Else Marie Pade Etude (1965) for violin and orchestra Dur. 9′22″
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Edition·S
Foundation / Edition·S udgivelser er
A.P. Møller og Hustru Chastine Mc-Kinney Møllers Fond Aage og Johanne Louis-Hansens Fond Konsul Georg Jorck og Hustru Emma Jorck’s Fond Sonning-Fonden
er komponeret for violin stort symfoniorkester. Notationen er en blanding af traditionel nodeskrift og grafisk notation. Etude er komponeret i en slags ‘surround sound’, hvor solisten er placeret i midten af orkestret. Umiddelbart rundt om solisten er strygerne placeret, i en ring uden om strygerne er træblæserne placeret; i yderste ring messing og pauker. Hver af de 8 korte satser er orkestreret i overensstemmelse med en nøje udtænkt akkustisk vision. I fig. 1 ses E.M.P.’s akkustiske skema over de første 4 satser.
Som i elektronisk musik er der ved hver taktstreg angivet taktens præcise varighed i sekunder. Der er derfor absolut ingen tvivl om tempo og samlet varighed. Musikken indenfor takterne er nedskrevet i en blanding af grafisk og traditionel notation. Alle dynamikker er angivet ved hjælp af farver (se fig. 2).
EtudeNOTES
′22″ Fig. 2 Fig. 1
Else Marie Pade Etude (1965)
EtudeNOTER
As in electronic music, the exact duration of the measure in seconds is indicated for each bar. There is therefore absolutely no doubt about the tempo and overall duration. The music within the measures is written down in a mixture of graphic and traditional notation. All dynamics are indicated using colours (see fig. 2).
is written for violin and large symphony orchestra. The notation is a mixture of traditional and graphic notation. Etude was composed in a kind of ‘surround sound’ where the soloist is placed in the middle of the orchestra. The strings are placed immediately around the soloist, the woodwinds are placed in a ring around the strings; in outer ring brass and timpani. Each of the 8 short movements is orchestrated in accordance with a carefully conceived acoustic vision. Fig. 1 shows E.M.P.’s acoustic scheme of the first 4 movements.
for violin and orchestra
Dur. 9
The 1st movement consists of one long measure lasting 1 minute, the violins are divided into 16 divisi, each playing their own part. Each voice has its own unique number of notes to play out during the 60 seconds of the measure, divisi a and b have, for example, 74 notes, divisi c 73 notes, divisi d has 79 etc. A practical implementation is of course not possible based on E.M.P.’s graphic notation. In the printed version, I have divided the measure into 15 ‘sub-measures’ with 4 beats each = a total of 60 beats = 1 minute. The notation is still graphic, but it is possible for the musicians to orient themselves along the way with the help of the conductor’s marking of the 15 sub-measures. Fig. 3 shows the MS and the printed edition of the 1st movement.
I 5. sats er soloviolinen noteret dels med noder, dels med grafiske blokke. Det er uklart hvordan E.M.P. har tænkt det udført, da de noterede clusters ikke kan udføres på violin. I den trykte udgave har jeg gengivet E.M.P.s notation uforandret (fig. 4)
In the 5th movement, the solo violin is notated partly with traditional notation and partly with graphic blocks. It is unclear how E.M.P. intended it to be performed, as the noted clusters cannot be performed on the violin. In the printed version, I have reproduced E.M.P.’s notation unchanged (fig. 4). Fig.
Fig.34
1. sats udgøres af én lang takt af 1 minuts varighed, violinerne er opdelt i 16 divisi, som hver spiller deres egen stemme. Hver stemme har sit eget unikke antal toner at afvikle i løbet af taktens 60 sekunder, divisi a og b har fx 74 toner, divisi c 73 toner, divisi d har 79 etc. En praktisk udførelse er selvsagt ikke mulig ud fra E.M.P.s grafiske notation. I den trykte udgave har jeg opdelt takten i 15 ’under-takter’ med hver 4 slag = i alt 60 slag = 1 minut. Notationen er stadig grafisk men det er muligt for musikerne at orientere sig undervejs ved hjælp af dirigentens markering af de 15 under-takter. Fig. 3 viser henh. MS og den trykte udgave af 1. sats.
The 7th movement is notated purely graphically. The solo violin is notated with triangles with the point to the right or to the left. The tonal indications are clear, but how it is intended to be carried out is unclear. The orchestra’s other parts are all notated in different graphic waves with no tonality at all. Again, it is unclear what E.M.P.’s intention was. The phrase is reproduced in the printed edition exactly as in the MS.
7. sats er rent grafisk noteret. Soloviolinen er noteret med trekanter med spidsen til højre eller til venstre. Toneangivelserne er klare men hvordan det er tænkt udført står hen i det uvisse. Orkestrets øvrige stemmer er alle noteret i forskellige grafiske bølger helt uden toneangivelser. Igen er det uklart hvad E.M.P.s intention har været. Satsen er i den trykte udgave gengivet eksakt som i MS.
Per Salo 6 Sept 2022
Per Salo 6 Sept 2022
422INSTRUMENTATIONFlutesOboesHorns
F
Trumpets
2
Recording layout diagram: 3C Sound
ViolinSoloTimpaniViolinI
Violin II a-b-c-d
in
4 in C
Violoncello a-b-c-d
a-b-c-d
Double Bass a-b-c
Viola a-b-c-d
