Unohdan että unohdan

Transcription

1 22 66 Sebastian Hilli Unohdan ett unohdan for mezzo-sorano and chamber ensemble (Harry Salmenniemi)

2 Coyright by the Comoser ll Rights Reserved No art of this ublication may be coied or reroduced in any form or by any means without the rior ermission of the comoser Distribution: Music Finland Music Library Lauttasaarentie 1 FI Helsinki Finland musiclibrary@musicfinland.fi Helsinki, 201

3 Sebastian Hilli Unohdan ett unohdan ( ) For mezzo-sorano and chamber ensemble ext: Harry Salmenniemi

4 2 Unohdan ett unohdan Pimess min unohdan imen. Pimess min muistan ett unohdan, unohdan ett muistan. Pimess net, ret sekoittuvat toisiinsa, vrit hvittvt toisensa. Pimess en ne ett nen, en tied ett tiedn. Pimess en ymmrr ett ymmrrn, imess kuulen ett en kuule, imess en tunne ett tunnen. Pimess muistan ett muistan, imess unohdan ett unohdan. Harry Salmenniemi

5 Notes for the erformers Singer = aroximate itch. = whiser. = seak. = <s>-seech sound clef. he osition of the note head on the staff indicates the ronunciation of the s-honems. he scale of s- sounds is following: On the uer art of the staff is the <s> -honem, which is "narrow" ("bright"), ex. "sky, "circle". Piano On the lower art of the staff is the <sh> -honem, which is "rich"("dark"), ex. "short", "shame". here are several unusual laying techniques that include laying inside the iano. I have tried out the different techinques on a standard D-model concert Steinway, and the techniques are based on the construction of this secific model. he erformer needs an emty glass bottle to roduce the action in bars 90-9 and ! Playing on the strings: here are several situations that include laying on the strings, inside the iano. he sounds are roduced by using your fingerti(s) or fingernail(s). he following initialisms include HOW to lay, and they are notated above the note head in the score: = lay with your fingerti. his is used both for glissando and izzicato on the strings. = lay with your fingernail. his is used both for glissando and izzcato on the strings. lso for glissando on other locations, like the tuning ins, where you should use four fingers to roduce the maximum effect.

6 4 he following initialisms indicate WHERE to lay: BB BBD BC G B P KBD = lay behind the bridge. = lay on the bridge. = lay between bridge and damers. = lay between crosswise metalbar and agraffes. = lay at the agraffes. = lay between tuning ins and agraffes. = lay on the tuning ins. = lay on the keyboard (normally). he icture below illustrates these locations on the iano (aroximation). BB =bridge. BBD = damers (D). BC G B P = crosswise metal bar (C). = agraffes. = tuning ins KBD

7 In the score there are numbers in quadrats, to include the sace between two lengthwise metal bars. here are four locations totally. he second location is subdivided into two arts: a and b. he icture below illustrates these locations inside the iano: Here are the aroximate ranges of the four locations. he strings that are imossible to lay on, because of the diagonal metal bar, are excluded. he diagonal metal bar divides the second location into to halves (2a. and 2.b). he following sounds are roduced by using your fingerti(s) or fingernail(s): Glissando: Is notated with an arrow. n uward arrow includes a glissando from right to left, a downward from left to rigth. he starting oint is always aroximate. Ex. Piano bar 12 =Play a glissando with your fingernail, from left to right, in the second location (2a.), between the bridge and the damers. he starting oint is aroximate. Pizzicato: Ex. Piano bar 16 = Play a izzicato with your fingerti, on the notated string, between the bridge and the damers.

8 6 he following sounds are roduced by using your FINGERIP. he location and how to roduce these sounds are NO included with initials in the score: Étouffée: = étouffée tones. Dam the indicated string with your fingerti, between the crosswise metal bar and agraffes. hese should be marked with a small note on the damers inside the iano, with the note name. Harmonics: = harmonics. Dam the string with your fingerti between the bridge and the damers to roduce the harmonics. he fundamental is indicated with a normal note head, the touching node on the string by a diamond-shaed note head above it, and the sounding itch with a small note head on the to. he erformer should ut a small aer note on the damer inside the iano, with the note name, to make it easier to roduce the izzicatos, étouffées and harmonics. he following strings are used for izzicatos and étouffées: he erformer should also mark the strings with a small iece of masking tae, ossibly with the note name, on the exact location where the harmonics are to be roduced. he following harmonics are used in the iece:

