Tan Dun ORCHESTRAL THEATRE II: RE

Tan Dun

ORCHESTRAL THEATRE II: RE

for two orchestras, bass voice and audience with two conductors

Full Score

G. Schirmer, Inc. New York, NY

Tan Dun

ORCHESTRAL THEATRE II: RE

for two orchestras, bass voice and audience with two conductors

Commissioned by Suntory Limited for the Suntory International Program for Music Composition in 1993 first performance July 1, 1993 by the Tokyo Symphony Orchestra conducted by Hiroyuki Iwaki and Tan Dun

G. Schirmer, Inc. New York, NY

to Toru Takemitsu

ii

Instrumentation: Orchestra II: Conducted by conductor II, on the podium facing the audience.

1 Bass voice 3 Piccolos 2 Oboes 1 English horn 2 Clarinets in B b 1 Bass clarinet 2 Bassoons 4 Horns in F 3 Trumpets in D 3 Trombones 1 Tuba Orchestra I: Conducted by conductor I, on the podium facing the orchestra.

Percussion (4 players)

Player 1: Water-gong (8� - 12�)

Water-triangle, 1 bottle for making bubbling sounds (prepare a big container of water on a stand for the above) Flexatone 2 Cowbells 1 Suspended cymbal 1 pair of stones

Player 2: 4 Timpani, with opening tuning

Player 3: Tamtam Crash cymbals 2 bongos 1 pair of stones 1 triangle (small, high pitch)

Player 4: Flexatone Bass drum Tubular chimes Slapstick

Piano Harp Strings (contrabass with 5 strings) 2 Conductors

duration: 22 minutes

iii

ORCHESTRAL THEATRE II: RE Performance Positions

Percussion 4

Percussion 3

Percussion 1

Percussion 2 Brass

Strings Bass vocalist

Conductor I

Conductor II

(on podium)

(on podium)

(Stage)

Oboe II

Oboe I

Clarinet II

Clarinet I

(Audience)

Bass clarinet

English horn

Bassoon I

Bassoon II Piccolo III

Piccolo II

iv

Piccolo I

ORCHESTRAL THEATRE II: RE Notes for Performance

BOTH CONDUCTORS 1]

In general, Conductor I will cue the on-stage musicians, and Conductor II will cue the musicians in the house and audience.

The two conductors should be positioned as follows in order to see each other and to match tempi. (facing stage)

Conductor II

Conductor I

(facing audience)

2]

Instruments in the orchestral score appear in an untraditional order to reflect the spatial format of the divided orchestra, in which the winds form a circle around the concert hall.

3]

Dynamic notation during rests should be conducted with full feeling and intensity, bringing a dramatic sense to the audience.

4]

S

Singing or speaking (voiced).

5]

6]

7]

8]

Whispering/vocalizing (unvoiced).

1 ,

2 ,

3 , etc. Order of cueing musicians during sections A to F .

Conductor should raise left arm to cue audience to prepare to vocalize.

There are two places in which the audience is required to perform with the orchestra. Conductor I or II should rehearse the audience for several minutes for Section A (humming) and Section N (chanting); the conductor should be sure that the audience understands the cue sign. This rehearsal must be done immediately before the performance of the piece. The conductor must then leave the stage for one minute, and reenter as usual, creating a gap between rehearsal and performance. Instructions will also be printed in the program to assist the audience.

v

ALL PERFORMERS 1]

All orchestra members will vocalize.

Vocalization is in the form of syllable-sounds with no fixed meaning (pronounced as in English).

2]

[ ] contain instructions for players’ voices, such as; [whispering] [humming] [chanting]

very high register high register middle register low register very low register

3]

Shaking sound following the ascending or descending shape of the line.

4]

5]

Indeterminate pitch clef, for playing and vocalizing; each player/voice should select his/her pitches independently.

,

, etc.

Very short glissando with no specific opening pitch, both into and out of a note, performed like grace notes.

6]

Turn the page forward (to left) with loud noise.

7]

Turn the page backward (to right) with loud noise.

BASS VOICE

1]

very high register high register middle register low register very low register

Indeterminate pitch clef, pitches to be determined by singer.

2]

Whispering/vocalizing (unvoiced).

3]

To be more spoken than sung (Sprechstimme).

vi

WINDS 1]

The winds will be located in the audience area as follows:

Stage Oboe II

Oboe I Clarinet I

Clarinet II English horn

(Audience)

Bassoon I

Bassoon II Piccolo III

Piccolo II

2]

All winds will stand to play, with stand lighting or house lighting.

3]

Because of standing position, all wind players need a neck-strap to hold their instrument.

4]

All reed instrument players should prepare a spare reed to be played by itself.

5]

6]

7]

Bass clarinet

Played on reed or head-joint only.

Notation of singing pitches is not transposed, and will often be different from playing pitches, which are transposed (for example clarinets and english horn).

Whispering/vocalizing (unvoiced).

vii

Piccolo I

BRASS

1]

Remove mouthpiece from instrument and play separately, or on an extra mouthpiece.

2]

Clap mouthpiece with palm while holding the mouthpiece in the instrument.

3]

Play as fast as possible and as many notes as possible.

4]

Notation of singing pitches is not transposed, and will often be different from playing pitches, which are transposed (for example french horns and trumpets).

5]

Whispering/vocalizing (unvoiced).

PIANO These pitches should be marked to be played inside piano.

Using arms to play as many keys,black and white as possible.

STRINGS 1]

,

,

,

Played behind the bridge.

