Lil Lacy AURORA (version for 2 tpt, 3 tbn)

EDITION WILHELM HANSEN WH33725

Lil Lacy

for Orchestra (2023)

Version for 3 trombones

Score

Lil Lacy AURŌRA for

Orchestra

(2023)

Duration: c. 10 min.

Commissioned by Gävle Symphony Orchestra, and premiered at Gävle Koncerthus, Sweden. Conducted by Christian Reif 15th of September 2023.

Music engraving in Sibelius Engraved by Frej Wedlund

Publisher’s editor: Katrine Gregersen Dal

Edition Wilhelm Hansen, A/S Copenhagen Bornholmsgade 1A 1266 København K Denmark

www.wisemusicclassical.com

Lil Lacy - Aur ra

For orchestra, duration approx. 10 min.

Commissioned by Gävle Symphony Orchestra

Dedicated to Jannis Noya Makrigiannis

O Orchestra: :

2 Flutes (1st flute dbl. alto flute, 2nd only alto flute)

2 Oboes (2nd oboe dbl.Cor Anglais)

2 Clarinets in Bb (2nd cl. dbl. Bass Clarinetin Bb)

2 Bassoons (2nd dbl.Contrabassoon)

4 Horns in F

2 Trumpets in Bb

3 Trombones (1st Tenor Trombone, 2nd Tenor Trombone, 3rd Bass Trombone)

1 Tuba

1 Timpani

1 Percussion Gran Cassa Glockenspiel Triangle Marimba Vibraphone Tubular Bells

Violin I

Violin II

Viola

Violoncello

Double Bass (approx. half the contrabasses with low C)

The score is written in transposition

The horn in F, transposes a fifth down, in both treble and bass clef

Per formance e notes: :

1) Line with arrow:

Indicates a gradual change relating to playing techniques - as for example adding slight vibrato.

Example:

2) All tremolo is unmeasured.

3) If any doubt about what brown or white noise indicates, here can be found:

Video link to the sound of brown noise: https://www.youtube.com/watch?v=RqzGzwTY-6w

Video link to the sound of white noise: https://www.youtube.com/watch?v=nMfPqeZjc2c

4)Video link to audiovisual performance notes for Aur ra: https://youtu.be/RxFCTU8v1nA Relevant for: woodwinds brass s and timp

The 4:45 min. video explains:

- the Breath: exhale through the mouth (not the instrument):

1. [Hoh] (darker sound and overtones, brown noise, exhale from the deep part of the lungs)

2. [Hah] (in the middle - a sound area of overtones that is in between the two others)

3. [Hih] (brighter sound and overtones, white noise)

NOTE: relevant for w woodwinds brass s and timp

- the Hands: relaxed hands, softly rub palm against palm, listen for lower pitches or darker overtones.

NOTE: relevant for w woodwinds, , trumpets s and t tbn 1

These techniques are used to, during the piece, portrait the movement from a darker sound into a brighter sound, as Aur ra is transforming the night into day and darkness into light.The sounds furthermore imitate different frequencies of the river Gävleån, flowing by the sculpture ‘Auroras Seger’ in Gävle, SE.

Woodwinds s

o Square

Square note for w woodwinds, , brass and t timp.:

Indicates exhaling through the mouth (not the instrument).

The vowel sound to produce the exhale, transforms during the piece:

1. [Hoh] (darker sound and overtones, brown noise, exhale from the deep part of the lungs)

2. [Hah] (in the middle - a sound area of overtones that is in between the two others)

3. [Hih] (brighter sound and overtones, white noise)

Note: Further explanation of the 3 exhales and the sound of the hands, can be found in a video link tothe audiovisual performance notes for Aur ra: https://youtu.be/RxFCTU8v1nA

Relevant for: woodwinds, , brass and timp

These techniques are used to, during the piece, portrait the movement from a darker sound into a brighter sound, as Aur ra is transforming the night into day and darkness into light.The sounds furthermore imitate different frequencies of the river Gävleån, flowing by the sculpture ‘Auroras Seger’ in Gävle, SE.

Example:

o Diamond

Diamond note for w woodwinds and b brass:

Indicates blowing warm air through theinstrumentat a specific pitch.

