IANNOTTA
Intent on Resurrection — Spring or Some Such Thing
for 17 musicians
Score
Intent on Resurrection — Spring or Some Such Thing CLARA IANNOTTA
(2014; rev. 2021) for 17 musicians
Commissioned by Festival d’Automne à Paris & Ensemble Intercontemporain
World première: 17 October 2014, Cité de la Musique, Paris (France)
Flute
Objects: megaphone (!xed on a percussion stand in order to have free hand), wine glass (the pitch is not important, as long as it makes a sound as soon as you pass the !nger on its edge).
Clarinet in B♭(also Bass Clarinet — always prepared with laminated A4 paper)
Objects: megaphone (!xed on a percussion stand in order to have free hand), wine glass (the pitch is not important, as long as it makes a sound as soon as you pass the !nger on its edge).
Bassoon
Objects: megaphone (!xed on a percussion stand in order to have free hand) + wine glass (the pitch is not important, as long as it makes a sound as soon as you pass the !nger on its edge), waldteufel.
Horn
Mutes: Whisper, Wa-Wa (you can use the trombone one), Practice, Straight.
Objects: piece of hard polystyrene, metal brush ( ), 2 music boxes (the tune is not important) attached to a wooden box in order to make it resonate as much as possible, pata!x to apply on the music box in order to get damped sounds (when it is marked as “damped sound”), wine glass (the pitch is not important, as long as it makes a sound as soon as you pass the !nger on its edge), birdcall “gelinotte”, birdcall “quail” (attached on the "oor, so that it can be played with the foot), 48 holes harmonica (prepared with silk).
Trumpet
Mutes: Practice, Wa-Wa, Straight.
Objects: piece of hard polystyrene, metal brush ( ), 2 music boxes (the tune is not important) attached to a wooden box in order to make it resonate as much as possible, pata!x to apply on the music box in order to get damped sounds (when it is marked as “damped sound”), wine glass (the pitch is not important, as long as it makes a sound as soon as you pass the !nger on its edge), birdcall “gelinotte”, birdcall “quail” (attached on the "oor, so that it can be played with the foot), 48 holes harmonica (prepared with silk).
Trombone
Mutes: Practice, Wa-Wa, Straight.
Objects: piece of hard polystyrene, metal brush ( ), 2 music boxes (the tune is not important) attached to a wooden box in order to make it resonate as much as possible, pata!x to apply on the music box in order to get damped sounds (when it is marked as “damped sound”), wine glass (the pitch is not important, as long as it makes a sound as soon as you pass the !nger on its edge), 48 holes harmonica (prepared with silk).
Percussion 1:
Crotales C5, C#5, D5, E5, F5, F#5, G5, G#5, B5 [NB: do central = C4]
#ai Gong (put horizontal on a table) F3 [NB: do central = C4]
2 music boxes (the tune is not important) attached to a wooden box in order to make it resonate as much as possible
Pata!x to apply on the music boxes in order to get damped sounds (when it is marked as “damped sound”)
Polystyrene (styrofoam)
Large #under sheet
Metal brush ( ) for gong and thunder sheet (granulated sounds)
TAM (36’’)
Bass drum
Wine glass (ver y high pitch)
Large #ai Gong put horizontal on a table to be rubbed with the edge of a small singing bowl (extremely distorted sound)
Triangle
Car’s Metal Spring
Guiro
2 Cello bows
Percussion 2:
Crotales on stand G5, A#5 [NB: do central = C4]
Crotale A5 [NB: do central = C4] on Timpano
Cymbal on Timpano (Cymbal and crotale can be put on the same timpano)
2 music boxes (the tune is not important) attached to a wooden box in order to make it resonate as much as possible
Pata!x to apply on the music boxes in order to get damped sounds (when it is marked as “damped sound”)
Polystyrene (styrofoam)
Large #under sheet
Metal brush ( ) for thunder sheet (granulated sounds)
Bass drum
Wooden Box
Cymbale 18” upside-down and blocked on stand
Waterphone
Vibraslap (take one that has a quite long resonance)
Waldteufel
2 Cello bows
Piano (prepared)
Objects: 2 music boxes (the tune is not important) attached to a wooden box in order to make it resonate as much as possible, pata!x to apply on the music box in order to get damped sounds (when it is marked as “damped sound”), metal socket wrench, piece of hard polystyrene, metal brush ( ), 5 Magnets (Neodymium Cylinder: 60mm height, 12mm diameter), 2 E-bows, bicycle inner tube, tape, rubber, waldteufel.
