Sy. 4708 - Liza Lim - The Compass (2005-2006)

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Liza Lim The Compass

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for large orchestra with solo flute and didgeridoo 2005-2006

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Partitur

Sy. 4708/01 ISMN 979-0-2042-4708-0

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C Copyright 2006 by G. Ricordi & Co. BĂźhnen- und Musikverlag GmbH, Berlin Alle Rechte vorbehalten All rights reserved / Tutti i diritti riservati

It is requested that markings are made in light pencil (HB) only. All markings should be removed from the score before the material is returned.

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Photocopying, or any other form of duplication, is strictly prohibited.

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The Compass

For large orchestra with solo flute and didgeridoo by Liza Lim

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Jointly commissioned by the Sydney Symphony and Bayerischer Rundfunk/Musica Viva.

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A project of Sydney Symphony’s composer-in-residence programme supported by Symphony Australia with financial assistance from the Australia Council, the Australian Government's arts funding and advisory body.

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Sydney premiere: 23 August 2006, Sydney Opera House. Sydney Symphony conducted by Alexander Briger Soloists: Rosamund Plummer (flutes), William Barton (didgeridoo)

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Munich Premiere: 12 January 2007, Musica Viva Concerts. Bayerischer Rundfunk Orchester conducted by Christoph Poppen Soloists: Carin Levine (flutes), William Barton (didgeridoo)

Duration: c.22 mins

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Dedicated to Gianluigi Gelmetti

Typesetting and Music Preparation by Peter Readman

This material remains the property of G.Ricordi & Co. (London) Ltd. All requests for performance should be directed to the publisher. +44 (0)20 7835 5382 www.ricordi.co.uk

The Compass(2005-2006) For large orchestra with solo flute and didgeridoo

Instrumentation All musicians except bassoons, contrabassoon, bass tuba and didgeridoo also play tin toy ‘insect clickers’.

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Solo Flute (d. piccolo and bass flute) - amplified

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Solo Didgeridoo (player also sings and plays clapsticks) - 2 microphones required to amplify voice and instrument.

3 Flutes (all with low B-foot; Flute 3 doubles piccolo)

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2 Oboes Cor Anglais Clarinet in A

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Bass Clarinet

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Contrabass Clarinet 2 Bassoons Contrabassoon

3 Trumpets (Trumpet 1 doubles piccolo trumpet)

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2 Trombones

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4 Horns

Bass Trombone

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Bass Tuba

Percussion (2 players):

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Timpani (38’, 25’ and 21’) plus cymbal to be placed upside down on Timp. 1

Percussion 1: Claves, 2 ‘insect clickers’, Ratchet, Pebbles in tin, Ocean Drum (geophone), Schwirrbogen (rotating ‘wind catcher’ creating bull-roar er, Aboriginal clapsticks (set at piano, amplified), Cabassa (set at piano and amplified).

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Percussion 2: 2 woodblocks, 2 ‘insect clickers’ 2 pebbles (large, as resonant as possible), 4 tom-toms, Bass drum, Ocean drum, Schwirrbogen, Aboriginal clapsticks (set at piano and amplified).

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Percussionists also bow piano strings with rosined nylon fishing line

Piano (pianist also bows piano strings with rosined fishing line) Violin 1

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Violin 2 Viola

Violoncello Double Bass Schwirrbogen (available on the following website): http://anklang-musikwelt.de/a_percussionsound/schwirrholz-schwirrbogen.html Insect clickers (example on the following website): http://www.puffins.com/toysmithpg17.html

Notes for performance Accidentals apply to the note they immediately precede; natural signs have also been used to aid reading. Two microphones are required by the didgeridoo soloist (for voice and didgeridoo)

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Quartertones

Amplification is required for the bass flute Two microphones are required to amplify voice and didgeridoo

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One microphone is required set at the piano to amplify percussion instruments

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Amplification

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Solo piccolo/flute/bass flute

Fingerings for multiphonics and high trills are by Carine Levine. (Carine Levine, Christina Mitropoulas-Bott, The Technique of Flute Playing I and II, Bärenreiter, Kassel, 2004) Tongue percussion

Breath sound (both pitched and unpitched)

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key articulations

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Low throat growl, contour the pitch by singing Also with rapid random key movement

Jet whistle (also whilst changing fingering)

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Solo Didgeridoo

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Soloist plays 2 instruments with fundamental pitches as follows:

Didgeridoo player also sings and plays clap sticks.