9 Knocking and hitting the metal bars: he metal bars inside the iano are either knocked with your knuckles or hit with your alm. he following note heads indicate HOW to lay: = knock a metal bar with your knuckles (see below). = hit a metal bar with your alm. he erformer can also use soft mallets, instead of knocking the metal bars with knuckles, when it s ossible. he following clef includes WHERE to lay: = this clef is used to indicate the metal bars inside the iano. he location of the note on the staff show on which lengthwise metal bar to hit. he lowest line on the staff is the first lengthwise metal bar starting from the left and so on. here are five metal bars. he notes between two lines on the staff indicates where to strike on the crosswise metal bar. here are four locations. he following icture should illustrate this: he uer row of numbers 1, 2,, 4 and, shows the five lengthwise metal bars. n arrow is used in the icture to show which note is used for which lengthwise metal bar. he lower row of numbers 1, 2, and 4, shows the four saces between the five lengthwise metal bars, on the crosswise metal bar. n arrow is used in the icture to show which note is used for which sace.

10 8 Ex. Piano bar 14 = knock the second location on the crosswise metal bar with your knuckles. Ex. Piano bar 10 = hit the fourth lengthwise metal bar with your alm. Woodwinds = very airy sound. = air only (no fingering). = key click (with embouchure hole oen). = tongue sla (tongue izzicato). hese effects are also combined as in the following examle: Ex. bar 9 he letter above the note indicates a tongue izz. combined with a key click. If the tongue izz. should continue, it is indicated with a bracket above the itches, as in the examle below. Ex. bar 0

11 9 Strings he strings have several unusual laying techniques. he string layers have to roduce sounds in various ways on different locations on the body of the instrument. Clefs: he secial clefs indicates the location on the instrument, WHERE to lay. = lay on the bridge. SB = lay on the side of the bridge. = lay on the tailiece. C = lay on the chinrest. (Only knocking/hitting) SC = lay on the side of the chinrest. (Only knocking/hitting) UB = lay on the uer bout. he osition on the staffline indicates where to lay on the instrument. he bow should be drawn against the rim of the body of the instrument. (Only with the bow) W = lay on the waist. he osition on the staffline indicates where to lay on the instrument. he bow should be drawn against the rim of the body of the instrument. (Only with the bow) LB = lay on the lower bout. he osition on the staffline indicates where to lay on the instrument. he bow should be drawn against the rim of the body of the instrument. (Only with the bow)

12 10 BE = lay on the belly. (Only knocking/hitting) B = lay on the back. (Only knocking/hitting) R = lay on the rib. (Only knocking/hitting) NE = lay on the back of the neck. (Only knocking/hitting) P = lay on the tuning eg. (Only knocking/hitting) bridge = bridge clef. Is used to show where on the strings to lay various noisy/or toneless sounds, for examle rattling sound or brushing motion. fingerboard = lay behind the bridge. his clef is used when layed a rattling sound behind the bridge. he roman numbers indicates the string to be layed on.

13 11 Note heads: he note head indicates HOW to lay on the location that the SPECIL CLEF gives. = lay with the bow (arco). = knock the body of instrument with your knuckle. he dynamic level of the knocking should be as loud as ossible, without damagin the instrument! = ta the body of instrument with your fingerti. he dynamic level of the taing should be as loud as ossible. = hit the body of instrument with your fingernail. he dynamic level of the hitting should be as loud as ossible, without damagin the instrument! Examles: bar 4 = lay on the tailiece with the bow. bar 04 = knock the tuning eg with your knuckle. bar 42 = ta the back of the instrument with your fingerti. bar 41 = hit the side of the chinrest with your fingernail.

14 12 Brushing with the bow on the strings: bar 14-1 = slow circular continuous brushing motion with the bow on the strings. 1) If there is an RROW, the notevalue shows only the OL DURION of the brushing, the seed of one circular brushing motion is FREE. 2) If there is NO RROW, the rhythm should be PRECISELY that indicated by the timevalues, as in bars he rhythm shows here the seed of ONE circular brushing motion. he roman numbers indicate on which strings to lay. he symbol under the dynamics shows that the strings should be damed. he first indicates where to start, the dotted line for how long, and the last symbol where to sto daming. Only the brushing sound should be heard. bar 2 = short brushing motion with the bow across the string away from the resonant body. Only the brushing sound should be heard. Rattling sounds: bar 0 = ressed bowing behind the bridge, near the tailiece, on the fabric covering. he bridge clef shows on which string to lay, in this examle on the I. string. bar 100 = ressed bowing on the strings. he bow is ressed against the string and drawn in a uward motion (lengthwise) toward the erformer. he result should be a dry rattling sound. Do not dam the string!

