NORDIN
calm like a bomb
for Violin and Tape
Performing Score
ISSUU Version
For perusal only
ISSUU Version
JESPER NORDIN
For perusal only
calm like a bomb
Performing Score for Violin and Tape
POD PETERS on demand
ALLE
EDITION PETERS
LEIP ZI G · L ONDO N · NE W YOR K
ISSUU Version For perusal only
Performance and diffusion notes
-the live violin must be amplified and blended with the tape part in the sound system
-this piece benefits from "active" diffusion by the sound engineer
-the performer might use a timer or learn to follow the tape part by ear
-the time indications in the score are approximations and should be considered as guidelines, the only place in the piece where exact syncronization with the tape is called for is between 8:27 and 8:57 (this does not mean that the performer should not try to play as close to the time indications as possible, only that one or two seconds difference is acceptable if the phrases are organic)
-the graphic notation of the tape part only shows a few important events that is clearly audible to the performer, it is not trying to be a notation of the actual music
calm like a bomb was commissioned by Svenska Rikskonserter (the Swedish Concert Institute) for Daniel Möller and KammarensembleN 2000
calm like a bomb was awarded Prix Ton Bruynél in Holland 2001, second prize in Salvatore Martirano Award in USA 2001 and second prize in Luigi Russolo competition in Italy 2002
the tapepart consists of sounds from Swedish folk singer Sofia Karlsson, rock- and folk musician Fredrik Lindqvist (octave mandolin and electric guitar) and violinist Daniel Möller
ISSUU Version
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Notations:
qq qq nn nn
jeté
s.p.
= quasi niente
= "bouncing bow", riccochet
= sul ponticello
= gradual change, for instance from sul ponticello to ordinario
= faster or slower bowing, regardless of what the fingers are doing
exaggerated bow pressure
molto sul ponticello >
senza misura poco rit
-free fingering but producing as little clear pitch as possible -play individual notes following the contour of the score -do not play only one repeated pattern -this is not a glissando
-free glissando on indicated string
-free, erratic note repetitions, follow the graphical groupings and the indicated accelerandi and ritardandi
The tape audio file is available as download here: https://s3.eu-central-1.amazonaws.com/epresources/EP14218-TAPE.wav
ISSUU Version
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calm like a bomb
ISSUU Version
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time = 1:58
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time = 2:30
time = 3:58
ISSUU Version
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down-pitched voice melody (simplified)
time = 4:38
time = 5:31
ISSUU Version
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time = 7:03
molto sul ponticello exaggerated bow pressure
ISSUU Version For perusal only
time = 7:18
s.p.
exaggerated bow pressure time = 7:25
time = 7:33
time = 7:46
molto s.p.
exaggerated bow pressure
time = 7:53
time = 8:13
gradually louder noise in background
time = 7:58
gradually start playing in tempo with the tape
start varying the straight eight notes with accents and small improvised rhythmic figures without changing the pitch (NB! priority number one is staying in pulse)
ISSUU Version
For perusal only
ISSUU Version
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ISSUU Version
For perusal only
ISSUU Version For perusal only
Jesper Nordin
Jesper Nordin (b. 1971) studied at the Royal College in Stockholm, at IRCAM in Paris with Philippe Leroux and later with Brian Ferneyhough at Stanford University, where he carried out research at the CCRMA Studio. Electronic elements, folk, rock and improvisation inform his music. Conductors Daniel Harding, Kent Nagano and François Xavier Roth, have collaborated with Nordin; the BBC Scottish Symphony Orchestra, Basel Symphony Orchestra, Finnish and Swedish Radio Symphony Orchestras, and Ensemble Orchestral Contemporain have performed his music. Nordin was composer in residence at P2 (classical channel of Swedish Radio), who released the CD Residues (2006). He has also released an iOS app – Gestrument – based on his own composition technique, and used worldwide to create music in genres including Electronica, Techno and Jazz.
Jesper Nordin (*1971) studierte an der Königlichen Musikhochschule in Stockholm, bei Philippe Leroux am IRCAM-Institut in Paris und später bei Brian Ferneyhough an der Stanford University. Dort forschte er auch am CCRMA-Studio für Elektronische Musik. Die Verwendung elektronischer Mittel hat seine musikalische Sprache entscheidend geprägt; weitere Einfüsse kommen aus den Bereichen Volksmusik, Rockmusik und Improvisation. Seine Werke wurden von Klangkörpern wie dem BBC Scottish Symphony Orchestra, dem Finnischen und Schwedischen Radio-Sinfonieorchester, dem Asko-Ensemble und dem fnnischen Zagros-Ensemble aufgeführt. Er war Composer-in-Residence bei P2, dem Klassiksender des Schwedischen Rundfunks, der 2006 auch sein Album Residues mit Orchester- und Chorwerken veröffentlichte. Im Jahr 2005 war er für die Komponistentribüne der UNESCO nominiert.