für Sopran, Ensemble und Elektronik 2023
Der Text basiert auf Ausschnitten aus William S. Burroughs’ Naked Lunch und wurde vom amerikanischen Burroughs-Spezialisten und Dramaturgen Alex Wermer-Colan verfasst.
Das Stück kann auch mit einem vom Komponisten produzierten Video aufgeführt werden. Das Video ist optional.
master processed on 21.04.2024
Sy. 5949/01
ISMN 979-0-2042-5949-6
Copyright © 2023 by G. Ricordi & Co.
Bühnen- und Musikverlag GmbH, Berlin
Alle Rechte vorbehalten
All rights reserved / Tutti i diritti riservati
AUFTRAG DES ENSEMBLE PLATYPUS UND DES CARINTHISCHEN SOMMERS
Sopran (mit Headset microphone)
Flöte (auch Piccolo und Bassflöte) + Mic
Klarinette in B (auch Es-Klarinette und Bassklarinette in B) + Mic
Tenorsaxophon in B (auch Sopransaxophon in B) + Mic
Synthesizer (Native Instruments FM8)
Violine + Mic
Viola + Mic
Violoncello + Mic
Live Patch (PD-Patch – Laptop Win10)
Verstärkung (→ Mehrboxensystem: minimal 4 Boxen, im Raum verteilt)
Keyboards Loops (→ Subwoofer) +1 Klangregisseur/in für Live Electronics und Live-Mix
Die Partitur ist in C notiert / Score in C
Dauer: ca. 35 Minuten / Duration: ca. 35 minutes
Die Klänge sind auf einem Native Instruments FM8 (mit Masterkeyboard) zu spielen. Der/die Spieler/in hat einen onstage-Monitor, ein Lautstärkepedal und ein Sustain-Pedal. The sounds must be produced with Native Instruments FM8 (with masterkeyboard). The player has an onstage monitor, a volume pedal and a sustain pedal.
Der Synth ist auf 443 Hz gestimmt (~Master Tune +13). The Synth is tuned to 443 Hz (~Master Tune +13).
Der Synth geht in den Subwoofer. The Synth goes into the Subwoofer.
Folgende Patches sind erforderlich / The following patches are required:
1
CopyrightbyG.Ricordi&Co./Forperusalonly
G11_Classic_Flute_just_02.nfm8
2 G11_60organ_quarter_LOW.nfm8
G11_Filterbass_p3_F.nfm8
G11_Filterbass_p3_Bb.nfm8
3
G11_Filterbass_p3_Eb.nfm8
G11_Filterbass_p3_D.nfm8
G11_Filterbass_p3_G.nfm8
G11_Interzone_01.nfm8
4
G11_Interzone_02.nfm8
5 G11_Dreammachine_03.nfm8
6 G11_Market_02.nfm8
7 G11_Dreammachine_03.nfm8
8 G11_Houses_01.nfm8
G11_Dreammachine_05.nfm8
G11_part_10_Meet_Cafe_01.nfm8
G11_part_10_Meet_Cafe_02.nfm8
G11_part_10_Meet_Cafe_03.nfm8
G11_part_10_Meet_Cafe_04.nfm8
G11_part_10_Meet_Cafe_05.nfm8
G11_part_10_Meet_Cafe_06.nfm8
G11_part_10_Meet_Cafe_07.nfm8
G11_part_10_Meet_Cafe_08.nfm8
G11_part_10_Meet_Cafe_09.nfm8
G11_part_10_Meet_Cafe_10.nfm8 11
G11_Dreammachine_06.nfm8
G11_Dreammachine_06_2.nfm8
G11_Dreammachine_06_3.nfm8
G11_Dreammachine_06_4.nfm8
G11_Dreammachine_06_5.nfm8
12
G11_Codabass_01.nfm8
Vorzeichen gelten, den traditionellen Gepflogenheiten entsprechend, jeweils für den ganzen Takt in der jeweiligen Oktave. 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.