15 Unohdan ett unohdan Written for Jutta Seinen and Zagros-ensemble 1 ext:harry Salmenniemi Sebastian Hilli ( ) Mysteriously, melancholically Flute q=0 Bass Clarinet in Bb Piano Mezzo-sorano semre Violin Mysteriously, melancholically q=0 III., IV. Contrabass SB UB m m W IV. m III., Coyright Sebastian Hilli Helsinki 2011/2012 LB

16 14 14 Harmonics izz. LB III., IV. m Pi - (i) B.Cl. 18 i i i i m III., IV. m

17 2 f 1 m i m m III., IV. IV. KN BE I II III IV 2 IV. f m me izz. m B R NE

18 m 2 P f me arco s.. arco I II III IV accel. me I II III IV 6 m me me me me me me me me me me s.. accel.

19 q=6 temo(q=0) 6 m f me me me me me me me m e a the strings with your fingertis as fast as ossible. Play on many strings, the itches are aroximate. BBD 4. e 6 1 NE KN I II III IV 9 q=6 temo(q=0) m s.. e SC P BBD 1. s.. s.t. BBD 4. BBD 1. e e

20 m BBD 4. BBD 1. accel. q=6 4 B e e e e e e accel. m f e e e e e e e e arco q=6 temo(q=0) flaut. temo(q=0) izz. 4. f 1. 6 s

21 4. s s s mi m B B flaut. flaut. flaut. n 19 arco flaut. 49 m u very airy sound very airy sound - noh dan c.l.t. c.l.t W m

22 20 B.Cl. 2 C q=60 rit. i m f f - me - n. i-i i i i i i i i i i i C W W m m m m temo(q=0) f q=60 rit. B.Cl.. f f semre f i i m e m e temo(q=0) flaut. ord. s.t. LB

23 9 f m e m e me me me me me me me me me me me f e e e e e e e e irregular (as fast as ossible) BE taing with two fingers (tremolando) f s.. e m e e e e izz. BE m s.. I II III IV 64 e e remolando with two fingers. BE 21 irregular (as fast as ossible) taing with four fingers s.. izz. m

24 22 68 e e f e e e e e i s 2 KN C BE m m m s i s i i s s i s i s i s s i SB BE SB arco m SB arco KN SB

25 m m m m 2 B.Cl. B.Cl. 82 m m m m SB SB s s s s i s s i s i s i s s i s s s s s s i m m m D m m m m m m m m UB m mi - n muis tan D m m W W m m LB W LB UB 6 m LB W s

26 24 B.Cl. 84 m m very airy sound very airy sound m et - t u - noh - dan, u - noh - - dan W W m m m c.l.t c.l.t 88 et t muis - - tan. flaut. flaut.

27 90 Glass bottle Slow circular continuous brushing motion on the low covered strings 2 LB W B.Cl. I II III IV 94 E I II III IV m m semre Pi - (i) m m i m e m i m m III., IV. E very airy sound very airy sound flaut. s.t. ord. s.t. m izz.

28 26 98 m m izz. m e e 102 arco IV. m m m m BE UB KN izz. m arco flaut. izz. IV. UB flaut. flaut. UB e izz. s flaut.

29 B.Cl. B.Cl F m s s s f - - net izz. F ret - - net LB LB - - net

30 28 B.Cl. B.Cl net LB LB - - net - - W W ret cresc ret - ret ret

31 B.Cl se - koit - - tu - vat 124 LB LB B.Cl. LB LB toi - - siin sa W

32 0 B.Cl. B.Cl W W v m - rit h - vit - t - vt toi m sen - sa. G UB SB f f - SB UB G Glass bottle Rub lengthwise along the low covered strings. I II III IV SB SB I II III IV f f

33 11 1 P i semre m e s s.. s s s 16 s s s m m s s s s s s s s s s s s s s f s s s s s s s s KN

34 s s s s s s s s s s s s m ff s s B 2. G f MB 6 B G P B 2. MB s s s m arco IV.

35 10 B. BB 4. MB P s IV. flaut. s ord. IV. s BB 4. B. 4. 2b. MB m BBD 2a. 1. s IV. f s

36 4 161 H very airy sound m BBD MB lengthwise scratch on the string (gliss) with fingernail 16 s Pi - - me - ss remolando with two fingers. R H KN C BE UB m m II. s.. MB. BBD izz. arco en s.. n - e et - t irregular(as fast as ossible) taing with four fingers BE flaut. irregular(as fast as ossible) BE arco s.. flaut. taing with four fingers

37 168 MB. BE BE BBD 4. remolando with two fingers. R KN BE R KN irregular(as fast as ossible) taing with four fingers KN BE BE KN remolando with two fingers. 4. remolando with two fingers. 12 BBD BC 2a. 2a BBD 2a. BBD. BE BB 4. 4.