2]

Bartok pizzicato.

3]

Press the bow on the strings with intensity to make a growling sound.

viii

ORCHESTRAL THEATRE II: RE (Cond. by Conductor II) (Facing the audience)

A

Tan Dun (1’35” — 2’)

Orchestra on stage

15

(8”)

(*) Bass Vocalist

2

hong mi la ga yi go

[humming]

(fade out)

3

Bass Vocalist

Cond. II m

(hong, mi, la, ga, yi, go)

[humming]

4 [humming]

Ob. 1 m

13 Ob. 2 m

[humming]

(Co

nd.

1)

5 Cl. 1

[humming]

m

12 Cl. 2 m

(playing)

1 Bs. Cl. [humming] (fade in)

14 Audience [humming]

m

11 E. H. [humming]

m

6 Bn. 1 [humming]

m

10 [humming]

Bn. 2 m

[humming]

9

8

7

Picc. 3

Picc. 2

Picc. 1

m

B

[humming]

m

(*) At cue 15 the conductor is to fade out all players except the Bass. The Bass is to continue for about 8 seconds.

m

(Cond. by Conductor II) = 60

3

(*) Bass Vocalist (8”)

3

[hongmilagayigo] During this bar, Cond. I should turn slowly and face the stage.

C

(*) After about eight seconds conductor I should begin section C. Bass fades out at cue 4 of section C.

(fade in) [humming]

(Conductor I: cues 1, 2, 3, 4, 7 and 8) (Conductor II: cues 5 and 6)

1

Brass Perc.

Piano m

[humming] Vn. I Vn. II

2

[humming]

3

= 60 m

6

Vla. Vc. Cb. m

S Cond. I Greatest sound can be hear d only.

(Bass vocalist fades out) = 60 In silence

len ce

[whispering]

= 60

7

si

4 Cond. II

(10”)

Mountains bir ds

Bass Vocalist Hong

Si

’ Paths [whispering]

5 (3")

Winds Gone

All Performers

corr. 11/93

flying none [whispering]

len s

(Orchestral voices stop here)

8

[whispering]

S

Copyright © 1993 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved.

Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

and tra ces

Gone

G

3

= 56

become more and more improvisatory Ob. 1 cresc. poco a poco become more and more improvisatory Cl. 1 in B cresc. poco a poco become more and more improvisatory Bs. Cl. in B become more and more improvisatory

cresc. poco a poco

become more and more improvisatory

cresc. poco a poco

Bn. 1

Picc. 1 cresc. poco a poco become more and more improvisatory Picc. 2 cresc. poco a poco become more and more improvisatory Picc. 3 cresc. poco a poco

become more and more improvisatory Bn. 2

cresc. poco a poco

become more and more improvisatory E. H.

cresc. poco a poco become more and more improvisatory Cl. 2 in B cresc. poco a poco become more and more improvisatory Ob. 2 cresc. poco a poco

Bass Vocalist

G

a2, mouthpiece

= 56

1 3

gliss.

Hn. in F

sub. a2, mouthpiece 2 4

gliss. sub. a2, mouthpiece

1 2

gliss.

Tpt. in D

sub. mouthpiece 3

gliss. sub.

1.

Tbn. 12 Bs. Tbn. Bs.Tbn. Tuba

Pno.

Hp.

G

= 56 (Flex.), becoming more and more improvisatory

1 cresc. poco a poco

2 Perc.

3 (Flex.), becoming more and more improvisatory 4 cresc. poco a poco sul D

(playing)

gliss.

I Vn.

(playing)

sul D .

gliss

II

gliss.

(playing) Va. sul C Vc.

Cb.

gliss.

gliss.

13

I ( = 60)

38 Ob. 1

Cl. 1 in B

Bs. Cl. in B

Bn. 1

Picc. 1

Picc. 2

Picc. 3

Bn. 2

E. H.

Cl. 2 in B

Ob. 2

Bass Vocalist yi

go

hong

I ( = 60) 1 3 Hn. in F 2 4

1 2 Tpt. in D 3

Tbn. 12

Bs.Tbn. Tuba

pizz. inside piano

Pno.

Hp.

I ( = 60) 1

2 Perc.

3

4

I Vn. II

Va. richochet solo Vc. (div.)

Cb.

30 113 Ob. 1

Cl. 1 in B

Bs. Cl. in B

Bn. 1

Picc. 1

Picc. 2

Picc. 3

Bn. 2

E. H.

Cl. 2 in B

Ob. 2

Bass Vocalist

Aud.

Cond. II

a2 1 3 Hn. in F

a2 2 4 a2 1 2

Tpt. in D 3

Tbn. 12 Bs.Tbn. Tuba

Pno.

8ba

Hp.

(Flex.)

1 3

5

3

2 Perc.

Tam-tam 3 (Flex.)

4

I Vn. II

Va. non div.

Vc. non div.

Cb.

31 116 Ob. 1

Cl. 1 in B

Bs. Cl. in B

Bn. 1

Picc. 1

Picc. 2

Picc. 3

Bn. 2

E. H.

Cl. 2 in B

Ob. 2

Bass Vocalist

Aud.

Cond. II

a2 1 3 Hn. in F

a2 2 4

a2 1 2 Tpt. in D 3

a2 a2 Tbn. 12 a2 a2 Bs.Tbn. Tuba

Pno.

8ba

8ba

Hp.

(Flex.)

1 5

2 Perc.

(T.-t.)

3 (Flex.)

4

I Vn. II

Va.

Vc.

Cb.

3

3

5