Games
für Vokalquartett und Streichquartett
2023
Partitur
CopyrightbyG.Ricordi&Co./Forperusalonly
master processed on 02.01.2024
Sy. 9185/01
ISMN 979-0-2042-9185-4
Copyright © 2023 by G. Ricordi & Co. Bühnen- und Musikverlag GmbH, Berlin
Alle Rechte vorbehalten
All rights reserved / Tutti i diritti riservati
Part 1
Vokalquartett
Sopran
Mezzosopran
Tenor
Bass und Streichquartett
STRUKTUR / STRUCTURE
Streichquartett
Interlude I Bass + Violoncello
Part 2
Gesangsstimmen + Streichquartett
Interlude II Sopran + Violine I
Part 3
Gesangsstimmen
Interlude III Mezzosopran, Bass + Viola, Violoncello
Part 4
Streichquartett + Sopran, Mezzosopran
Interlude IV Sopran, Mezzosopran
Part 5
Part 6
Gesangsstimmen + Streichquartett
Gesangsstimmen + Streichquartett
Interlude VI Tenor, Bass + Violoncello
Part 7
Gesangsstimmen + Streichquartett
Epilogue Gesangsstimmen + Streichquartett
TEXT / TEXT
Part 2 Veritas ita se habet et non est dubium, quod inferiora superioribus et superiora inferioribus respondent.
Part 3 Operator miraculorum unus solus est Deus, a quo descendit omnis operatio mirabilis. Sic omnes res generantur ab una sola substantia, una sua sola dispositione. Quar um pater est Sol, quarum mater est Luna. Que por tavit ipsam naturam per auram in utero, terra impregnata est ab ea. Hinc dicitur Sol causatorum pater, thesaurus miraculorum, largitor virtutum.
Part 5 Ex igne facta est terra. Separa terrenum ab igneo, quia subtile dignius est grosso, et rarum spisso. Hoc fit sapienter et discrete. Ascendit enim de terra in caelum, et ruit de caelo in terram. Et inde interficit superiorem et inferiorem virtutem.
Part 6 Sic ergo dominatur inferioribus et superioribus et tu dominaberis sursum et deorsum, tecum enim est lux luminum, et propter hoc fugient a te omnes tenebrae. Vir tus superior vincit omnia. Omne enim rarum agit in omne densum.
Part 7 Et secundum dispositionem major is mundi currit haec operatio, et propter hoc vocatur Hermogenes triplex in philosophia.
Gesamtdauer / duration: ca. 40 Minutes / ca. 40 minutes
gesungen sung
falsetto
Vorzeichen gelten, den traditionellen Gepflogenheiten entsprechend, jeweils für den ganzen Takt in der jeweiligen Oktave.
Sprechgesang (Tonhöhen erkennbar) Sprechgesang (pitch recognisable)
Diese Regel gilt auch für Mikrotöne. Warnvorzeichen werden durchweg gegeben und bedeuten keine Aufhebung dieser Regel. Following common practice, accidentals apply for the whole measure in that particular octave. This rule applies also to microtones. Cautionary accidentals are given frequently and do not cancel this rule.
geflüstert (Tonhöhe erkennbar) stage whisper (pitch recognisable)
Dritteltonvorzeichen (Tonhöhe um ca. 66 Cent erniedrigt/erhöht) third-tone accidentals (pitch ca. 66 cents lower/higher)
geflüstert (Tonhöhe nicht erkennbar) stage whisper (pitch unrecognisable)
Vierteltonvorzeichen (Tonhöhe um ca. 50 Cent erniedrigt/erhöht) quartertone accidentals (pitch ca. 50 cents lower/higher)
Flatterzunge / flutter-tongue
kleines Glissando, mit einer leichten Inflektion (nach oben), ohne bestimmten Zielton
GENERAL EXPLANATION OF SIGNS IN BERNHARD LANG’S MUSIC
Flatterzunge / flutter-tongue
Flatterzunge / flutter-tongue
Klarinette: Slap tone
Sechsteltonvorzeichen (Tonhöhe um ca. 33 Cent erniedrigt/erhöht) sixth-tone accidentals (pitch ca. 33 cents lower/higher)
Flatterzunge / flutter-tongue
Klarinette: Slap tone
kleines Glissando, mit einer leichten Inflektion (nach unten), ohne bestimmten Zielton
Doppelrohrblattinstrumente: slapartiges, geräuschhaftes staccato double reed instruments: slap-like noisy staccato
Klarinette: Slap tone
Stimme / Voice
Saitenhalter
Saitenhalter Steg
Saitenhalter
Streicher / Strings
Streicher / Strings
Doppelrohrblattinstrumente: slapartiges, geräuschhaftes staccato double reed instruments: slap-like noisy staccato
Klarinette: Slap tone
Stimme / Voice
gesprochen, mit annäherndem Tonhöhenverlauf spoken, with approximate pitches
Doppelrohrblattinstrumente: slapartiges, geräuschhaftes staccato double reed instruments: slap-like noisy staccato
Doppelrohrblattinstrumente: slapartiges, geräuschhaftes staccato double reed instruments: slap-like noisy staccato
Multiphonic; wenn kein spezieller Griff angegeben, ein freier Überblasklang, von der angegebenen Tonhöhe ausgehend.
