Frej Wedlund: Plasticity (2018)

Frej Wedlund Plasticity (2018) for string quartet

Written for and dedicated to the Arditti Quartet at the Time of Music Viitasaari masterclasses.

Frej Wedlund

Plasticity (2018)

for string quartet

Dur. 10′

PERFORMANCE NOTES

Notation

Glissandi should start immediately on the beginning of the note value affected. Stems without noteheads indicate re-articulation during glissandi, except when under the same slur, in which case they clarify rhythm.

Grace notes should fall on the beat.

1⁄8 tone above sharp y

1⁄8 tone above natural r(

1⁄8 tone above flat w

1⁄8 tone below sharp l)

1⁄8 tone below natural j

1⁄8 tone below flat g

1⁄4 tone above natural +

1⁄4 tone below natural d

Gradual changes between two techniques ▶

c l b col legno battuto

m.s.t. molto sul tasto

p.s.t. poco sul tasto

s.t. sul tasto

n. naturale (only used with s.t., s.p. etc.)

p.s.p. poco sul ponticello

s.p. sul ponticello

m.s.p. molto sul ponticello (should be almost completely noise)

flaut. flautando, refers to bow speed and pressure rather than bow position ord. cancels flaut., c l b, air noise etc.

Air noise: using one or several fingers, dampen string at indicated pitch with very slightly more than harmonic pressure. Bowing should be fast and very light.

The result should be an airy, nearly pitchless sound, but moving position highlights the pitch content.

Col crini battuto: flat with the hair into the string, without normal, horisontal bow direction. Very soft resultant sound.

w a ys o n t h e st r i n g,

o n si st e n t a t t a c k & l e n

t

t

I I pi z z o 3

∑ ∑ I I I

m s p m a u t >

7 t h p a r t i a l p s p , n o n a u t -

B

o r d

> 3

I I I n 5 5 5 & a r c o s t , m a u t >

∑

m a u t ( s t ) > pi z z ∑ ∑

> pi z z o 3 3 3 3 & I V

s p

a mp e n w/ a t n g e r s

P

e

v

z z ( o r d pr e s s u r e

l a t w i t h t he ha i r i n t o t he s t r i n g , w i t ho u t n o r m a l , ho r i s o n t a l bo w d i re c t i o n Ve r y s o f t re s u l t a n t s o u n d

c l b n s t n b 5 B pi z z a i r n o i s e " "

& a i r n o i s e , m s p3 ( ) ( o r d )

( c o n c r i n i b a ttu to ) pi z z 3 > - > " "

3 I V s t I I I

s t s p pi z z o 3

3 a r c o p s t , a u t p 3 ? I I I " "

pr e s s u r e n s t n s t 5 ? I I I o a r c o p vi b s t m a u t I I I p

( I

k ” “ pi z z > >3

s t Œ ≈ œœ B J ≈ Ó œ J ≈ ≈ R ‰ R ≈ R ‰ ≈ œ # R ≈ ‰ ® R Ô ≈ ‰ ≈ œ B R ≈ ‰ ® œr r ‰ ™ Ó ® œ R Ô ® ≈ ‰ Œ ® œ R Ô ‰ ™ ≈ œ µ R ‰ ‰ ≈ ™ œœ K r j ‰ ≈ ™ œ K r j ‰ Ó ‚ ≈ ≈ ™ ‚ µ R ‰ ™ Ó ≈ œ # ¿ ¿ ¿ r ≈ ≈ ¿ r ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ j ‰ Ó ≈ œr œr œ ™ J œ J œ b J ≈ œ B R ‰ ® R Ô ≈ Œ ≈ œ n R ≈ ‰ ‰ ™ œ µ R Œ Ó œ œ œ œ œ # œ œ œ œœ # ‰ ™ œ # R Ó ‰ ≈ ™ œ B R Ô Œ Œ ‰ œ œ n J œ œ R ≈ ‰ ≈ œ # œ n  œ n r œ Œ Ó Ó ≈ ≈ 7 # 7 # ® œ R Ô ® ≈ ‰ Œ ‰ œ b R ‰ 7 # œ R

o n c r i n i b a ttu to ) pi z z 5 & s t m a u t , p vi b p s t , p a u t n o n vi b p 3

½ o r d , n 3 & p s p , n o n vi b k > l 3 3 B o r d , s to o n I I I 5

b n c l b a r c o o r d 5

7 n 7 7 7 # 7 7 7 # ™ 7 n œ R

7 7 # 7 J 7 7 J ≈

a r c o o > s t a u t p vi  O j œ Œ Œ œ J ≈ œr œ ‰ œ œ J œ n œ Œ ≈ ≈ O œ R O œ ≈ œ J ≈ œ œ œ j ≈ Œ œ œ œ # œ œr ≈ œ # ™ œ n œ ™ œ ™ ‰ Œ ‰ œ ™ J œ R ≈ ‰ œ Or œ O œ O œ O ™ œ O œ O j ‰ Œ ™ ‰ œr œ J ≈ œ # j œ ‰

O œ b b R O œ n O œ n ≈ œ œ n # ‰ œ O # n ™ j œ O j œ O # œ O F r e j We d u n d : P l a s t c t y - 9

n d a n d b o w st a r t a t s a m e po

a n d a n d b o w st a r t a t s a m e po s )

o i s e ,

k e a n e c

k e a n e c h