Simon Christensen: Octet (2012)

Simon Christensen Octet (2012)

for fl, cl in Eb, perc, pno, 2 vl, vla, vlc

Dur. c. 7’30”

SCORE

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Simon Christensen

Octet (2012)

- INSTRUMENTATION –

for fl, cl in Eb, perc, pno, 2 vl, vla, vlc

Flute

Clarinet in Eb

Dur. c. 7’30” - INSTRUMENTATION –

- INSTRUMENTATION –

Percussion: Vibraphone_Crash 16”_Ride 22” w/sizzles_Tom -tom 14” w/ambassador skin (two soft mallets, a pair of metal thimbles, a single brush and a single drumstick)

Flute

Piano

Flute

Clarinet in Eb

Percussion: Vibraphone_Crash 16”_Ride 22” w/sizzles_Tom-tom 14” w/ambassador skin (two soft mallets, a pair of metal thimbles, a single brush and a single drumstick)

Piano

Piano Violin I - Violin II – Viola - Violoncello

Percussion: Vibraphone_Crash 16”_Ride 22” w/sizzles_Tom-tom 14” w/ambassador skin (two soft mallets, a pair of metal thimbles, a single brush and a single drumstick)

Piano

Violin I - Violin II – Viola - Violoncello

PERFORMANCE NOTES

Violin I - Violin II – Viola - Violoncello - NOTATION -

Notation

- NOTATION -

Violin I - Violin II – Viola - Violoncello - NOTATION -

Accidentals 1/8 up: n r + t s y 0000= u

- NOTATION -

Violin I - Violin II – Viola - Violoncello - NOTATION -

Accidentals 1/8 up:

Accidentals 1/8 down:

Accidentals 1/8 up: n r + t s y 0000= u

Accidentals 1/8 up: n r + t s y

u

Accidentals 1/8 up: n r + t s y 0000= u

b g D f

Accidentals 1/8 down:

Accidentals 1/8 down: n

Accidentals 1/8 down: n j d h b g D f

Crescendo: Always start as quiet as possible, except where noted.

h b g D f

Crescendo: Always start as quiet as possible, except where noted.

Flute:

Crescendo: Always start as quiet as possible, except where noted.

Flute:

Flute

Flute:

Multiphonics from The Other Flute by Robert Dick:

Clarinet:

Clarinet

Strings

Strings:

Strings: Scordatura:

Scordatura: VL

Strings: Scordatura:

Scordatura:

Finger Battuto – indicates a strong attack with the finger on the fingerboard while bowing, no bowing accent!

Scordatura: Finger Battuto – indicates a strong attack with the finger on the fingerboard while bowing, no bowing accent!

Circular Bowing - A vertical and horizontal movement across the strings moving; from bridge to fingerboard or vice versa. The sound alters between noise and tone. Imagine a circle while performing this action.

Finger Battuto – indicates a strong attack with the finger on the fingerboard while bowing, no bowing accent!

Circular Bowing - A vertical and horizontal movement across the strings moving; from bridge to fingerboard or vice versa. The sound alters between noise and tone. Imagine a circle while performing this action.

Buzz – touch the open string lightly w/the nail while bowing. A delicate sound!

Circular Bowing - A vertical and horizontal movement across the strings moving; from bridge to fingerboard or vice versa. The sound alters between noise and tone. Imagine a circle while performing this action.

Circular Bowing - a vertical and horizontal movement across the strings moving; from bridge to fingerboard or vice versa. The sound alters between noise and tone. Imagine a circle while performing this action.

Buzz – touch the open string lightly w/the nail while bowing. A delicate sound!

Duration: app. 7’30’’

Buzz – touch the open string lightly w/the nail while bowing. A delicate sound!

Duration: app. 7’30’’

Buzz – touch the open string lightly w/the nail while bowing. A delicate sound!

Duration: app. 7’30’’

INSTRUMENTATION

Flute Clarinet in Eb

Percussion:

Vibraphone, crash 16”, ride 22” w/sizzles, tom-tom 14” w/ambassador skin (two soft mallets, a pair of metal thimbles, a single brush and a single drumstick)

Piano

I - Violin II – Viola - Violoncello

Violin

Slighly

No conducting! No break or any pause between section K and section L.

Cue from the pianist when to enter section M.

Players, except the pianist, must repeat as long as neccesary. Duration for section L should be somewhere between 45 and 65 sec.

Perform preferably with circular breathing. Or hold as long as possible followed by a soundless fermata, then repeat the note. (with a very soft mallet and only performed w/left hand, just like before)

rit. Vla & Vlc: As long and slow bowing as possible (synchronization of the bow is not important)

Aeolian tone

R.H.: Vibraphone played w/metal thimble

L.H.: 16" crash cymbal on stand_Hit the edge w/drumstick (holding the stick vertical)

sempre p finger battuto Pizz w/left hand behind the fingering. Sul III should be muted with the finger performing the finger battuto.

P (sempre ped.)

sempre p con forza poss. senza vibrato

IV III IV (suono reale!)

sul tasto estremo

sempre p

(Ride cymbal 22" w/sizzles; hit with the fingers) very soft accents

Pizz inside the piano p sempre ped.

(con sord.)

Slap-tongue combined w/aeolian tone arco

Violin I & Vla: circular bowing - moving in circles from arco normale to tasto. p II III add pressure and stop on the string; a "soft-harsh" and very short sound. p p 14" tom-tom w/ambassador skin played with a brush: Keep the hairs on the skin all the time. Always play close to the edge of the drum with very little movement of the hand. Like a very tight tremolo.

cymbal 22" w/sizzles; hit with the fingers)

*) Buzz: Finger the high F and use this finger to create a delicate buzz on

Pizz w/left hand behind the fingering. Sul III should be muted with the finger performing the finger battuto. con forza poss.

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