There are indications of how much tone is intended to sound in relation to the “air sound” or soft noise. This balance is written in percentage:

“0-5% sounding tone – only slight deep resonance”

– hereby meaning that the sounding written tone that should appear, should be focused on the darker overtones (deep resonance), and that the sounding tonecan be in between 0-5% in relation to the noiseat the desired dynamic.

Example:

Furthermore, the balance between sound and noise may growduringthis specific held tone/sound, always moving from slightly less tonesounding(here 0 %) to slightly more tone represented in the sound(here 5%) (following the growing dynamic crescendo) – if possible. It is a fine balance.

The balance between air sound / soft noise and actual sounding tone develops throughthepiece. The softer the dynamic, the morethewarm air and soft noise is enhanced in the sound.

The louder the dynamic, the more the actual sounding tone shouldblend into the warm air/soft noise. This technique represents the slow awakening or occurrence of the actual tone, representing the awakening of the morning and light.

Brass s

o Square

Square note for w woodwinds, , brass and t timp :

Indicates exhaling through the mouth (not the instrument).

The vowel sound to produce the exhale, transforms during the piece:

1. [Hoh] (darker sound and overtones, brown noise, exhale from the deep part of the lungs)

2. [Hah] (in the middle - a sound area of overtones that is in between the two others)

3. [Hih] (brighter sound and overtones, white noise)

Note: Further explanation of the 3 exhales and the sound of the hands, can be found in a video link to the audiovisual performance notes for Aur ra: https://youtu.be/RxFCTU8v1nA

Relevant for: woodwinds, , brass s and timp

These techniques are used to, during the piece, portrait the movement from a darker sound into a brighter sound, as Aur ra is transforming the night into day and darkness into light.The sounds furthermore imitate different frequencies of the river Gävleån, flowing by the sculpture ‘Auroras Seger’ in Gävle, SE.

Example:

o Diamond

Diamond note for w woodwinds and brass:

Indicates blowing warm air through the instrument at a specific pitch.

There are indications of how much tone is intended to sound in relation to the “air sound” or soft noise. This balance is written in percentage:

“0-5% sounding tone – only slight deep resonance”

– hereby meaning that the sounding written tone that should appear, should be focused on the darker overtones (deep resonance), and that the sounding tone can be in between 0-5% in relation to the noise at the desired dynamic.

Example:

Furthermore, the balance between sound and noise may grow during this specific held tone/sound, always moving from slightly less tone sounding (here 0 %) to slightly more tone represented in the sound (here 5%) (following the growing dynamic crescendo) – if possible. It is a fine balance.

The balance between air sound / soft noise and actual sounding tone develops through the piece. The softer the dynamic, the more the warm air and soft noise is enhanced in the sound.

The louder the dynamic, the more the actual sounding tone should blend into the warm air/soft noise. This technique represents the slow awakening or occurrence of the actual tone, representing the awakening of the morning and light.

Timp

o Square

Square note for w woodwinds, , brass and t timp :

Indicates exhaling through the mouth (not aninstrument).

The vowel sound to produce the exhale, transforms during the piece:

1. [Hoh] (darker sound and overtones, brown noise, exhale from the deep part of the lungs)

2. [Hah] (in the middle - a sound area of overtones that is in between the two others)(relevant for timp )

3. [Hih] (brighter sound and overtones, white noise)

Note: Further explanation of the 3 exhales and the sound of the hands, can be found in a video link to the audiovisual performance notes for Aur ra: https://youtu.be/RxFCTU8v1nA

Relevant for: woodwinds, , brass s and timp

These techniques are used to, during the piece, portrait the movement from a darker sound into a brighter sound, as Aur ra is transforming the night into day and darkness into light.The sounds furthermore imitate different frequencies of the river Gävleån, flowing by the sculpture ‘Auroras Seger’ in Gävle, SE.

Example m129 - m134:

Strings s

o Bow placements for strings areindicated as:

sul tasto estremo

sul tasto

naturale

sul pont.

sul pont. estremo

o Tilted bow

Indicates: Play with half of the hairs of the bow.

N.B.:nothalf col legno (the wood of the bow should not be used).

o Cross

Crossed noteheadfor a all l strings:

Indicates noise created at a certain pitch. The noise is created by either:

1.Pressing down the finger atthe actual pitch as in full tone production, while dampening the string and tone with the other fingers of the left hand.