Sechsteltonvorzeichen (Tonhöhe um ca. 33 Cent erniedrigt/erhöht) sixth-tone accidentals (pitch ca. 33 cents lower/higher)
Dritteltonvorzeichen (Tonhöhe um ca. 66 Cent erniedrigt/erhöht) third-tone accidentals (pitch ca. 66 cents lower/higher)
Vierteltonvorzeichen (Tonhöhe um ca. 50 Cent erniedrigt/erhöht) quartertone accidentals (pitch ca. 50 cents lower/higher)
register staff (high, middle, low)
Stimme / Voice
Gesungen / sung
Sprechgesang (Tonhöhen erkennbar) Sprechgesang (pitch recognisable)
gesprochen, mit annäherndem Tonhöhenverlauf spoken, with approximate pitches
gesprochen (ohne bestimmten Tonhöhenverlauf) spoken (unpitched)
Holzbläser / Woodwinds
Flöte: pizzicato (à l’Artaud)
Klarinette, Saxophon: sehr kurzes, scharfes Staccatissimo / very short, sharp staccatissimo
erhöhter Luftanteil / prevalence of air (70% air 30% pitch)
Flöte: äolischer Klang / aeolian
Klarinette: Subtone
Keyclick
Flatterzunge / flutter-tongue
Klarinette und Saxophon: Slap tone
Flöte: Tongue Ram
Multiphonic (Überblasklang, Griff angegeben)
Multiphonic (overblow, specific fingering is given)
Übergang vom ord. zum Multiphonic transition from ord. to multiphonic
Übergang vom Multiphonic zum ord. transition from multiphonic to ord.
mit Stimme (die untere rautenförmige Note bezeichnet den zu singenden, die obere den gespielten Ton) with voice (the lower diamond-shaped note is to be sung, the upper to be played)
mit Stimme (ad lib.) with voice (ad lib.)
Streicher / Strings
Grundsätzlich ist, außer wenn ausdrücklich anders angegeben, von einer non vibrato Spielweise auszugehen. Generally non vibrato, unless otherwise indicated.
c.l.t. + crini mit dem Holz gestrichen, mit Haar wood, bowed, with hair
c.l.t. senza crini mit dem Holz gestrichen, ohne Haar, non vibrato wood, bowed, no hair
c.l.b. mit dem Holz geschlagen hit with the stick of the bow
n.v. non vibrato
flaut. flautando
s.p. sul Ponticello s.p. 1.66 = 2/3 toward total s.p. = 2.00
s.t. sul Tasto
ord.
s.p. → s.t. s.t. → s.p. ord. → s.p./s.t. s.p./s.t. → ord.
normale Spielposition (oder auch normale Spielweise, wenn nicht anders angegeben) normal position, also normal playing technique
Übergang von einer Spielposition/Spielweise zur anderen transition from one playing position/technique to the other
natural harmonics
Halbflageolett (halb gedrückt) half-flageolet (low pressure)
chromatischer Cluster / chromatic cluster
gebrochener Cluster / broken cluster
All Parts are to be played without gaps between them, quasi sempre attacca; the same goes for all rounds in the piece, quasi sempre attacca
RULESET
Round 1–4
All players play asynchronously, each with an individual interpretation of MM = 66, avoiding synchronisation with other players.
Flute starts at 00:00 by selecting one of the 4 models A–D in a non-alphabetical permutation, 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.
The cuemaster for each round gives the signal to the next round, and in the last round the cue to the next Part.
Stop/Switch Rules: Flute is cuemaster, cues next round as soon as it has finished all models. Should a player complete all models before the cuemaster, he/she must wait until cue – gaps are filled by Delay Loops („Cue Standby“); should a player find him/herself in the middle of a model at switch time, he/she must finish it and jump to the next round (“Finish and Go”).
Round 4: Klarinette can insert Wildcard ad lib.
Each of the 4 Rounds last about 01:13 minutes.
DREAMMACHINE #1
All players play asynchronously, each with an individual interpretation of MM = 132, avoiding synchronisation with other players.
