Bára Gísladóttir: ÓS

Bára Gísladóttir

ÓS (2018)

for orchestra

Dur. 5′30″

Commissioned by the City of Reykjavík and the Iceland Symphony Orchestra in 2018 on the occasion of Iceland's centenary of sovereignty.

SCORE

Bára Gísladóttir

ÓS (2018) for orchestra

Dur. 5′30″

NOTE

The piece deals with the different significances of the word ‘ós’, that can for instance mean estuary or mouth.

horns 1 - 2 in F

INSTRUMENTATION

Piccolo

Flute

Alto Flute

2 Oboes

Cor Anglais

2 Clarinets in Bb

Bass Clarinet in Bb

2 Bassoons

Contrabassoon

4 Horns in F

3 Trumpets in Bb

2 Trombones

Bass Trombone

Tuba

Timpani (32″, 29″, 26″, 23″)

1. Thimbles

2. Wood mallets

Percussion 1

1. Thunder sheet

a. Thimbles

b. Steel chain (should be relatively heavy and approximately 4 cm broad)

c. Drumsticks

2. Thunder drum

Percussion 2

1. Thunder sheet

a. Thimbles

b. Steel chain (should be relatively heavy and approximately 4 cm broad)

c. Drumsticks

2. Thunder drum

Percussion 3:

1. Thunder sheet

a. Thimbles

b. Steel chain (should be relatively heavy and approximately 4 cm broad)

c. Drumsticks

2. Thunder drum Harp Violin

Explanations

Explanations

Explanations

Explanations

Clarinets

Explanations

Explanations

Clarinet 1 in Bb

Clarinet 1 in Bb tremolo of harmonics with different fundamentals

Clarinet 1 in Bb tremolo of harmonics with different fundamentals

Clarinets Clarinet 1 in Bb tremolo of harmonics with different fundamentals

Clarinet 1 in Bb tremolo of harmonics with different fundamentals multiphonics

Tremolo of harmonics with different fundamentals

Clarinet 2 in Bb

Clarinet 2 in Bb

2 in Bb multiphonics

Clarinet 2 in Bb multiphonics

Bass Clarinet in Bb multiphonics

Clarinet in Bb multiphonics

Bass Clarinet in Bb Multiphonics

Bass Clarinet in Bb multiphonics

Multiphonic trills

Explanations

Bassoons and Contrabassoon

Bassoons and Contrabassoon helicopter tonguing

Bassoons and Contrabassoon helicopter tonguing N.B.: The technique is always performed with air-flow, to make it more audible. An example can be found v=DCmn93c5MBE

N.B.: The technique is always performed with air-flow, to make it more audible. An example can be found v=DCmn93c5MBE

Bassoons and

Helicopter tonguing

The technique is always performed with air-flow, to make it more audible. An example can be found v=DCmn93c5MBE

N.B.: The technique is always performed with air-flow, to make it more audible. An example can be found in the following video at 3′14″ : https://youtu.be/DCmn93c5MBE

The technique is always performed with air-flow, to make it more audible. An example can be found v=DCmn93c5MBE

The technique is always performed with air-flow, to make it more audible. An example can be found

Bassoon 1 Multiphonics

Multiphonic

Explanations

This notation represents a fluttering air sound; the effect is performed with mouth pressure only, a fluttering technique performed by some with inverted mouthpiece, and some without mouthpiece (further information in the score). The different position of note-tails is to indicate the minor pitch- changes of the breath, creating a soar of fundamentals. The flutter should not at all be rhythmical.

Explanations

Brass

This notation represents a fluttering air sound; the effect is performed with mouth pressure only, a fluttering technique performed by some with inverted mouthpiece, and some without mouthpiece (further information in the score). The different position of note-tails is to indicate the minor pitchchanges of the breath, creating a soar of fundamentals. The flutter should not at all be rhythmical.

This notation represents a fluttering air sound; the effect is performed with mouth pressure only, a fluttering technique performed by some with inverted mouthpiece, and some without mouthpiece (further information in the score). The different position of note-tails is to indicate the minor pitchchanges of the breath, creating a soar of fundamentals. The flutter should not at all be rhythmical.

