : 55.6 src 127 : 3.33 dst
i
LXP 15 programming: Glidelay 0µs HiCut 3.21 kHz Decay Inf. Inlevel 100% LFO Rate 0.01Hz Algthm Dly/Rvb SRC 1 Inlvl SRC 2 off SRC 3 off SRC 4 off Digital
A medium length, warm reverberation should be used. Delay 2 17.0 ms Bass Mpy 1.00x WetP C Dest 1 Decay Gldfbk 0% LoCut 19 Hz Treble Full Mix 100% RvbMix 100% Tresh 0 Size 71 metre DryP C Scale 1 -176% Diffus. 71% Outlvl 100% Offset 1 0a Violin Akai DD1000 or DAT recorder aux. 2 post digital reverb. Lexicon LXP 15 to house p/a p/a mixer l l l l l l l l l l l aux. 1 post
reverb. programming:
version: ii
ELECTRONICS Original
NOTATION
When vibrato markings are not specified, players can use their usual vibrato. ‘Molto vibrato’ always means a rapid and narrow vibrato, unless otherwise specified. Tremolo should always be as dense as possible.
Change very gradually from one way of playing, or one type of sound, to another
Diminuendo al niente
Crescendo da niente
Senza vibrato
Let vibrate as long as possible
Microintervals:
Note raised a 1/4 tone (between and )
Note lowered a 1/4 tone (between and )
Glissandi:
this glissando should always be played very evenly, without vibrato or accentuations
Glissando with much vibrato.
(Strings only). Glissando with artificial harmonics, in which the upper finger is constantly moving, thus creating a rich variety of sound with vividly varying pitches, instead of one gliding pitch.
All glissandi should begin immediately, at the start of the note value. Pitches in parenthesis during the glissandi are intended to indicate the approximate speed of the glissando, and are not to be played with any accentuation or tenuto.
Sul ponticello (estrememente).
Sul tasto.
N
Normale (to contradict S.P. or S.T.)
Natural harmonic.
Add bow pressure to produce a scratching sound in which the note is totally replaced by noise.
As above but return to normal tone again.
When playing long sustained tones the bow changes should always be made imperceptible and independently of other players. During long slurs which include several long sustained notes, a change of note should not coincide with a change of bow
S.P
S.T.
j S.V l.v. or gliss. gliss. gliss. gl.
iii
…DE LA TERRE
Kaija Saariaho
8 sempre dolcissimo, espressivo Sul A S.V S.T j N j 8 S.P j (Sul A) j Vibr S.T N j Vibr N j j S.V S.P j S.V j Molto Vibr (Sul A) N S.V pizz. (endless reverb.) a tempo sempre legatissimo, espr gliss. arco (Sul A) N Vibr j N (Sul D) j j S.P gliss. 3 M.V j S.P j j gliss. gliss. gliss. N Sul A S.T j S.T j gliss. j 2 3 gliss. j j gliss. S.P pizz. (endless reverb.) più mosso ( , j ) arco S.P Sul A,D leggiero 12 12 1 3 meno mosso più mosso, dolce S.P j S.T S.P 10 1 2 4 gliss. 10
c.15” Violin Electronics (Infinite reverb. throughout the piece) (wind, birds, whispers) 1 (new sound always begins at circled numbers) continues continues “S’attaché” “dans l’herbe” “dans l’herbe” “le lumière” very slow bow very slow bow (wind, birds) 2 (dur. 25”) (wind, birds, whispers) 3 (dur. 20”) c.10” c.6” whispers continues
© Copyright 2001 Edition Wilhelm Hansen, Copenhagen 6 12 17 22 27 2