Multiphonic; wenn kein spezieller Griff angegeben, ein freier Überblasklang, von der angegebenen Tonhöhe ausgehend.
gesungen sung
Streicher / Strings
Streicher / Strings
Multiphonic; free, with audible fundamental (unless a specific fingering is given).
Multiphonic; wenn kein spezieller Griff angegeben, ein freier Überblasklang, von der angegebenen Tonhöhe ausgehend.
gesprochen (ohne bestimmten Tonhöhenverlauf) spoken (unpitched)
Multiphonic; free, with audible fundamental (unless a specific fingering is given).
falsetto
falsetto
Übergang vom ord. zum Multiphonic transition from ord. to multiphonic
Multiphonic; free, with audible fundamental (unless a specific fingering is given).
Multiphonic; wenn kein spezieller Griff angegeben, ein freier Überblasklang, von der angegebenen Tonhöhe ausgehend. Multiphonic; free, with audible fundamental (unless a specific fingering is given).
Übergang vom ord. zum Multiphonic transition from ord. to multiphonic
inalando: hörbares, nich stimmhaftes Atemholen breathe in audibly, not voiced
Übergang vom ord. zum Multiphonic transition from ord. to multiphonic
Übergang vom ord. zum Multiphonic transition from ord. to multiphonic
Sprechgesang (Tonhöhe erkennbar) Sprechgesang (pitch recognisable)
Sprechgesang (Tonhöhen erkennbar) Sprechgesang (pitch recognisable)
Einatmend Singen breathe in while singing
mit Stimme (die untere rautenförmige Note bezeichnet den zu singenden, der obere with voice (the lower diamond-shaped note is to be sung, the upper to be played)
mit Stimme (die untere rautenförmige Note bezeichnet den zu singenden, der obere with voice (the lower diamond-shaped note is to be sung, the upper to be played)
geflüstert (Tonhöhe erkennbar) stage whisper (pitch recognisable)
mit Stimme (die untere rautenförmige Note bezeichnet den zu singenden, der obere with voice (the lower diamond-shaped note is to be sung, the upper to be played)
mit Stimme (die untere rautenförmige Note bezeichnet den zu singenden, der obere with voice (the lower diamond-shaped note is to be sung, the upper to be played)
hörbares, nicht stimmhaftes Atemholen audibly draw breath (no voice)
Stimmhaftes Einatmen breathe in, voiced
geflüstert (Tonhöhe nicht erkennbar) stage whisper (pitch unrecognisable)
ungestützte Stimme unsupported voice
Streicher / Strings
Grundsätzlich ist, außer wenn ausdrücklich anders angegeben, von einer non vibrato Spielweise auszugehen. Generally non vibrato, unless otherwise indicated.
kleines Glissando, mit einer leichten Inflektion (nach oben), ohne bestimmten Zielton
halbgestützte Stimme (Pierrot) voice semi-supported (Pierrot)
Grundsätzlich ist, außer wenn ausdrücklich anders angegeben, von einer non vibrato Spielweise auszugehen. Generally non vibrato, unless otherwise indicated.
Grundsätzlich ist, außer wenn ausdrücklich anders angegeben, von einer non vibrato Spielweise auszugehen. Generally non vibrato, unless otherwise indicated.
Grundsätzlich ist, außer wenn ausdrücklich anders angegeben, von einer non vibrato Spielweise auszugehen. Generally non vibrato, unless otherwise indicated.
c.l.t. + crini
c.l.t. + crini
c.l.t. senza crini
c.l.t. + crini
CopyrightbyG.Ricordi&Co./Forperusalonly
Grundsätzlich ist, außer wenn ausdrücklich anders angegeben, von einer non vibrato Spielweise auszugehen. Generally non vibrato, unless otherwise indicated.
