...as I am... for mezzo soprano and large ensemble composed by Dai Fujikura

- - - as I am - - for solo mezzo soprano and large ensemble (corrected 03/04/2008)

Dai Fujikura (music ) Harry R oss (te xt)

Commissioned, premièred by Ensemble InterContemporain, Lore Lixenberg (mezzo soprano), conducted by Susanna Mälkki, 2nd April 2008, Cite de la Musique, Paris, France. The text “as I am” by Harry Ross is also commissioned by Ensemble InterContemporain.

Instru m en ts: For Strings: Use plastic (not metal) practice-mutes. The sound of the muted strings must “match” when played together.

1 Alto Flute (doubling Bass Flute) 1 Flute (doubling Piccolo) 2 Oboes 2 Clarinets (B-flat) col batt. = col legno battuto 1 Bass Clarinet 2 Bassoons For Violins and Violas: need hard 2 Horns (F) plectrums. 2 Trumpets (B-flat) + solo Mezzo Soprano 2 Trombones 1 Tuba (doubling Euphonium) 3 percussion players 1 Piano 1 Harp 3 Violins 2 Violas 2 Cellos 1 Double Bass -------------------------------------------------------------------------------------------------------------------Percussion Right: (need a bow) Percussion Centre: (need a bow) 1 Maraca 2 Anvils 1 Small tam-tam 5 Temple Blocks 1 Vibraphone Almglocken (1 chromatic octave) 2 Gongs

• The score is in C

3 Small Gongs

2 Slit Drums 1 Large Tam-tam 4 Large Tom-toms 1 Suspended Cymbal Percussion Left: (need a bow) 2 Congas 1 Vibraphone 5 Temple Blocks 1 Whip 2 Bongos 2 Log Drums 2 Medium Tam-tams 1 Jawbone 5 Small Gongs

1 Snare Drum 2 Sizzle Cymbals 3 Suspended Cymbals 4 Tom-toms 2 Congas 1 Lion’s Roar

Multiphonics: Bass o on 1

Bass o on 2

Cla ri net 1 (w ritten pitch)

Cla ri net 2 (w ritten pitch)

Bass Cla ri net ( writte n pitc h)

Oboe 1

Oboe 2

Flutes (written pitch)

Str ing s: suggested fingerings are optional. Violins:

Violas:

Cellos:

a mpli fi ca tio n Mezzo soprano and bass flute/alto flute (doubled by one player) must be amplified. Some mezzo soprano dynamics are soft, sometimes even whispered. Therefore the voice will sometimes need extreme amplification. However, the volume of the vocal part must not overwhelm the ensemble, especially in the loud parts which are normally sung. In this work the ensemble is of equal importance to the voice part and it should not be treated as accompaniment. The voice must come from within the instrumental group. The mezzo soprano also moves around during the piece (5 positions); the output of the amplification should respect these positions by panning. •

Sug ge st ion: a suspended loudspeaker system (left- middle- right) above the orchestra (with small loudspeakers) with a small box on the stage floor just in the front of the stage (front-fill). The sound engineer should be able to see the singer so that s/he can change the pan pot position by sight.

M ezzo sopra no The Mezzo Soprano must make a big difference in sound between "full voice", "white noise sound (untrained)", "almost whispering" and "whisper". Ge ne ral Poi nt : Accidentals (including grace notes) only affect the pitch to which they directly refer, not other octaves, for the duration of the bar in which the accidental is written. Do NOT vibrato on gliss. or port. Seati ng pla n:

Mezzo soprano and bass flute/alto flute (doubled by one player) must be amplified. Mezzo soprano sings generally in soft dynamics, sometimes whispering, but all words must be heard clearly at all time; needs extreme amplification. The Mezzo soprano must make big di!erence in sound between "full voice", "white noise sound (untrained voice)", "almost whispering" and "whisper". For Mezzo soprano, at opening section: Generally avoid "operatic" vibrato. non-vib.crispy = should be sung a little bit like whispering poco vib. espress. = should be sung like lullaby (relaxed, untrained voice, not operatic) "white noise sound (untrained voice)" should sound close to bass flute sound as possible. to Susanna Mälkki and Lore Lixenberg

--- as I am ---

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Dai Fujikura (music) Harry Ross (text)

for solo mezzo soprano and large ensemble (edited 03/04/2008)

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