Harp
Objects: 2 music boxes (the tune is not important) attached to a wooden box in order to make it resonate as much as possible, pata!x to apply on the music box in order to get damped sounds (when it is marked as “damped sound”), plectrum, piece of hard polystyrene, metal brush ( ), 4 honey spoons, superball, tuning key, waldteufel, hard card (like credit card).
Violin 1
Mutes: Metal.
Objects: piece of polystyrene attached to the music stand.
Preparation (starting from measure 150): metal, circular clip !xed on indicated string.
Violin 2
Mutes: Metal.
Objects: piece of polystyrene attached to the music stand.
Preparation (starting from measure 150): metal, circular clip !xed on indicated string.
Viola 1
Mutes: Metal.
Objects: piece of polystyrene attached to the music stand.
Preparation (starting from measure 150): metal, circular clip !xed on indicated string.
Viola 2
Mutes: Metal.
Objects: piece of polystyrene attached to the music stand.
Preparation (starting from measure 150): metal, circular clip !xed on indicated string.
Cello 1 (with IV string detuned to D1 [NB: do central = C4]
Mutes: Metal.
Objects: piece of polystyrene attached to the music stand.
Cello 2
Double Bass 5 strings (with the V string detuned one octave lower) Mutes: Ordinar y
– Accidentals apply only to those notes before which they are placed, with the exception of repeated notes.
Winds (videos and audio recordings of special techniques are provided by the composer and/or publisher):
Megaphones: volume of the microphone always at maximum. !e mouth has to be ver y close, almost touching to the microphone. Move the inside of the mouth slowly and irregularly, as if sucking a candy. NB: opening the mouth slightly, one can cause feedback with a ver y strong dynamic. !e e"ect itself is ver y pleasant, and it can be integrated into the texture as long as one moves away from the mouthpiece as soon as one hears the feedback emerging in order to maintain a quiet dynamic.
Bassoon: harmon mute is suggested, in order to maintain a soft dynamic, never more than the other winds.
Preparation of the bass clarinet: cover the bell of the instrument with a sti" sheet of paper — a laminated A4 sheet is suitable — $xed with a bulldog clip !e sonic result is a low buzzing sound. You can see a photo and some samples of the preparation on Heather Roche’s blog: https://heatherroche.net/2014/03/24/on-bass-clarinet-preparations/
Brass (videos and audio recordings of special techniques are provided by the composer and/or publisher):
Harmonicas : all the holes must be covered with a thin cloth (preferably silk). Blowing in the medium-high register !e resulting sound is a ver y high harmonic cluster !e e"ect works ONLY on harmonicas with 48 holes (24+24). Suggested brand: http://www.thomann.de/de/thomann_melodia_48_in_c_mundharmonika.htm
Birdcalls: Where to buy them: http://www.qbc.fr/index.php?cPath=23_21&osCsid=4cb45019efa6d2c"5c3cf7396045f26
Piano (videos and audio recordings of special techniques are provided by the composer and/or publisher):
Preparation:
– Pata$x: place a piece of pata$x close to the dampers of the following notes in order to have a dr y sound:
– Tape: place tape (or pata$x) on the strings of the last $fth in the highest register of the piano to damp completely the resonance.
– Rubber: place a big rubber between the lowest two strings to cut the resonance. It has to sound almost like a bass drum.
– Magnets (5 Neodymium Cylinder: 60mm height, 12mm diameter): position the magnets as shown in the picture. Lightly touch the tip of the magnets and let vibrate (tremolo e"ect). See the image below in order to understand how to position the magnets on the strings.
