ITACA (Mosaic II) by Enrique Busto

Ă?TACA

(Mosaic II) for Alt Sax/Baritone and Electronic

Commissioned by the Junta de AndalucĂa occasion of the Chair of Composition "Manuel de Falla" 2013 Under the tutelage of composer Horacio Vaggione

Enrique Busto

Premiere: 25th November 2013 XI Festival of Spanish Music Auditorium of Royal Conservatory of Music "Manuel de Falla" - Cadiz (Spain)

Guillermo MartĂnez (Sax) Javier CampaĂąa (Electronic) - Taller Sonoro Ensemble -

AUDITORIUM

Scene B

Audience

Electronic Music stand 3

4 A

Voyage I Voyage II

Loudspeaker

ÍTACA (Mosaic II) (2013) for Alto/Baritone Sax and Electronics

íTACA is inspired by Homer's Odyssey. Like it, this piece is organized in three sections, which in our case coincides with three sound spaces. Among these areas, the saxophone will perform a series of voyages where the concept of mosaic will have its greatest exponent. In the piece there are moments of intertextuality as recited in several fragments homonymous poem of the Alexandrian poet Kaváfis Konstantinos by the saxophone, or use in the electronics text and melody Seikilos epitaph. íTACA is a travel, where the most important isn´t to arrive to destination, otherwise to make the travel and the experience. The work of the sound and the use of instrumental possibilities, will be the "leitmotif" of the work, which will produce an organic body in constant movement, so that in many instances the sax will merge with electronics and vice versa. The electronic part it´s made of live electronics and prerecorded saxophone sounds creating at different times, different atmospheres materials. The spatialization in this work -with four loudspeaker- is very important, because the idea is to submerge the public into the sounds, thereby the listening will be active. It was premiered at the XI Festival of Spanish Music in Cadiz, on 25th November 2013, within the Chair of Composition Course "Manuel de Falla" under the tutelage of composer Horacio Vaggione by the dedicatee of the piece: Guillermo Martinez (saxophone) and Javier Campaña (electronics), Taller Sonoro Ensemble members.

Enrique Busto

"While you live, shine, not suffer for it at all. Life is short, and determines the final time". Epitaph Seikilos (Greek melody I A.D. century)

"... get there, here's your destination ... ... as rich you win on the road. ... ports before you ignored it ... ... without it you could never depart." KonstantĂnos KavĂĄfis (Excerpt from the poem "Ithaca")

INDICATIONS

Air

Air with sound (50%) or percent value.

Air (30%) and sound (70%)

Sound

Transition

Small golpi di lingua

Slap

Noise keys

Trumpet sound: play inside the tube without mouthpiece, like a trumpet

! !

Smorzando: move the air column like a vibrato.

Move the sax left and right or vice-versa

! !

Singing inside the instrument, let outfall a shout

Without mesure, the time is specific in seconds..

accell. or rit. progressive

TECHNICS INSTRUCTIONS: â&#x20AC;˘ The saxs haben to be amplified. â&#x20AC;˘ The hall has been in penumbra, only must illuminate the A, B, C player place.

ELECTRONICS Material

Concept

Surround air as a sound wave

Noise keys worked spatially

Small slap and golpi di lingua treated and processed electronically

Sounds kept flautato creating a very light atmosphere

Multiphonic Tremolo (c. 22)

Multiphonic in pp spatially

Bass, hoarse sound

Sib transformed repeat (extensible to other tones)

Recited text (whispered) upside down Seiquilos epitaph, spatialized

Sounds murmurs spatially on alto sax

Sounds spatially held around the Sib (variation of "h")

Melody Seikilos epitaph, with transformations and pedal note

LIVE ELECTRONICS Resonance granulated sound Distortion Transposition

ÍTACA (Mosaico II) for Baritone/Alto Saxophone and Electronics Enrique BUSTO 2013

Dedicated to Guillermo Martínez and Javier Campaña (Taller Sonoro Ensemble)

A q = 48

4 4

(10”) senza boquino aria

colpo di lingua (70% aria) h

Baritone Saxophone

> j 6

∑ O. O. O. O. O. O.

