Simon Steen-Andersen grosso (2024) for quartet, Leslie speaker and orchestra Dur. 34′
Commissioned by SWR, Radio France, Ircam-Centre Pompidou, Aarhus Symphony Orchestra, with the support of Fondation Pierre Boulez.
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grosso (2024)
for quartet, Leslie speaker and orchestra
Dur. 34′
PERCUSSION 1
Ratchet (*)
Windmachine
Wood block (“semi low”)
Wind whistle (loud, sharp, white noise)
Dog clicker (*)
Sand paper (*)
Thunder sheet (thin, large)
PERCUSSION 2
Sand paper (*)
Dog clicker (*)
Wind whistle (loud, sharp, white noise)
Xylophone
Snare
Glockenspiel
Ratchet (*)
PERCUSSION 3
Prepared (guiro) windmachine (*)
Dog Clicker (*)
Bass drum
Sand paper (*)
Wind whistle (loud, sharp, white noise)
Snare
Cabasa with crank (as it’s only used briefly, perhaps P3 can use the cabasa of P4)
Flexatone
Thunder sheet (thin, large)
Metal chimes (very bright/high-pitched)
Ratchet (*)
PERCUSSION 4
Ratchet (*)
Dog Clicker (*)
Snare
Frog-Buzzer
Snare
Cabasa with crank (the crank enabling a continuous sound, placed to also be playable by Perc. 3)
Bass drum
6 sizzle cymbals (organised in a “scale” according to brightness)
Special guiro (with two plastic cards) (*)
Sand paper (*)
Slapstick
(*) The sandpapers of each player should ideally be slightly different in colour by having different grades of grid. It should be played sandpaper against sandpaper and with a large enough area to get a constant sound. Ideally there would be a selection of grids to choose from to find the fitting colours and dynamics during rehearsals.
(*) The ratchets of each player should also be slightly different in colour. Ideally there would be a selection of ratchets (including plastic ones) to choose from to find the fitting colours and dynamics during rehearsals.
(*) A selection of dog clickers would also be preferable in order to find the right sound/dynamic.
(*) To prepare the wind machine of player 3, the cloth should be taken off and a plastic card or a thin stick should be mounted to “click” against the wooden “lamellas” when turned. Different options should be available to find the right dynamic, and there might be a need to use two different materials for the beginning (probably plastic card for a thin, crisp sound) and later in the piece (probably a thin stick, making it louder and fuller).
(*) The “special guiro” is a rippled or lamella surface to produce continuous, highly controlled impuls-tremoli with alternating hands that can go from very soft to very loud, without changing the speed. Ideally there would be a small selection of options to try and choose from. To better control the tremolo, I believe the ripples shouldn’t be too close / small, and it shouldn’t have too much of a sound/resonance (woody, plastic-tuby) of its own.
Piccolo
Flute
Alto flute
2 Oboes
Cor Anglais
Clarinet in Eb
Clarinet in Bb
Bass Clarinet
2 Bassoons
Contrabassoon
4 Horns
Piccolo Trumpet
Trumpet in C
Trumpet in Bb
2 Trombones
Bass Trombone
Tuba
4 Percussion
Harp
Soloist QUARTET:
2 Hammond keyboards
1 Leslie speaker
2 Vibraphones (Musser)
2 Steel drums
4 Bell plates
2 Kalimbas
4 Harmonicas
2 Electric drills
Violin I
Violin II
Viola
Violoncello
Double Bass (5 strings)
CATCH
