Dreifach

Morten Olsen Dreifach (1994-95) Threefold for chamber ensemble Dur. 17â&#x20AC;&#x2122;

Commissioned by Ensemble Nord

SCORE

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Composed with support from the Danish State Arts Foundation Skrevet med støtte af Statens Kunstfond

Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg

Morten Olsen Dreifach (1994-95) Threefold for chamber ensemble Dur. 17’

PROGRAMME NOTES

PROGRAM NOTER

Dreifach means “threefold” which the piece also is, both at the macro level - there are three movements - as well as the micro level. The piece is on the harmonic level built up of small cells which are repeated three times either simultanously, separate or overlapping, with or without different types of change. The same happens on the rhythmic level.

Dreifach betyder “tredelt” hvad stykket også er, både på makroplanet - der er tre satser - men også på mikroplanet. Stykket er på det harmoniske plan bygget op af små celler der gentages tre gange endten simultant, enkeltvis eller overlappende, med eller uden forskellige typer af forandringer. Det samme sker på det rytmiske niveau.

The movements are threefold, the elements are threefold, these again are split in three and so on. One might be tempted - what I most emphatically warn against - to discern some kind of religious angle. This is of course in no way intentional. Or is it?

Satserne er tredelte, delene er tredelte, disse er igen tredelte og så videre. Man kunne fristes til - hvad jeg på det bestemteste må advare imod - at få øje på en eller anden religiøs vinkel. Dette er naturligvis på ingen måde tilsigtet. Eller er det?

All three movements are based on the same basic basic material, albeit differently illuminated.

Alle tre satser bygger på det samme tonale grundmateriale, omend forskelligt belyst.

The first movement is almost classical with something that might resemble main and secondary themes, without really being treated as such or this really being the case.

Første sats er næsten klassisk med noget der kunne ligne hoved / sidetema, uden at det egentligt opfører sig og er behandlet som sådan.

The second movement has is an introspective sound field where the subconscious occasionally penetrates its way into the audible range. The third movement (conclusion?) is cloudy and turbid (contains many questions but no answers) but with a clear direction towards the end.

Morten Olsen June 1995

Anden sats er en indadvendt klangflade hvor det underbevidste få gange trænger sig vej til det hørbare område. Tredje sats (konklusionen?) er uklar og grumset (indeholder mange spørgsmål men ingen svar) men med klar retning mod slutningen.

Morten Olsen Juni 1995

PERFORMANCE NOTES Accidentals are valid for the rest of the bar. Repeated accidentals are only as an aid to memory. When an entry is on a tone already sounding in another instrument, it must be as smooth as possible (from “niente” - unless otherwise indicated), so that it takes over this tone in a naturally sounding way. Guitar The guitar will (due to the electronics applied) in some cases especially in 2nd movement, sound much longer than the actual string sound. To ease the reading, this will not always be obvious in the score, especially with regard of overlapping notes. When the electronic effect setting of the guitar applies other notes than the one played (e.g. chords, octaves an so on) these are not written in the score. Please refer to the electronics manual. The attack mode of the guitar is written as follows: N = Normal attack (with pick) S = Remove attack with volume pedal, fast. $ = Remove attack with volume pedal, slow. The ‟S” and ‟$” refer only to one note. If nothing is printed the attack mode is ‟normal”. ‟Both hands on fingerboard” means use both hands for ‟hammer on pull of” tecnique on the fingerboard. Play normal means left hand on the fingerboard and play the strings with fingers or a pick with the left hand. The multi-effects machine has to be programmed with 32 presets in a row in order to be able to change to the next one by pressing a footcontroler. The numbers in the guitarpart (and in the score) refer to these presets. For further description of the presets and more details on the programming of the effects machine, please refer to the electronics manual.

Cello On very long sustained notes: change bow as imperceptibly as possible in order to keep correct sound quality. Never change bow simultaniously with the entry of another instrument.

Percussion: Large tam Grand Cassa (very large) Vibraphone (double bass bow) Glockenspiel Crotales

PROVISIONAL LIST OF GUITAR PRESETS Movement I 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

The clarinet’s chord in measure 1 with the played note as ground tone Distortion, medium weak delay, medium long Distortion, weak delay delay, medium long Distortion, add a minor ninth below, delay equal level medium long Distortion, dry but with reverb No distortion, chorus Distortion, poco delay The clarinet’s chord in measure 1 with the played note as ground tone Distortion, dry The clarinet’s chord in measure 1 with the played note as ground tone Distortion, dry Weaker, distortion, delay equal, long “COLD SOUND” The clarinet’s chord in measure 1 with the played note as ground tone, stronger Distortion, dry Distortion, add a minor ninth below, delay equal level medium long Distortion, dry Distortion, dry but brighter Distortion, even brighter, delay equal, medium long Distortion, even brighter, dry Distortion, even brighter, delay equal, medium long

Movement II 21 22 23 24

Distortion, very long delay, almost equal (compress for longer sustain) Distortion, sharper sound, delay weaker (compress for longer sustain) Distortion, rouder sound, delay a little stronger (compress for longer sustain) Distortion,very round sound, delay almost equal (compress for longer sustain)

Movement III 25 26 27 28 29 30 31 32

Compression, distortion, weak reverb Compression, distortion, weak reverb, but uglier and stronger As in 25 Weak, weak “synth-like”, a lot of delay (long) almost no direct signal As in 25 but stronger Distortion, bright “screaming” poco delay. Distortion, add octave below, poco delay. As in 30

FORELØBIG BESKRIVELSE AF GUITAR-PRESETS TIL DREIFACH Sats I 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

Klarinettens akord i takt 1 med den spillede tone som grundtone Distortion, medium svagt delay, medium langt Distortion, svagt delay, medium langt Distortion, tilføjer lille none under, delay equal level medium langt Distortion, tør men med rum Uforvrænget, chorous Distortion, poco dalay Klarinettens akord i takt 1 med den spillede tone som grundtone Distortion, tør Klarinettens akord i takt 1 med den spillede tone som grundtone Distortion, tør Svagere, distortion, delay equal, lang “KOLD LYD” Klarinettens akord i takt 1 med den spillede tone som grundtone, kraftigere Distortion, tør Distortion, tilføjer lille none under, delay equal level medium langt Distortion, tør Distortion, tør, men lysere Distortion, endnu lysere, delay equal, medium langt Distortion, endnu lysere, tør Distortion, endnu lysere, delay equal, medium langt

Sats II 21 22 23 24

Distortion, meget langt delay, næsten equal (kompres for længere sustain) Distortion, skarpere lyd, delay svagere (kompres for længere sustain) Distortion, blødere, delay lidt kraftigere (kompres for længere sustain) Distortion, meget blød, delay næsten equal (kompres for længere sustain)

Sats III 25 26 27 28 29 30 31 32

Kompress, distortion, svagt rum Kompress, distortion, svagt rum, men grimmere og kraftigere Som 25 Svag, Svag, “synth-agtig”, meget delay (langt) og næsten intet direkte signal Som 25 men kraftigere Distortion, lys “screaming” poco delay. Distortion, tilføjer oktav under, poco delay. Som 30

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