Mit dem Holz gestrichen, mit Haar wood, bowed, with hair
c.l.t. + crini
c.l.tr.+ cr.
c.l.t. senza crini
c.l.t. senza crini
? [Retrograde singing?] gesungen / sung
gestützte “klassische” Stimme fully supported “classical” voice
Mit dem Holz gestrichen, mit Haar wood, bowed, with hair
kleines Glissando, mit einer leichten Inflektion (nach unten), ohne bestimmten Zielton
Mit dem Holz gestrichen, ohne Haar, non vibrato wood, bowed, no hair
Mit dem Holz gestrichen, mit Haar wood, bowed, with hair
Mit dem Holz gestrichen, mit Haar wood, bowed, with hair
Mit dem Holz gestrichen, mit Haar wood, bowed, with hair
n.v. non vibrato
gesprochen, mit annäherndem Tonhöhenverlauf spoken, with approximate pitches
Mit dem Holz gestrichen, ohne Haar, non vibrato wood, bowed, no hair
c.l.t. senza crini
c.l.tr.-cr.
Mit dem Holz gestrichen, ohne Haar, non vibrato wood, bowed, no hair
n.v. non vibrato
Mit dem Holz gestrichen, ohne Haar, non vibrato wood, bowed, no hair
Mit dem Holz gestrichen, ohne Haar, non vibrato wood, bowed, no hair
flaut. flautando
gesprochen (ohne bestimmten Tonhöhenverlauf) spoken (unpitched)
flaut. flautando
n.v. non vibrato flaut. flautando
non vibrato
flautando
s.p. sul Ponticello
n.v. non vibrato flaut. flautando
s.p. sul Ponticello
inalando: hörbares, nich stimmhaftes Atemholen breathe in audibly, not voiced
s.p. 1.66 = 2/3 toward total s.p. = 2.00
sul Ponticello
s.p. sul Ponticello
s.p. 1.66 = 2/3 toward total s.p. = 2.00
s.t. sul Tasto
s.p. sul Ponticello
sul Tasto
Einatmend Singen breathe in while singing
s.p. 1.66 = 2/3 toward total s.p. = 2.00
s.t. sul Tasto
s.t. 0.2 = 4/5 toward extreme s.t. = 0
s.p. 1.66 = 2/3 toward total s.p. = 2.00
s.t. 0.2 = 4/5 toward extreme s.t. = 0
s.t. sul Tasto
s.t. sul Tasto
ord.
ord.
ord.
Stimmhaftes Einatmen breathe in, voiced
s.t. 0.2 = 4/5 toward extreme s.t. = 0
s.t. 0.2 = 4/5 toward extreme s.t. = 0
normale Spielposition (oder auch normale Spielweise, wenn nicht anders angegeben) normal position, also normal playing technique
1.00 = ord
normale Spielposition (oder auch normale Spielweise, wenn nicht anders angegeben) normal position, also normal playing technique
1.00 = ord.
ungestützte Stimme unsupported voice
s.p. → s.t.
s.p. → s.t. s.t. → s.p. ord. → s.p./s.t.
normale Spielposition (oder auch normale Spielweise, wenn nicht anders angegeben) normal position, also normal playing technique
normale Spielposition (oder auch normale Spielweise, wenn nicht anders angegeben) normal position, also normal playing technique 1.00 = ord
1.00 = ord
Übergang von einer Spielposition/Spielweise zur anderen
Übergang von einer Spielposition/Spielweise zur anderen transition from one playing position/technique to the other
sul Ponticello
s.p.
s.t. sul Tasto
s.t.
ord.
ord.
s.p. → s.t. s.t. → s.p. ord. → s.p./s.t. s.p./s.t. → ord.
s.p. → s.t. s.t. → s.p. ord. → s.p./s.t. s.p./s.t. → ord.
