Outi Tarkiainen SENSORY FLASHBACKS (Clarinet Quintet No. 2)

Outi Tarkiainen

SENSORY FLASHBACKS (AJAN AISTIT)

Clarinet Quintet no. 2 (2024)

Score

Outi Tarkiainen

SENSORY FLASHBACKS

(Ajan aistit)

Clarinet Quintet No. 2 (2024)

Duration: c. 19 min.

Copyright © 2024 Edition Wilhelm Hansen A/S, Copenhagen

Music engraving in Sibelius

Publisher’s editor: Katrine Gregersen Dal

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

www.wisemusicclassical.com

Outi Tarkiainen

Sensory Flashbacks

(Ajan aistit)

Clarinet Quintet No. 2 (2024)

1. Volatility (Häilyvyys)

2. Swell (Vellovuus)

3. Scent (Tuoksu)

4. Skin (Iho)

5. Flashbacks (Muistot)

Commissioned by the Santa Fé Chamber Music Festival, OUR Festival and Ensemble Temporum. First performed by Lauri Sallinen, clarinet, Elina Vähälä, violin, Riitta-Liisa Ristiluoma, viola, Senja Rummukainen, violoncello and Johannes Piirto, piano on 30th July, 2024 in Järvenpää Church, Järvenpää, Finland.

US premiere by Todd Levy, clarinet, John Storgårds, violin, Stephen Tenenbom, viola, Eric Kim, violoncello and Katia Skanavi, piano on August 18, 2024.

Instrumentation

Clarinet in A (doubling Clarinet in Bb)

Violin

Viola

Violoncello

Piano

The score is not transposed

Duration: c. 19 minutes

Composer’s Note

Time is inescapably linear. Yet our senses make it heave, float, refract. Our senses measure time in different ways: a familiar scent takes us decades back in time, and a skill once learnt can be instantly recalled. Our body also remembers things which our mind has preferred to forget.

When we moved back up north, we went to live in the house my father had built and where I grew up. In a couple of weeks, my body felt decades younger, and I began moving about like I did as a teenager. Watching my children triggered kinaesthetic memories of how the house felt to a child. Much later, my father said he still woke up in his old house every morning. His body could not believe that he was actually somewhere else. Our sensory memories are volatile – they may transport us back to a time we have lost, to those who are dear to us.

O.T.

Aika on vääjäämättömän lineaarinen. Silti aistit saavat sen vellomaan, leijumaan, taipumaan. Aistit mittaavat aikaa eri tavoin: tuttu tuoksu vie vuosikymmenten taakse ja kerran opittu taito muistuu mieleen silmänräpäyksessä. Keho muistaa senkin, minkä mieli itseään suojatakseen unohti.

Kun palasimme pohjoiseen, muutimme isäni rakentamaan taloon, jossa olin varttunut. Parissa viikossa kehoni nuortui vuosikymmeniä ja taipui liikkumaan talossa tavalla, jolla olin kulkenut siellä teini-iässä. Katsoessani lapsiani sain kinesteettisiä muistoja siitä, miltä tuntui liikkua talossa lapsen tavoin. Paljon myöhemmin isä kertoi, että hän heräsi edelleen joka aamu vanhassa talossaan. Keho ei voinut uskoa, että hän todella oli jossain muualla. Ajan aistit ovat häilyvät – ne voivat kuljettaa meidät kadottamaamme aikaan, rakkaidemme luo.

O.T

otation

General

Tempo markings: many factors can affect the choice of tempi, and the metronome marks shown are approximate, for guidance only.

Accidentials apply throughout the bar.

When marked wt, trills should be played up a whole-tone. Otherwise trills should be played up a semitone. When vibrato markings are not specified, players can use their usual vibrato or use their own judgment. All glissandi should start immediately at the beginning of the note value. The grace notes with a crossing line should be played before the beat. The grace notes without a crossing line should be played on the beat.

Strings

Piano

quarter tone, between natural and sharp

quarter tone, between natural and flat

change very gradually from one sound or one way of playing (etc.) to another

If pedalling is not specified, use the pedal lightly according the nature of the textures.

As in the left: muted tone

In the right: 5th partial in harmonics - the precise nodal points for harmonics can be indicated by affixing a tiny sliver of tape to the string. For a more beautiful resonance, the finger touching the nodal point should come off the string immediately after the key is struck.

The lowest C sharp should be tuned down a quarter tone, between C sharp and C natural. However, if this cannot be done, the note can be played as an ordinary C sharp.

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