NORDIN
In the Midst of Trespassing No. 2
for Violin, Percussion, Piano and Electronics
Score & Parts
JESPER NORDIN
In the Midst of Trespassing No. 2
for Violin, Percussion, Piano and Electronics
(2010)
INSTRUMENTS
Violin (amplified)
Piano (amplified) / Keyboard
Percussion (amplified):
Vibraphone
4 Dobaci (tuned to g1, a1, b-flat1 and c2)
Gran Cassa
ELECTRONICS
available from the publisher – please contact electronics@editionpeters.com
The pianist triggers twelve different sound files from the MIDI keyboard. The sound files overlap with up to 1 minute, so even if the indicated tempos are preferred it’s more important that the musicians play together in an organic and musical way than that they follow the exact tempo at all times. The sound files can be triggered by a sampler or by connecting the MIDI keyboard to a computer with software like Max/MSP.
TECHNICAL RIDER
- MIDI keyboard connected to sampler or computer
- hardware sampler or computer with software capable of playing sound files 1-12 (stereo files)
- PA system with a minimum of two speakers and monitors for the musicians
- microphones for the instruments, minimum 1 for violin, 4 for percussion and 2 for piano
In the midst of Trespassing No. 2 was commissioned for the Takefu festival in Japan. This piece also exists in a version without piano, called In the midst of Trespassing which was composed for, and premiered by the Swedish group Trio Trespassing.
Duration: c. 14 min.
Percussion
Vibraphone
Dobaci
& & & & & ?
& & & & & ?
Position on skin
to rim)
(close to rim) middle
& & & ?
(start Soundfile6)
Cassa
use a rubber mallet and "paint" on the surface of the drumskin
Tailpiece bowed (dynamics indicate sounding result the pressure must be harder than usual) away from the bridge close to the bridge voice
imitate the pitch and sound of the tailpiece as closely as possible with your voice
(start Soundfile7)
put a drumstick diagonally over the lowest strings, then play directly on the strings with soft mallets (no specific pitches, play in the approximate register)
Put two rattling wooden drum sticks on the drumskin (attached to the rim with a thin string) change to two ordinary GC mallets and one rubber mallet
Tailpiece bowed (dynamics indicate sounding result the pressure must be harder than usual) away from the bridge close to the bridge voice
imitate the pitch and sound of the tailpiece as closely as possible with your voice
p
(start Soundfile10)
& & & & ?
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 Einflüsse 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 finnischen 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.
Photo