Phantasmagoria (2013) for solo piano & sinfonietta
Dur. 15′
Phantasmagoria was first performed by (and is dedicated to) Tinna Thorsteinnsdottir and the Reykjavik Chamber Orchestra under Ezequiel Menalled in 2013 at Harpa, Iceland.
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for solo piano & sinfonietta
Dur. 15′
- The 4/4-measures throughout great parts of the piece do not mean that there is a special accent on the first or any other beats of the measures.
- The accidentals count for one bar and only for the octave they are written in.
- The score is written in C. The usual octavating instruments do octavate (piccolo, double bass etc.).
- It is recommended to amplify the piano slightly.
- 40 electronic stereo sounds are used in this piece. They are marked in the score between the piano and the harp. They are to be triggered by a sound technician sitting at the mixer in the middle of the audience, having a good view on the conductor. Ideally two persons take care of the sounds. One for triggering them, one for controlling the balance between orchestra and electronic sounds. There is a slight margin for triggering the sounds "inexactly" but no more than one beat. (And ideally exact!) Most sounds start on the first beat of a bar. Others have clearly indicated entries on other beats or note values.
- The sounds are to be programmed as such, that when a new sound is triggered, the previous sound fades out within one second.
- Although the sounds are stereo sounds there are 4 speakers to be placed around the audience as such:
Speaker 1 Orchestra Speaker 2
AUDIENCE
Speaker 3
Speaker 4
- The sound technicians (composers, conductors, musicians - whoever is performing and producing this piece) are encouraged to apply a "fake-quadrophony" at sounds which are marked as such: "(quad.)". Here the sounds can be moved around the audience at will, still having focus on the front speakers.
- The amplified piano should although still only sound from the front speakers, directly beside the orchestra.
- The overall balance between orchestra and electronic sounds should be 1:1 or rather 60% orchestra to 40% sounds.
Flute (doubling Piccolo)
Oboe
Clarinet in Bb
Bassoon (doubling Double Bassoon)
Horn in F
Trumpet in C
Trombone
Tuba
Percussion 1:
Cymbal
Marimba Steel Drum
Glockenspiel
Woodblocks
Tam Tam
Percussion 2:
Vibraphone (including bow)
Gongs
Cymbal
Gr. Cassa
Tam Tam
Piano solo
Harp
Violin
Viola
Violoncello Double Bass
breathe as rarely and imperceivable as poss.
breathe as rarely and imperceivable as poss.
breathe as rarely and imperceivable as poss.
SOUND 11 SOUND 13 SOUND 14 (quad.) (quad.) (quad.)
SOUND 15 (quad.)
SOUND 18 (quad.)
SOUND 23 (quad.)
SOUND 24 (quad.)
SOUND
SOUND 39 (quad.)