Bára Gísladóttir: Split thee, Soul, to Splendid Bits (attn.: no eternal life/light this time around)

Bára Gísladóttir

Split thee, Soul, to Splendid Bits (attn.: no eternal life/light this time around) (2018) for violin, viola, cello, and harpsichord

Dur. 11′23″

Commissioned by and written for Nordic Affect

SCORE

Composed with support from the Artists’ Salary Fund of the Iceland State. Komponeret med støtte fra den islandske statslige Launasjóður Listamanna (kunstnerlønfond).

Bára Gísladóttir Split thee, Soul, to Splendid Bits (attn.: no eternal life/light this time around)

(2018)

for violin, viola, cello, and harpsichord

Dur. 11′23″

PREFACE

The piece is divided into five movements, as well as a prelude and interlude, played through continuously. Each movement is dedicated to a certain character or incident, staged in a somewhat religious rollercoaster for atheists.

i. a dirty prelude to get started

I. “Virgin” Mary

II. Mr. Saint Nice Guy

III. Uomo in disguise

IV. Revelation: wave-crushed stones and primitive despise

ii. interlude: OMFG have mercy on us

V. Amma in the skies

The piece should preferably be performed on baroque instruments.

Tuning: A = 415 Hz

Things to keep in mind:

Some of the harmonics are very pure, others are very grungy, almost a white noise. Take them as they come.

Harpsichord

Preparation:

Remove the damper from the jack of Bb1<>E2

Tie a piece of fishing line (length: ca. 1.5 m) close to the jack of Bb1, B1, E2, and place one that spans Bb1<>E2. Rub the fishing lines well with rosin.

Harpsichord

Place a contact microphone to the sound board, close to the bridge.

Preparation: Remove the damper from the jack of Bb1<>E2

Tie a piece of fishing line (length: ca. 1.5 m) close to the jack of Bb1, B1, E2, and place one that spans Bb1<>E2 . Rub the fishing lines well with rosin.

Other props: a handful of thimbles

Place a contact microphone to the sound board, close to the bridge.

Other props: a handful of thimbles

When it comes to the finger drumming on the sound board, feel free to experiment different places of the soundboard. There’s no need to perform the drumming in any specific place of the sound board, as long as you stay true to the dynamics written.

When it comes to the finger drumming on the sound board, feel free to experiment different places of the soundboard. There’s no need to perform the drumming in any specific place of the sound board, as long as you stay true to the dynamics written.

A part of the bowing technique is in the form of tremolo. In these cases, drag the fish line back and forth in a rapid manner

A part of the bowing technique is in the form of tremolo. In these cases, drag the fish line back and forth in a rapid manner.

This notehead shows an approximate area for the technique indicated to take place

This notehead shows an approximate area for the technique indicated to take place

r.h. – right hand

r.h. – right hand

l.h. – left hand

l.h. – left hand

Split thee, Soul, to Splendid Bits (attn: no eternal life/light this time around)