> j O

∑

5 4

aria

˚ ° ¢& 6 o

3 4

(5”)

j ‰ O

) “ p” “f ”

fp sfz

“f ”

h q. mano sinistra

Ó Chiavi

∑

‰

mano destra “ p” “ ff ” “ p” “f ”

/ Œ

Electronics

Ruido de llaves trabajados espacialmente

‰

Sonido envolvente de aire a modo de oleaje sonoro espacializado

Ó ∑ g p

h o =

(senza boquino) colpo di lingua

5 4

° &

3 4

h (aria)

‰ O. O. O. O. O. O. O.

j 6™

j 6

suono tromba gliss.

colpo di lingua (aria)

#f > j f

≈

j 6

≈ O O O O O O ‰ . . . . . .

j 6™

≈

5:4

“ ff ”

“f ”

Bar. Sax.

“f ”

f irregolare

simile Chiavi

¿ ¿

{

¢/

∑

≈ ¿ ¿

“f ” “f ”

4 pp

mf ff

Elec.

Œ Œ

‰

mp (sempre)

Pequeños slap y colpi di lingua repartidos espacialmente

g Œ

‰™

h pp

= (90% aria) smorz.

q = 118 c.a transizione colpo di lingua (70% aria) stacc.

boquino prendere

subtone (13”)

n OO ™ nO ™

Bar. Sax.

° ˚ ¢&

∑

‰ œ #œ œ œ # œ œ b œ œ nO. #O. O. O. O. O. O O . . pp

≈ nO #O O O nO #‚ ‚ ‚ ‚ ‚ bœ œ ppp

“ mf ”

p mf o

Chiavi

9 &

‰ b4 “f

Ó ¿ #¿ ¿' ¿' # ¿ ¿' b ¿ ¿ ' ' ' ' ' ”

≈

pp f Elec.

∑ pp ff

ïï (subito) –ó Ó ™ ïó

ppp

ÍTACA - Mosaico II 2 (90% aria) transizione

q smorz.

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿ Fru. æ r ‚ < #3> n‚ < #3> œ > g sfz h

(4”) aria

° Œ &

j 6™

≈

∑

≈ O

“ p”

“f ”

ppp Bar. Sax.

{

¢/

(8”)

4+ 1 4 8

œÆ J ≈

∑ j œ

11 ‰

“ p”

“ ff ”

g ppp

h ‰ /

Elec.

∑

c2 f

f/pp

(suono)

(90% aria) (50% aria) transizione transizione

4+ 1 4 8

5 8

Bar. Sax.

° ¢&

‰ O O

O O #O

ppp

b3 3

nœ # œ

#œ

nœ

bœ

bœ œ

nœ

#œ

œ ppp

‰

Elec.

o =

3 4

5 8

stacc.

# œÆ

œÆ

b œÆ # œÆ

œÆ

& ff

5 8

Bar. Sax.

° ¢&

‰

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > > # œ <œ > nnœœ nœ

< ∑>

nœ œ œ #œ

œ #œ #œ

œ #œ

P/ C3 (+C5)

pp sempre mf

f Live R1

≈ ‰

Ó Elec.

#œ

œ œ

œ bœ nœ

ÍTACA - Mosaico II 3

5 8

3 4

# œÆ

œÆ

° &

5 8

stacc.

# œÆ

b œÆ

∑

∑ ff

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ < œ> > > > # nœœœ œ

Bar. Sax. aria

œ bœ ‰

‰

6™

¢&

‰

œ #œ œ #œ

œ #œ

#œ

nœ bœ

#œ

nœ

œ #œ

“ p”

“f ”

pp sempre mf ff

Ó Elec.

∑

14 =

(suono)

(90% aria) (50% aria) transizione transizione

4 1 4+ 8

Bar. Sax.

° ¢&

1 8

< ∑>

œ bœ

œ bœ œ

œ bœ nœ bœ nœ

œ #œ

‰ 3 b3

3 #3 #3

3 b3

‚ b‚

‚ n‚ #O

p (subito)

O #O

O bO

O o

‰ Elec.