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Fundamental pitch is notated either at sounding pitch in bass clef or on single line stave. Upper five-line stave is used to show the approximate pitch contour of high vocal articulation and high harmonic ‘hoots’ as well as other effects:

Dingo - high forceful call

Crow - high throat growl with glissando

sing

in A

play

play and sing simultaneously

Winds Unpitched breath noise

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Oboe multiphonic fingerings are by Peter Veale (Peter Veale, Claus-Steffen Mahnkopf, The Techniques of Oboe Playing, Bärenreiter, Kassel, 1993.)

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Bass clarinet/contrabass clarinet/bassoon multiphonics where graphic shows degree of overtone enrichment of sound.

Bassoon/Contrabassoon multiphonic based on given pitch.

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Brass

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Unpitched breath noise

Strings

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unpitched breath (air) sound (dampen strings/bow bridge)

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half-pressed string (between harmonic and ord. finger pressure) resulting in muted, breathy tone. Vc./Db. high glissandi above fingerboard.

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Multiphonics

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‘lateral sweep’ (bars 244-245, Vln, Vln2, Vla): sweep bow along length of string (bridge to fingerboard and vice versa)

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‘scrape’ (bar 245, Vc, Db.): using extreme pressure, scrape bowhair 90 degrees along length of string.

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Piano

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h.sul pont. (Vc, Db.): bow near the bridge, continually adjusting bow position, speed and pressure to bring out a rich spray of harmonics (occasionally sounding fundamental pitch)

The piano should have its lid removed.

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The following piano strings are bowed using rosined nylon thread (eg: fishing line) with each ‘bow’ comprising at least eight strands. These ‘bows’ should be threaded around each required string and set so that they can be easily accessed. A weight can be used to keep the piano pedal depressed. Bowed notes: Perc. 1

( )

Perc. 2

Piano ( )

The Compass

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The didgeridoo holds a central position in this work, not so much as an overt soloist (though the two soloists - flute and didgeridoo - are indeed given very virtuosic parts), but in terms of how the Aboriginal instrument creates a template for the sonic frequencies at which the orchestra resonates. The tuning of the two didgeridoos played by the soloist (in A and in C) provides the musical co-ordinates for the piece. It also re-orients the hierarchy of the instruments so that the usual 'horizon line' of dominant treble instruments with supporting bass, is tilted and sometimes reversed. A resonating tree branch provides a singing, speaking and breathing compass that calls out lines of connection in the sonic landscape of the orchestra.

The Heart Sits in the Land Fire Fire Fire A River of Stars

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Ja Whydoo Ka Inne Woodjan Woodjan Woodjan Oul Gordee Wuroo Wuroo

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The Compass begins with a chant sung by the didgeridoo player - the text was devised by Liza Lim in consultation with William Barton, translated into his ancestral language of Kalkadoon (Indigenous language of the Kalkadoon nation in the Mount Isa region of Central Queensland):

(The word 'woodjan' also refers to starlight; the 'river of stars' is The Milky Way.)

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The words announce the elemental themes of the work - the expressive vibrating body (the heart in the land, or earth); transformation (fire); spiralling forms that open out towards a world beyond the human (River of Stars).

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Liza Lim, April 2006

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The Compass (2005-06) q = 80

Liza Lim

1 2

Clarinet in A

Contrabass Clarinet in Bb

Bassoon 1 2

1 3

2 4

1 Trumpet in Bb 2 3

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Contrabassoon

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Oboe

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Flute

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1 2 3

(*1966)

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Percussion 1

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Percussion 2

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Violin II

Viola

Violoncello

Double Bass

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sonorous / nasal

Violin I

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Solo Voice

Solo Didgeridoo (doub. Clapsticks and Voice)

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Solo Flute (doub. Piccolo and Bass Flute)

Piano

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Tuba

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Trombone 3 (bass)

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Horn in F

© Copyright 2006 G. Ricordi & Co. (London) Ltd.

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All Rights Reserved

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accel. 38

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(ord.)