NB: Depending on the piano, the position of the magnets may change, as well as the strings. If you place the magnets on strings di"erent than the one written above, please change the pitch on the score ever y time you slide the magnet along the string while pressing the key (like in measure 112 and similar).
Harp (videos and audio recordings of special techniques are provided by the composer and/or publisher):
Honey spoons: place 4 honey spoons between 2 strings. !e pitch and the position are not important, but the $rst has to be places between two strings in the low register, the second one in the medium register, the third and fourth ones in the high register !e sonic result can be seen and heard here: https://youtu.be/bLCNozX75BA
Strings (videos and audio recordings of special techniques are provided by the composer and/or publisher):
Pizz. Fluide: perform the pizzicato with the left hand. Once you have pinched the string, use the metal button of the bow, and sometimes the wood of the bow. Push horizontally with the right hand, like a bottle-neck for a guitar !is action gives a glissando resulting from the division of the string and moving the knob of the bow
Bow positions and techniques:
Molto AST = as close as possible to the left hand
AST = alto sul tasto
T = al tasto
PO = posizione ordinaria
SP = sul ponticello
MSP = molto sul ponticello
MV = molto vibrato
NV = non vibrato
l.b. = legno battuto
c.l.t. = col legno tratto
1/2 = 1/2 legno
Ampli!cation
Each instrument should be ampli"ed, with piano, harp, and percussions which should have at least 2 mics each.
clara.iannotta@gmail.com www.claraiannotta.com
: 14’ ca.
Durée
Intent on Resurrection — Spring or Some Such !ing
Clara Iannotta Score in C (2014–rev. 2023) for 17 ampli!ed musicians
[sort of bisbigliando, extremely soft four-note trill (change the order, if you want), creating a halo, almost no attack]
= col legno tratto
= half pressure, slow microtonal vibrato; R.H. = col legno tratto, poco slow bow.]
= col legno tratto
[damp the strings with the left hand and play col legno tratto starting MSP and going
[damp the strings with the left hand and play col legno tratto starting
= col legno tratto
very little pressure, bow close to the left hand, follow the movements of the right hands along the "ngerboard.]
[LH: half pressure. RH: col legno tratto (clt), very little pressure, bow close to the left hand, follow the movements of the right
half pressure. RH: col legno tratto (clt), very little pressure, bow close to the left hand, follow the movements of the right hands along the "ngerboard.]
half pressure. RH: col legno tratto (clt), very little pressure, bow close to the left hand, follow the movements of the right hands along the "ngerboard.]
[follow the glissando drawing with the left hand, while applying more pressure of the bow You should increase the distortion with each crescendo. In order to have more distorsion, slow the speed of the bow when you increase the pressure.]
Slow Rotation]
Slow Rotation]
nger]
Slow Rotation]
light bow trying to let all harmonics out.
glissando
[with singing bowl] [scrape the gong with the bowl, using a lot of pressure in order to have a metallic, distorted sound.]
[scrape the cymbal with a wooden beater (the one used for the snare drum). "e sonic result should be a very distorted sound consisting of high, screeching partials. Change the pressure to have more or less distorsion.]
[slowly scratch the string with your nails. A grain at the time.] [slowly scratch the string with your nails. A grain at the time.]
then it goes on II-III at bar 102, etc. !e accents simply underline the rhythm. !ey should be as soft as possible.]
[take the chord on the 4 strings. Keep doing the glissando with your left hand, but play only on the written strings — ex. it starts only on strings I-II, then it goes on II-III at bar 102, etc. !e accents simply underline the rhythm. !ey should be as soft as possible.]
[take the chord on the 4 strings. Keep doing the glissando with your left hand, but play only on the written strings — ex. it starts only on strings II-III,
(48 holes prep. silk)
HARMONICA (48 holes prep. silk) HARMONICA (48 holes prep. silk)
[low, airy slap — the attack should be clear, but no sound, just air.]
[low, airy slap — the attack should be clear, but no sound, just air.]
[low, airy slap — the attack should be clear, but no sound, just air.]
VIBRASLAP
[glissando using a tuning key or a triangle, metal stick]
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