Horns

This type of technique occurs a few times throughout the piece. It contains a transition from open to stopped horn, the arrow describing the gradual movement between the two. The intonation should never be corrected when arriving from open to stopped position.

Horns

This type of technique occurs a few times throughout the piece. It contains a transition from open to stopped horn, the arrow describing the gradual movement between the two. The intonation should never be corrected when arriving from open to stopped position.

(senza sord.) + do not correct the intonation

This type of technique occurs a few times throughout the piece. It contains a transition from open to stopped horn, the arrow describing the gradual movement between the two. The intonation should never be corrected when arriving from open to stopped position.

Instrumentation

3 percussionists

Instrumentation

percussion 1

3 percussionists

Timpani (32″, 29″, 26″, 23″)

percussion 1

1. thunder sheet

1. Thimbles

a. thimbles

1. thunder sheet

2. Wood mallets

Harp

b. steel chain (should be relatively heavy and approximately 4 cm broad)

a. thimbles

c. drumsticks

b. steel chain (should be relatively heavy and approximately 4 cm broad)

Percussion 1, 2 & 3

c. drumsticks

1. Thunder sheet

2. thunder drum percussion 2

a. Thimbles

1. thunder sheet

2. thunder drum percussion 2

a. thimbles

1. thunder sheet

b. Steel chain (should be relatively heavy and approximately

4 cm broad)

a. thimbles

c. drumsticks

c. Drumsticks

Explanations

Rub strings vertically back and forth with whole hand as shown on second five in this video: http://sites.siba.fi/web/harpnotation/manual/sliding-sounds/rubbing-strings

2. thunder drum

2. Thunder drum

c. drumsticks

percussion 3

Explanations

2. thunder drum percussion 3

1. thunder sheet

a. thimbles

1. thunder sheet

Passages marked with tremolo should not be rhythmical, but as fast as possible.

Explanations

Pedal buzz

Harp

Explanations

Explanations Harp

Harp

b. steel chain (should be relatively heavy and approximately 4 cm broad)

Harp

b. steel chain (should be relatively heavy and approximately 4 cm broad)

Wire string hit

b. steel chain (should be relatively heavy and approximately 4 cm broad)

a. thimbles

c. drumsticks

b. steel chain (should be relatively heavy and approximately 4 cm broad)

2. thunder drum

c. drumsticks

Rub strings vertically back and forth with whole hand as shown on second five in this strings.

Rub strings vertically back and forth with whole hand as shown on second five in this strings.

Rub strings vertically back and forth with whole hand as shown on second five in this strings.

Rub strings vertically back and forth with whole hand as shown on second five in this strings.

pedal buzz

pedal buzz

pedal buzz

pedal buzz

wire string hit

When playing with thimbles, one should place a thimble on four fingertips of each hand and use all fingers to perform the tremolo.

2. thunder drum

Explanations

wire string hit

Scrape string vertically with wooden pencil

wire string hit

wire string hit

scrape string vertically with wooden pencil

Explanations

Passages marked with tremolo should not be rhythmical, but as fast as possible.

Passages marked with tremolo should not be rhythmical, but as fast as possible.

The ever going glissando in the timpani serves as the piece’s common thread. It should be as smooth and constant in its existence as possible.

scrape string vertically with wooden pencil

When playing with thimbles, one should place a thimble on four fingertips of each hand and use all fingers to perform the tremolo.

scrape string vertically with wooden pencil

thunder glissando

scrape string vertically with wooden pencil

thunder glissando

Whip thunder sheet with steel chain.

When playing with thimbles, one should place a thimble on four fingertips of each hand and use all fingers to perform the tremolo.

Thunder glissando

thunder glissando

thunder glissando

whip thunder sheet with steel chain

whip thunder sheet with steel chain

Punch thunder sheet with fist.

punch thunder sheet with fist

punch thunder sheet with fist

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