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Ratchet

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ff

3

ff

ff

Tom-toms

mp

mp

f

ff

f

ff

mf

ff

molto sul pont.

Vc

molto sul pont. ord.

Vla

mf

Vln II

f

f

op

Vln I

54

by

yr ig ht

Solo Picc.

Pno

f

R ic

ff sfz

ff

4 T-t.

2.

ff

ff

f

er li

ff

mp

mf

sfz

iB

or d

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3

mp

mp

mf

Tpt

mp

mf

mp

f

1 2

mf

1 3

mf

Bsn 1 2

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mp

mp

C. Cl.

ff

3

al

fo rp

mp

er us

ff 3

mf

mp

B. Cl.

/O

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ff

mp

C. A.

ff 3

n

ff

mf

Ob. 1 2

ff mf 3

nl y

3

Fl.

1 2

54

12

1 2

mf

Fl.

mf

1 Ob. 2

f

mf

C. A.

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mf

f

ff

mf

rit.

f

mf

B. Cl.

f

3

ff

sfz

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a2

pp

pp

1.

f sempre 2.

Solo Didg. (in A)

op Vln I

Vln II

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Db.

mf

mf

mf

sfz

ff

mp

f

mp

mp

mp

RICL 058

Sy. 4708/01

ord.

sfz

ff

sul pont.

mf

mp

Vla

via sord.

rit.

mf

via sord.

p

Timp. 2

p

mf

mp

mf

f

57

mp

mp

yr ig ht

Solo Picc.

R ic

2.

2 W. Bl.

Pno

4 T-t.

sfz

Timp.

Claves

by

Tba

mp

n

mf

er li

3

mf

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mf

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iB

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nl y

mf

Hn

C

mf

f

1 3

fo rp

mf

mf

Bsn 1 2

al

57

er us

rit.

(drone)

sul pont. f

mf

mf

13

ff

ff

mf

ff

ff

mf

ff

mf

ff

mf

f

Fl.

1 2

f

3

B. Cl.

mf

Cl.

f

3

f

f

ff

mp

2 Hn

3

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mf

mf

Solo Didg.

gliss.

1.

op

C

f

p

f

mf

Db.

h. sul pont.

mf

f

ff

mf

f

mf

mf

f

7

ff

3

mf

f

mf

f

ff

f

f

ff

change bows ad lib.

3

fff

3

molto sul pont.

3

ff

mf

ff

mf

Vc

mf

h. sul pont.

mf

mp

Vla

f

q = 72

mf

mf

ff

3

Vln II

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p

by

60

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f

yr ig ht

Solo Picc.

Pno

R ic

Rat.

f

q = 72

Timp.

mf

mp

4

n

mf

ff

er li

ff

f

iB

ff

a 2

or d

1

ff

mf

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ff

f

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f

mf

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f

C. A.

fo rp

/O

Ob.

3

al

1. 2.

nl y

1 2

a2

er us

q = 72 60

molto sul pont.

mf RICL 058

Sy. 4708/01

fff

molto sul pont.

fff

ord.

mf

change bows ad lib.

ord.

14

Fl.

3

Ob.

1 2

Cl.

pp

pp

pp

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pp

pp

pp

1 Bsn 2

mf

1.

mf

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f

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mf

mp

mf

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3

3

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(between A and Ab)

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op

63

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ff ff

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3

3

(with didg.)

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(sing)

(play)

change bows ad lib.

ord.

change bows ad lib.

mf

Vc

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gl.

ff

ff

mf

f

mp

gliss.

f

mp RICL 058

Sy. 4708/01

f

f

mp

3

mf

6

mf

f

mf

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ord.

Vln II

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ff

a2

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p

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4

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al

63

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1 2

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f

f

15

Ob. 2

C. A.

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C. Cl.

p

p

p

pp

p

pp

pp

p

2

Cbsn

mf

pp

mf

mp

Rat.

4 T-t.

mf

mp

2.

sfz

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ff

by

yr ig ht

Pno

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op

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3

3

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ord.

3

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3 3

mf

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fff

accel.

3

p

p

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mf

p

mf

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mf

3

ff

f

accel.