2.Pressing down the finger atthe actual pitch, but not pressing it down completely, while also dampening the string and tone with the other fingers of the left hand.

Both techniques need a close ongoing adjustment by the bow to keep the noise in the intended area of more high or low overtones as well as volume etc. These aspects are indicated in the score and parts. The twodifferent ways of how to press down the finger in the actual pitch also is affected by the volume desired as well as the specific instrument.

The sound desired isnoise;primarily brown noise with a feeling of a root; brown noise based on a slightly occurring tone – the tone tends to become more present with growing dynamics.

This technique represents the slow awakening or occurrence of the actual tone, representing the awakening of the morning and light. The noise furthermore imitates different frequencies of the riverflowing by the sculpture ‘Auroras Seger’ in Gävle, SE.

Example:

Strings s (continued) )

o Square

Square noteheads for v vln I vln II I and v vla :

Indicates dampening the strings in the left hand anywhere on the fingerboard that is not resonating with natural flageolets. Follow the nature of the specific instrument and find the exact placement that best represents the desired sound.

The strings are dampened by fingers laid flat over the strings with light pressure, creating noise without a resonating tone. Focus on white noise, with as few bright noise-overtones as possible (to imitate the sound of brown noise), and no tone or natural harmonics sounding.

The sound should mix into the sound of the orchestra.

The technique represents an imitation of certain noise frequencies of the sound of the river flowing by the sculpture ‘Auroras Seger’ in Gävle, SE.

Example:

o Cup/ rounded notehead

Cup/rounded notehead for v vlc and c cb :

Indicates that the finger of the specific pitch is pressed downwith a ¾ pressure.The technique demandsa grand awareness of both the pitch and the bowing in combination, to keep this sound quality throughout the intended phrases.

It is possible to make avibrato playing with this technique. When stated “vib.”, then poco vibrato to medium vibrato is the most desired vibrato for this technique, in this piece.

This technique makes the tone resonate a bit less intense, full-bodiedor vibrant as in normal playing technique, resembling a bit the sound quality of playing sul tasto.

The technique creates a softer sound, rounded by aslight noise orwitha dusty quality to it.

There will be slight, but clear sonic differences when the group of strings play with this technique compared to a normal playing technique inthe sounding tone.

Inspired by the soft awakening morning ( ) this sound quality is used multiple places inthe piece and is also used for the cello solo in bar 115 to 128, where itslowly movesinto normal playing technique in bar 129.

Theexploration of the resonance and sound transformation of the tone qualitythroughout the piece, equals the arriving morning, and change from night into day, darkness into light; the ‘dusty’ tonetransforming slowlyinto the freely vibrating full-bodied tone.

Example m115 - m120:

Q Quotes:

Quotes from the melody "Ack Värmeland, du sköna" have been used in the material.

Lyrics by Anders Fryxell and Frederik August Dahlgren

Melody by Frederik August Dahlgren

About the piece:

The piece is commissioned by Gävle Symphony Orchestra.

The piece is inspired by the sculpture Auroras Seger by Staffan Nihlén, placed under the bridge Kvarnbron in June 1994 as a donation from the GDJ-foundation (https://www.visitgavle.se/sv/auroras-seger). The sculpture is made out of granite stone and positioned on a small island, surrounded by the beautiful, powerful and loud sounding river Gavleån.

One can see the Gävle Koncerthus from the small island where the sculpture Auroras Seger sits.

is the Roman Goddess of dawn.

The three siblings: Luna – the goddess of the moon, Sol, the god of the sun and – the goddess of the dawn, each had a particular role for the different parts of the day. announced the arrival of the sun every morning.

Her Greek counterpart was the goddess Eos. S

ever young and was always the first one to wake up in the morning. She rode her chariot across the sky before the sun did, and she had a purple mantle of stars that unfolded behind her. s, the father of the stars, were the parents of the Anemoi, the four winds, who were Boreas, Eurus, Notus, and Zephyrus.

new beginnings and the opportunities that the new day offers. Today, her name is present in the stunning Aurora Borealis. Iliad, Aeneid and Romeo and Juliet

d

The piece is dedicated to singer and musician Jannis Noya Makrigiannis, who created endlessly beautiful music with, among others, the Choir of Young Believers. I knew Jannis as a beloved and highly respected colleague from the music scene in Copenhagen, DK, and dear a friend of friends. Jannis passed away, much too young, in December 2022.