8 10 2 2 2 S.P (Sul D) 3 2 j 2 2 1 2 N poco meno mosso gliss. legatiss. N j j j gliss. Sul A S.P 3 S.P più mosso (a tempo) sempre leggiero j (Sul D) S.P j poco gliss. gliss. poco N gliss. S.P poco gliss. j poco rit. S.T 8 poco meno mosso, rubato legatiss. S.T 5 j j Sul A gliss. S.P j gliss. N a tempo S.P j gliss. N S.P j N gliss. 5 poco N j S.T gliss. gliss. gliss. gliss. S.T j j S.P 5 j j rit. S.P j meno mosso, rubato gliss. j j S.T j j pizz. S.P 3 play with light finger pressure (as harmonics) (wind, birds, whispers) 4 “s’attaché” “les grains, les vagues” (dur. 25”) gliss. 31 36 41 46 51 55 60
leggiero N j N j j S.P (sempre) 6 S.P j S.T N j S.P j S.T j S.P j S.T gliss. S.T j S.P arco j col legno tratt. pizz. (endless reverb.) 4 c.6” meno mosso c.9” 5 “les arbres sous la terre” (wind, whispers) (dur. 30”) (Endless reverb.) 68 72 76 79 83 87 90 94
in parenthesis: hold as long as possible
pizz. 5 5 5 poco rubato dolce arco 3 j a tempo pizz. 5 5 5 arco 5 poco rubato dolce j (Sul D) a tempo pizz. 5 5 5 5 5 5 5 5 5 5 meno mosso “pizz.” arco j gliss. arco “pizz.”j j j j j a tempo pizz. 5 5 5 3 (endless reverb.) meno mosso, sempre poco rubato N j 3 S.T N j S.T 5 (S.T.) 3 con violenza S.T dolce 3 (S.T.) 5 1 2 1 N j 5 S.T 3 N j 3 S.T N j (Sul D) 3 S.T gliss. 5 S.T ( ) gliss. S.T S.P sempre espress. j j 5 3 (Sul A) gliss. S.P j 3 5 continues “re elle jusqu’au bord” “de la lumière” “pizz.”: strike the left hand fingers on the finger board gliss. c.4” gliss. c.1” c.1” c.1” c.1 5” c.1 5” c.1” c.1” c.1” c.3”
6 continues (wind, birds,) (dur. 30”) very slow bow 99 104 109 117 123 129 134 140 ( ) ( ) ( ) ( )
notes
S.P j 3 S.T S.P j j gliss. S.T ( ) ( ) ( ) 3 1 4 S.T j S.P j 5 S.T 3 ( ) 4 1 3 S.P sempre intenso 3 j j j j gliss. 3 4 1 2 0 j S.P 3 5 ( ) 3 4 1 S.P j gliss. 3 j j gliss. 3 5 gliss. 3 ( ) poco (arco) 4 2 3 2 4 1 S.P 3 gliss. poco 1 2 4 0 8 8 gliss. S.P 3 3 gliss. 5 3 poco 2 1 2 0 4 1 3 ( ) 3 ( ) ( ) j gliss. S.T j 3 gliss. S.P 3 poco 8 gliss. 3 (Sul D) 3 ( ) S.T j j j (Sul E) S.P 3 2 2 0 4 1 S.T 3 S.T espress. 3 3 S.P gliss. Lento , dolciss. (Sul A) 5 (Sul A) ( ) 3 gliss. 4 1 3 poco ( ) ( ) 3 ( ) poco legatiss. sempre dolce, espr Sul A S.P 6 c.6” (dur. 30”) (wind, whispers) 7 continues “la mist” “s’attache” c.1” c.1 5” c.1” c.1” c.2” c.7” c.9” c.1” 8 (wind, birds) 8 (dur. 20”) “les grains, les vagues” (wind,) 9 (dur. 30”) 145 149 154 158 161 165 170 ( ) ( ) ( )
“s’attache”
ad libitum: E.F. glissandi on G and D strings. Imitate the wind.
(wind, birds, whispers) 12
30”)
“sous la terre… rè elle jusqu’au bord de la nuit”
as above: glissandi on A and E strings. Imitate the wind.
(wind, birds)
a tempo j S.T j 3 j S.P 3 S.P j 3 poco 3 5 j N j gliss. S.P gliss. gliss. 8 (Sul A) S.P gliss. S.P jN j poco gliss. 3 S.T S.T j gliss. gliss. 3 4 S.P gliss. gliss. gliss. gliss. N j 5 gliss. gliss. 5 S.P N j j j S.P S.P 7 c.13” (wind, birds) 10 (dur. 30”) c.15” c.20”
birds, whispers) 11 (dur. 25”) continues a tempo
(wind,
“de la lumière”
(dur.
“les arbres”
c.25”
dolcissimo
13 (dur. 40”)
174 180 184 189 192 195
LXP-15
KP00266
ISBN-10: 87-598-5309-3
ISBN-13: 978-87-598-5309-2