38 6 14 I 16 KN 1. arco f BBD Breath ad libitum simile semre arco Imrovise with these itches, in the indicated rhythm. he order of the itches is free, but try to vary it as much as ossible. Hit the soundboard I f f Breath ad libitum simile en semre m Imrovise with these itches, in the indicated rhythm. he order of the itches is free, but try to vary it as much as ossible. n semre m - e et - - simile Bowing ad libitum t f simile Bowing ad libitum semre

39 19 IV. III. III. IV. IV. II. 182 n m - en, en tie tie - - d et - t dn. MB Breath ad libitum Breath ad libitum Bowing ad libitum Bowing ad libitum Breath ad libitum Breath ad libitum Bowing ad libitum 6 Bowing ad libitum Pi - me J R KN 6 J R KN

40 z ss i - me - - R B BE 6 R 189 BE BE B BE 6 m ss m m m m z m m 6 m en ym - mr - r BBD 1. m m m i

41 B.Cl. 194 m m 2a. BBD BBD m m m m m e f LB W 6 6 LB W UB UB m m s 6 m en ym - mr - r et - - t m m m m

42 MB m ym - mr - rn, i ff - (i) - me - (me) - () B.Cl. R KN B BE R KN B BE MB s f f (s) 6 i cresc arco 6 arco

43 m m m m m cresc. me BC 1. f (i) - i - (me) - me - () - 2. BC BE BE BB 6 6. R f - (s_s) - s kuu R I. II. m m m len

44 f et t en kuu - - le 218 IV. III. III. K i-me-s - s en ym - mr - - r K

45 221 m cresc. m Breath ad libitum 6 Breath ad libitum m 6 4 m et - t ym - - mr - - rn m m cresc. cresc. 6 Bowing ad libitum Bowing ad libitum 6 cresc. i - me - s - s kuu len et - t en 6 6 cresc. I. I. I. II. III. 6 6 cresc.

46 44 22 m dim. m m dim. m 6 cresc. 6 m kuu le, i - me - s - s en m dim. m dim. 229 m m 6 m m I. I. f tun - - ne en tun - - ne et - t tun - m IV. II. I. I. I. I. m

47 22 6 m m 6 m dim. dim. 6 4 I. I nen. tun L 24 m m m I. m gliss. L W UB semre - nen m m UB m m W

48 46 29 m m m m W W LB LB m m m m m m IV. 244 accel. q=60 temo(q=0) m m f i i i i i i i i i i i i i accel. q=60 f temo(q=0) izz. f me me me me me me me m I II III IV

49 248 f f f f 4 me me me me me m e m e m e m e B.Cl. LB m 22 f arco s.. ord. s.t. f flaut. e e e e e e e e e e e KN C izz. m m remolando with two fingers.

50 48 26 m m m f e e e e e e e e BE arco I. I. I. III. e e BE BE irregular (as fast as ossible) taing with two fingers(tremolando) e 6 BE III. 260 m m m s i s s s s s s i s s i m m LB III. LB m m W

51 B.Cl. 26 m m m m m m 49 s i s i s s i s s s s i s s i LB W 269 m m m m m m m W UB UB SB SB B.Cl. s i s i s s i i s i s s i SB KN B BE SB SB B KN BE

52 0 M 2 m 6 dim. 6 M i - me - s - s muis tan flaut. I. c.l.t. 2 m m m m et - - t muis tan, m m m m W W

53 B.Cl. 29 W W N closed embouchure m m semre Pi i m m N I II III IV I II III IV i 1 B.Cl. 28 m m i i i III., IV. III., IV. m m m m

54 2 28 q=6 rit. temo(q=0) 6 6 m m me me me me me f me me me me me me me me me me m 290 rit. q=6 temo(q=0) s.. s.. m semre I II III IV m 6 e m e m m s.. I II III IV

55 29 f me I II III IV 29 izz. f m P NE KN f m m m m e BE R B

56 4 00 BBD. BBD 1. 0 e m e f m m f m e izz BBD BBD 1. f m e e e e e e e e e e e e e B arco flaut.

57 0 BBD 1. e BBD 4. BBD 1. e e e e 6 BBD 4. SC s.t. 09 P KN NE s.. s.. O m s u noh - - dan O m m

58 6 B.Cl. 11 m m m m 6 cresc. m B.Cl. W et W - - t m m 12 B.Cl. 6 B.Cl. IV.

59 1 semre u - noh dan. 16 W III., IV. izz. Duration: ca. 18`