Sy. 4708/01

mf

mf

mf

f

f

3

mf

mp

mf

molto sul pont.

mf

mf

molto sul pont.

mp

mf

ord.

f

mp

molto sul pont.

ff

q = 80

mf

3

mf

mp RICL 058

q = 80

mf

3

pp

pp

pp

mp

mp

fff

sfz

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mf

mf

sfz

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f

mf

mf

mp

pp

h. sul pont.

ppp

l.v.

mp

ord.

mp

ppp

Vla

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67

Vln II

mf

pppp

mp

p

3

(senza sord.)

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a2

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p

2.

2 W. Bl.

pp

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f

mp

mp

p

mp

M

R ic

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mp

n

Tba

er li

mf

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mf

or d

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M

1 2

ff

3 3

mp

ppp

mf

mp

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ff

pp

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mf

1

M

ff

pp

p

p

mp

p

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p

p

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1

p

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mf 3 mp

al

1

p

er us

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q = 80

accel.

fo rp

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nl y

1

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f

mf

16

2

mp

B. Cl.

1

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mp

f

f

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ff

op

C

f

f

f

f

pp

mp

mf

pp

f

sfz

f

mf

molto sul pont.

ff

molto sul pont.

f

ff

ff

sul pont.

mf

RICL 058

Sy. 4708/01

f

mf

molto sul pont.

mf

fff

ff

mf

pp

p

mf

mp

Vc

(harm.)

p

pp

pp

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mf

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mp

f

mp

h. sul pont.

mf

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f

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Db.

f

73

Vln I

3

mf

dingo

mp

ff

f

mf

fff

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Solo Picc.

f

by

Pno

mf

mf

sfz

mf

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mp

mf

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mp

mp

p

or d

3 (bass)

mp

f

mf

mp

mp

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mp

p

p

mp

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mp

mp

f

mp

mp

mf

f

mp

mf

f

1

1 2

mp

mf

mp

f

mf

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f

2 4

mf

f

mp

C. Cl.

f

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f

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al

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f

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nl y

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a2

1

n

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1

73

mf

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q = 60

rit.

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mf

1

2 3

3

3

f

mp

mp

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ord.

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op

ord.

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mp

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3

3

3

mf

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gliss.

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l.v.

3.

3

mf

3

2.

3

f

2.

q = 60

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f

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3

3

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mf

mf

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mf

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3

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rit.

f

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f

ord.

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f

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Solo Fl.

by

Timp.

or d

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3

mf

mp

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mp

mf

mf

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mf

f

mf

mf

mf

mf

mp

1 2

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mp

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3

mf

mf

mp

a 2

mp

mf

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n

2

ff

3

er li

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f

1

f

f

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al

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1

fo rp

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3

f RICL 058

Sy. 4708/01

3

3

3

3

ff

ff

mf

mf

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1 2

ff

3

ff

Cl.

1. 2.

3

ff

f

C. Cl.

1 Bsn 2

f

Cbsn

1 3

6

ff

3

Hn

2 3

Tbn

Solo Didg.

by

7

ff

3

83

C

Vln II

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f

f

f

3

3

3

f

/O

3

3

3

3

6

mf

f

f

ff

f

ff

mp

mp

mf

f

mp

f

mp

mp

accel.

3

3

f

horn

mf

ff

accel.

ff

Sy. 4708/01

mf

RICL 058

mf

ff

6

a2

mf ff

mp

6

mp

f

ff

ff

dingo

mf

mf

f l.v.

mp

mp

3

mf

ff

mp

mf

mf

3

f

mf

3

f

mf

Vc

Db.

f

3

ff

f

op

Vln I

Cym.

f

f

mf

mf

yr ig ht

Solo Picc.

f

gliss.

Timp.

ff

R ic

mf

3 (bass)

ff

1 2

Tba

mf

3

f

3

f

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n

er li

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1

or d

2 4

mf

ff

f

mf

ff

3

3

mf

f

f

3

3

f

3

ff

f

3

ff

ff

3

ff

B. Cl.

7

f

C. A.

ff

7

3

al

accel.

er us

1.

Ob.