The piece was written in a time of mourning, and for me personally the movement from the darkness into the light is dedicated to Jannis; his spirit, his soul, his music, his memory that will stay with us forever vibrant and present.

The piece begins in the lower registers of the orchestra with focus on alto flutes, bass clarinet, contrabassoon, bass trombone, tuba, low timpani, gran cassa, cellos and contrabasses, through the 10' duration of the piece more light and higher pitches are introduced, and it ends in the bright day with the sound of tubular bells calling for the morning to begin, and the solo flute and solo violin to salute the light before disappearing into silence…

While composing the piece I preferred to get up and work very early mornings before the sun had risen, so I could experience the arrival of dawn and slow awakening of the world. During these early hours of dawn, the sound of birds is very present in especially the early stages of the dawn and therefore also incorporated into the piece.

The piece is intended to become a multi-channel sound installation that is supposed to be installed under the Kvarnbron, just by the sculpture Auroras Seger. The piece starts with an imitation of the darker sounding brown noise and ends in an imitation of higher sounding white noise to mix into the roaring sounds of the flowing river Gavleån, in the beginning and ending of the piece, as if the piece almost unnoticed arrives and departs from and into the sounds of the river.

In the concert hall, when performed live; the piece arrives from and departs into the sound of the reverberation of the room itself.

Just as the beginning of the arrival of dawn happens gradually, almost unnoticed, continuing into an enormous transition transforming night into day - and in this transformation the dawn disappears gradually into the light of the day (the Sun, the brother has come to an end, only to continue her ride in other places, and to return yet again the following day. An endless circle of stillness and movement, and darkness transforming into light.

Lil Lacy, 2023

Clarinet1(Bb)

BassClarinet(Bb)

dbl.Clarinet2(Bb) Bassoon1

Contrabassoon

dbl.Bassoon2

Horn(F)1-4

Trumpet(Bb)1

& forwarmair,opentheFhornvalvesinceitcanaﬀecttheslightlyresonatingpitch.

Trumpet(Bb)2

Trombone1

Trombone2 BassTrombone

blowwarmairthroughinstrument 0-5%soundingtone–onlyslightdeepresonance

blowwarmairthroughinstrument0-5%soundingtone–onlyslightdeepresonance >

blowwarmairthroughinstrument0-5%soundingtone–onlyslightdeepresonance

/ GranCassa(32''–40''),LowEtuning softmallets(unmeasured)

II III sultasto dampen***–brownnoise,notone changebowfreely***** Adagioq=60

II III dampen***–brownnoise,notone changebowfreely***** sultasto B

II III sultasto dampen***–brownnoise,notone changebowfreely***** morefrequentbowchanges ? div.,sultastoestremo changebowfreely***** slightlypitchednoise****–slighttone,primarilybrownnoise

div.,sultastoestremo changebowfreely***** slightlypitchednoise****–slighttone,primarilybrownnoise

*rubhandssoftlytogether,palmagainstpalm.N.B.:inpartsindicatedwithinthestaﬀ,notasfootnote. **softwarmexhale,throughmouth,darksound.N.B.inpartsindicatedwithinthestaﬀ,notasfootnote.

***Dampenstringswithﬁngerslaidﬂatoverstringsatlightpressure.

fulltone(sultastoestremo) slightvib.

****Indicatesnoisecreatedatacertainpitch.Eitherby1)pressingdownthefingerintheactualpitchasinfulltoneproduction,whiledampeningthestringandtonewiththeother fingersofthelefthand,or2)pressingdownthefingerintheactualpitch,butnotpressingitdowncompletely,whilealsodampeningthestringandtonewiththeotherfingersofthe lefthand.

*****Changebowfreely(irregularbowchanges).

whistletones,smallﬂuctuationsinthelowerpartials

astheﬁrstraysofsunlightslowlyappearinginthehorizon,inasoftwavymotioncausedbytheEarth’scurvature

whistletones,smallﬂuctuationsinthelowerpartials

astheﬁrstraysofsunlightslowlyappearinginthehorizoninasoftwavymotioncausedbytheEarth’scurvature

softexhale,brightsound