s.p. 1.66 = 2/3 toward total s.p. = 2.00
s.t. 0.2 = 4/5 toward extreme s.t. = 0
sul Tasto
s.t. 0.2 = 4/5 toward extreme s.t. = 0
normale Spielposition (oder auch normale Spielweise, wenn nicht anders angegeben) normal position, also normal playing technique
normale Spielposition (oder auch normale Spielweise, wenn nicht anders angegeben) normal position, also normal playing technique 1.00 = ord
normale Spielposition (oder auch normale Spielweise, wenn nicht anders angegeben) normal position, also normal playing technique 1.00 = ord
Übergang von einer Spielposition/Spielweise zur anderen transition from one playing position/technique to the other
Übergang von einer Spielposition/Spielweise zur anderen transition from one playing position/technique to the other
Übergang von einer Spielposition/Spielweise zur anderen transition from one playing position/technique to the other
natural harmonics
0.00 (extrem s.t.) 1.00 (ord.) 2.00 (extrem s.p.) z. B./ for ex: s.t. 0.2 = 4/5 Richtung ganz s.t. / 4/5 toward total s.t. s.p. 1.66 = 2/3 Richtung ganz s.p. / 2/3 toward total s.p.
press. 1.99
natural harmonics
+ multiphonics
Bogendruck/bowing pressure: 1.0 = ord.; 2.0 = extremer Bogenüberdruck / extreme overpressure
+ multiphonics
0.5 = Erstickung/mute, medium flautando
Halbflageolett (halb gedrückt) half-flageolet (low pressure)
Halbflageolett (halb gedrückt) half-flageolet (low pressure)
Halbflageolett (halb gedrückt) half-flageolet (low pressure)
„choke“: Saiten ganz erstickt, nur Geräusch strings completely muted, only noise
„choke“: Saiten ganz erstickt, nur Geräusch strings completely muted, only noise
xiii
Pression: mit Überdruck: „Distortion“ – erkennbare Tonhöhe, nicht bloßes Knirschen! Exaggerated bowing pressure, pitched sound as a result, not just gnashing!
press. 1.99 bowing pressure: 1.0 = ordinary; 2.0 = total pression; 0.5 = Erstickung/mute, medium flautando
Synthesizer
am Steg / on the bridge
chromatischer Cluster / chromatic cluster
muted string noise ord.
Zarge / corpus
VII. 7th har monic
gebrochener Cluster / broken cluster
RULESET
Part 1 (--00:00:00-00:05:00)
CopyrightbyG.Ricordi&Co./Forperusalonly
Asynchronie: All players play asynchronously, each with an individual interpretation of MM=80, avoiding synchronisation with other players.
Synchronie: All players play synchronised with each other.
For each Round the Cuemaster cues the next Round, as well as the Interlude or the next Part, accordingly.
Round 1–2, 3–4
Game starts at 00:00.
Each player selects one of the 4 models A-D, repeats it n-times as indicated (4x means play four times) before selecting another model, resulting in any permutation, till all 4 models have been played.
Entrance Sequence: Violin II, Viola, Violin I, Violoncello.
Stop/Switch Rules: Violin II is cuemaster and cues the next round as soon it has finished all models. Should a player complete the model before the cuemaster, he/she must wait until cue (“Cue Standby”); should a player find him/ herself in the middle of a model at switch time, he/she must finish his/her model and jump to the next round (“Finish and Go”).
Each of the 4 Rounds last about 00:01:00 minutes; between round 2 and 3 there is Interlude I, which is played synchronously [duration~00:01:00].
Part 2 follows attacca
senza cr. (h..) behind the bridge (q) &4 9 ˆ8 1
Interlude I
Violine I
Violine II CUEMASTER
RULESET
Part 2 (--00:05:00-00:10:34)
Asynchronie: All players play asynchronously, each with an individual interpretation of MM=50, avoiding synchronisation with other players.
Synchronie: All players play synchronised with each other.
For each Round the Cuemaster cues the next Round, as well as the Interlude or the next Part, accordingly.
Round 1–3, 4–6
Part starts at ~05:00 on cue, some of the players have entrance delay values, meaning they have to start after the cue with a defined number of quarter rests; if a model starts with a rest, this has to be added, too, to the initial delay.
Each player repeats each Round n-times, as indicated (4x means play four times).
Stop/Switch Rules: Soprano is cuemaster.
Should a player complete the round before the cuemaster, he/she must wait until cue (“Cue Standby”); should a player find him/ herself in the middle of a model at switch time, he/she must finish his/her round and jump to the next round (“Finish and Go”).
Between Round 3 and 4 there is Interlude II, which is played synchronously [duration~00:01:00].