Players select one of the 4 models A–D in a non-alphabetical permutation, repeat 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.
Stop/Switch Rules: Violin is cuemaster, cues next round as soon as it has finished all models. Should a player complete all models before the cuemaster, he/she must wait until cue – gaps are filled by Delay Loops („Cue Standby“); should a player find him/herself in the middle of a model at switch time, he/she must finish it and jump to the next round (“Finish and Go”).
Dearaudience,
Dearaudience,
Dearaudience,
Round 1–5
All players play asynchronously, each with an individual interpretation of MM = 66, avoiding synchronisation with other players.
Players select one of the 4 models A–D in a non-alphabetical permutation, repeat 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.
The cuemaster for each round gives the signal for the next round, in the last round the cue for the next Part. Stop/Switch Rules: Saxophone is cuemaster, cues next round as soon as it has finished all models. Should a player complete all models before the cuemaster, he/she must wait until cue – gaps are filled by Delay Loops („Cue Standby“); should a player find him/herself in the middle of a model at switch time, he/she must finish it and jump to the next round (“Finish and Go”).
All Delays: ON
ROUND 5 q = 66 Strings synchronous, asynchronous to Sax., Cl. and Synth.
Strings
Synchronie Delays I–IV:
RULESET
Round 1–12
All players play asynchronously, each with an individual interpretation of MM = 132, avoiding synchronisation with other players.
Players select one of the 4 models A–D in a non-alphabetical permutation, repeat 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.
The cuemaster for each round gives the signal for the next round, in the last round the cue for the next Part. Stop/Switch Rules: Violin is cuemaster, cues next round as soon as it has finished all models. Should a player complete all models before the cuemaster, he/she must wait until cue – gaps are filled by Delay Loops („Cue Standby“); should a player find him/herself in the middle of a model at switch time, he/she must finish it and jump to the next round (“Finish and Go”).
Synthesizer
Anyonecomesintoyourroom
Round 1–12
All players play asynchronously, each with an individual interpretation of MM = 66, avoiding synchronisation with other players.
Players select one of the 4 models A–D in a non-alphabetical permutation, repeat 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.
The cuemaster for each round gives the signal for the next round, in the last round the cue for the next Part. Stop/Switch Rules: Violin is cuemaster, cues next round as soon as it has finished all models. Should a player complete all models before the cuemaster, he/she must wait until cue – gaps are filled by Delay Loops („Cue Standby“); should a player find him/herself in the middle of a model at switch time, he/she must finish it and jump to the next round (“Finish and Go”).
Round 1–9
All players play asynchronously, each with an individual interpretation of MM = 66, avoiding synchronisation with other players.
Players select one of the 4 models A–D in a non-alphabetical permutation, repeat 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.
The cuemaster for each round gives the signal for the next round, in the last round the cue for the next Part. Stop/Switch Rules: Clarinet is cuemaster, cues next round as soon as it has finished all models. Should a player complete all models before the cuemaster, he/she must wait until cue – gaps are filled by Delay Loops („Cue Standby“); should a player find him/herself in the middle of a model at switch time, he/she must finish it and jump to the next round (“Finish and Go”).
Alternative version of this part: each model repeated twice, resulting in a doubled length of the whole part.
DREAMMACHINE #5
restaurants,sleepingcubicles,
laxingmachines,
Round 1–7
All players play asynchronously, each with an individual interpretation of MM = 66, avoiding synchronisation with other players.
Players select one of the 4 models A–D in a non-alphabetical permutation, repeat 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.
The cuemaster for each round gives the signal for the next round, in the last round the cue for the next Part. Stop/Switch Rules: Saxophone is cuemaster, cues next round as soon as it has finished all models. Should a player complete all models before the cuemaster, he/she must wait until cue – gaps are filled by Delay Loops („Cue Standby“); should a player find him/herself in the middle of a model at switch time, he/she must finish it and jump to the next round (“Finish and Go”).
DREAMMACHINE #6
theblackwater,
gangstersinconcrete,
prurientballisticexperts.
Hewaits
fossilloins.