7

7

3

fo rp

ff

Fl.

nl y

1 2

83 7

mf

ff

h. sul pont.

mf

h. sul pont. mf

ff

19

f

f

ff

Cl.

mf

B. Cl.

C. Cl.

mf

ff

3

ff

ff

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1 2

f

3

mf

mf

mf

3 (bass)

Tba

Solo Picc.

2.

3

3

Solo Didg.

q = 72

87

op

Vln I

Vln II

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Vc

Db.

3

mf

3

7

3

3

pp

pp

pp

p

p

mp

mp

ff

3

3

3

ff

mf

3

fff

mp

f

3

take Flute

7

yr ig ht

R ic

2.

pp

mf

mp

by

4 T-t.

3

mf

1. q = 72

2 W. Bl.

3

mf

mf

Rat.

mf

mf

mf

ff

Tpt in Bb take

or d

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3

f

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n

2 3

mp

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ff

7

3

2 4

pp

mp

f

Hn

pp

mf

pp

pp

ff

mf

pp

mf

ff

mf

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1 3

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mf

mf

mf

ff

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al

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2

fo rp

ff

nl y

f

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mf

3

pp

mp

3

[t - k]

pppp

pp

pp

pp

ord.

ord.

ad lib. very high pitches above the ďŹ ngerboard

3

3

fff

3

3

ad lib. very high pitches above the ďŹ ngerboard

3

3

fff

3

RICL 058

Sy. 4708/01

3

pp

p

pp

1

2 3

Fl.

1

q = 72

87

p

pp

20

1 2

Cl.

f

1.

tempo rubato (follow solo ute)

2.

f

al

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mf

er us

93

f

pp

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mp

f

mf

mp

(AmpliďŹ ed) sing through ute (mouth covers embouchure) key articulationssfz

Solo Didg.

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93

Vln I

mp

C

op

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Vla

mf

mp

f

3

sfz

mf

3

f

alternate tongue articulation and rolls

vary speed

low growl

f

CB

b4 b2 A3 4 4 B4 C

3

ff

mf

ff mf

pp

mf

pp

f RICL 058

Sy. 4708/01

ff

fff

3

3

3

molto sul pont.

mf

sfz

f

mp

mf

mp

ff

mf

f

mf

pp

ff

mf

pp

mf

3

harmonic cluster

tempo rubato (follow solo ute)

f

mf

mp

Db.

low growl

mf

mp

Vc

by

ff

R ic

mf

or d

3 4 G# 2

tempo rubato (follow solo ute)

Solo Fl.

iB

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n

/O

nl y

pp

fo rp

Bsn 1 2

mp

sul pont.

mf

ff

f

ord. f

21

breath noise 6

mp

mf

mp

ff

mp

C. Cl.

ff

key trill

breath noise

B. Cl.

mf

op

Vc

Db.

3

mf

mf

3

breathy (notes half pressed)

mp

mf

3

mp

mf

3

pp

pp

breathy (notes half pressed)

pp

breathy (notes half pressed)

mp

pp

breathy (notes half pressed)

mp

3

mf

pp

f

mp

mf

breathy

f

mp

mp

mp

mp

mp

mf

mf

3

mf

3

RICL 058

Sy. 4708/01

sfz

ord.

ord.

p

p

p

p

ord.

ord.

mp

f

mf

mf

f

f

mf

sul pont.

mp

ord.

mp

mp

sul pont.

mp

f

mp

mf

mf

p

ff

mf

mp

3

3

ff

ff

3

mf

ff

mp

jetwhistle

ff

ยง2 3 4 2 3 D#

mp

mp

f

loco breathy (notes half pressed)

mp

C

Vla

99

Vln II

f

3

mp

Vln I

ยง2 3 2

ยง2 3 4 G# 3 4

ff

yr ig ht

Solo Didg.

ff

by

Solo Fl.

pp

ff

R ic

or d

2.

Ocean Dr.

breath noise

mp

iB

1.

mp

Ocean Dr

pp

pp

slide trill

mp

mp

mf

breath noise

pp

slide trill

breath noise a2

mp

Tbn

Tba

mf

mp

3 (bass)

mp

Hn

1 2

fo rp

2 4

mp

nl y

1 3

/O

n

Cbsn

er li

mp mp

Bsn 1 2

mp

er us

Cl.

key trill

breathy

mp

al

Ob. 1 2

99

mp