Part 3 follows attacca
Interlude II
respon
respon
respon
senza cr.
p c.l.tr. senza cr.
p
c.l.tr. senza cr.
p
c.l.tr. senza cr. p
RULESET
CopyrightbyG.Ricordi&Co./Forperusalonly
Part 3 (--00:10:34-00:16:01)
Asynchronie: All players play asynchronously, each with an individual interpretation of MM=50, avoiding synchronisation with other players.
Synchronie: All players play synchronised with each other.
For each Round the Cuemaster cues the next Round, as well as the Interlude or the next Part, accordingly.
Round 1–3, 4–6
Part starts at 00:10:34 on cue, some of the players have entrance delay values, meaning they have to start after the cue with a defined number of quarter rests; if a model starts with a rest, this has to be added, too, to the initial delay.
Each player repeats each Round n-times, as indicated (4x means play four times).
Stop/Switch Rules:
Mezzo-soprano, Tenor, Bass are cuemaster in the first 3 Rounds; Soprano is cuemaster in Rounds 4–6.
Should a player complete the round before the cuemaster, he/she must wait until cue (“Cue Standby”); should a player find him/ herself in the middle of a model at switch time, he/she must finish his/her model and jump to the next round (“Finish and Go”).
Between Round 3 and 4 there is Interlude III, which is played synchronously [duration~00:01:30].
Part 4 follows attacca
Interlude III
Interlude III
pushed
RULESET
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Part 4 (--00:16:01-00:22:30)
Asynchronie: All players play asynchronously, each with an individual interpretation of MM=150, avoiding synchronisation with other players.
Synchronie: All players play synchronised with each other.
For each Round the Cuemaster cues the next Round, as well as the Interlude or the next Part, accordingly.
Round 1–4, 6-7, 11
Part starts at ~00:16:01 on cue, some of the players have entrance delay values, meaning they have to start after the cue with a defined number of quarter rests; if a model starts with a rest, this has to be added, too, to the initial delay.
Each player repeats each round n-times, as indicated (4x means play four times).
Stop/Switch Rules:
Violin I is cuemaster.
Should a player complete the round before the cuemaster, he/she must wait until cue (“Cue Standby”); should a player find him/ herself in the middle of a model at switch time, he/she must finish his/her model and jump to the next round (“Finish and Go”).
Round 5 is synchronous.
Round 8–10
Players try to synchronise a common loop-length (Sync-Loop).
Between Round 7 and 8 there is Interlude IV, which is played synchronously [duration~00:01:30].
Part 5 follows attacca
Entrance
Interlude IV
RULESET
Part 5 (--00:22:30-00:27:41)
This is a completely determined section (Dufay-Quote).
Part 6 follows attacca
& V ? & & B ?
5)
& & V ? & & B ?
RULESET
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Part 6 (--00:27:41-00:34:30)
First section is synchronous, till Interlude VI.
Interlude VI (Round 1, 2)
All players play asynchronously, each with an individual interpretation of MM=75, avoiding synchronisation with other players. Each player repeats each round n-times, as indicated (4x means play four times). For each round the cuemaster cues the next round, and the next Part, accordingly.
Stop/Switch Rules: Bass is cuemaster.
Should a player complete the round before the cuemaster, he/she must wait until cue (“Cue Standby”); should a player find him/ herself in the middle of a model at switch time, he/she must finish his/her model and jump to the next round (“Finish and Go”).
The last section is synchronous, again.
Part 7 follows attacca
Interlude VI
& & V ? & & B ?
& & V ? & & B ?
omnedensum.
omnedensum.
omnedensum.
6)
RULESET
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Part 7 (--00:34:30-00:42:00)
Asynchronie: All players play asynchronously, each with an individual interpretation of MM=50, avoiding synchronisation with other players.
Synchronie: All players play synchronised with each other.
For each Round the Cuemaster cues the next round, as well as the Interlude or the next Part, accordingly.
Round 1–4, 6-7
Part starts at 00:34:30 on cue.
Each player repeats each round n-times, as indicated (4x means play four times).
Stop/Switch Rules:
Violin I is cuemaster.
Should a player complete the round before the cuemaster, he/she must wait until cue (“Cue Standby”); should a player find him/ herself in the middle of a model at switch time, he/she must finish his/her model and jump to the next round (“Finish and Go”).
At the end there is an Epilogue, which is played synchronously [duration~00:01:30].
q = 50 p p p p
con sord.
arco st. flaut. nv.
arco st. flaut. nv.
arco st. flaut. nv.
arco st. flaut. nv. con sord. con sord. con sord.