‰

= TRAVESÍA 1 (a memoria ) (7”) 19

1 8

3 4

4 4

aria

˚ ° &

∑

‰

∑

6™ “ ff ”

Bar. Sax.

∑ ¢&

∑ ¿ ¿

#¿

¿ n¿

#¿

¿ n¿

#¿

15 “ ff ”

“f ”

d1 Sonidos mantenidos ﬂautados creando una atmósfera muy sutil

Elec.

∑

∑ mp

ÍTACA - Mosaico II 4 The Soloist go to the scene between the public. Transition zone A to zone B

Tempo primo

q = 48

come una cadenza smorz. smorz. (3”) Aire e suono n.v.

4 4

Bar. Sax.

° ™ ¢& ™

#BOO ïï ï –ï ïó

A C3

1 8

nervoso

(1”)

3 4

≈ ∑

(2”)

simile

U #BOO

‰ óï ï –ó ïó

17 (2”) U

(1”)

≈

## OO µO J

U OO O

gliss.

™™ ## OO ™™ ® O ™™ J

(5”)

U ∑

OO O

p pp

(3”)

(5”)

Œ e2

< d1 >

‰

pp Elec.

/ ™™ e1

Tremolo de multifónico (c.22)

‰

e3 pp

18 smorz. transizione

Fru. 28

gliss.

Bar. Sax.

3 ‚™

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > > #œœœ < œ > nœ

q gliss.

° ¢&

˜œ J

4 4

≈ œ

1 4 BO ™

nervoso

#BOO

∑

‰

OO æ

5 8

# O™ æJ

≈

‰

5 4

p mf p mp mf f

20 Œ™ Elec.

‰

e6 pp

pp f

e = 128

q = 48

(suono)

Tempo primo

Tempo subito

transizione

O ï ˚

Bar. Sax.

5 4

° ¢&

4 4 ∑

smorz.

# OO BO

ïó ó –ó óó

4 4

‰ œ #œ

œ nœ # œ

j BO

O O

# OO O

‚‚ ‚

œœ œ

œ bœ

pp ff mp

pp pp mf

2 8

OO O

22 Elec.

furioso

Multifónicos en pp repartidos espacialmente

* Sax movement

3 4

ÍTACA - Mosaico II 5

q = 48

e = 128

Fru. transizione

)

Fru. furioso

q 37

Bar. Sax.

° ¢&

3 4 <#> œœ ™™

5 4 <#>66

aria

‚‚ ‚

œ ™

66 6 æ

‚‚ ‚

ï ˚

2 8

‰

# OO BO

6 æJ

OO O

#œ

smorz.

æ æ æ œ # œ nœ

æ æ œ bœ

3 4

4 4

nervoso

#BOO

‰

™™

pp mf

fff

ppp

ff mp

rit.

23 Œ Elec.

‰ Œ

/ o

h ‰

™™

p (sempre)

24 o mp

= colpo di lingua (70% aria)

4 4

° &

5 8

h aria

‰ O.

ï ˚

B O.

j 6

6™

œœ œ œ

™™

#œ ïï ï –ó ïï

“f ” “f ”

4 #œ 4 µ B œœ

“ mp”

Bar. Sax.

3 8

œœ œ œ

3 4

aria

™™

Œ 6 J

3 3

ppp

“ff ”

Chiavi mano sinistra

™™

∑

¢&

∑

™™

∑

™™

∑

mano destra “ p” “ ff ” (2º vez: tacet) Elec.

™™

∑

p mp

transizione

= smorz. (70% aria) smorz.

Bar. Sax.

3 4

° ¢&

‰ bO. >

Fru. aria

stacc.

nO.

bO.

nO. bO. >

µ#B œœœ ™™™ #œ ™

bO.

œœ œ œ J

æ 6

‰

4 4

æj 6

‰

≈ nO

¿ Fru. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ææ j 3 < n3> 3 < n 3> bœ ™ >

3 4 ≈

ppp f

pp “f ”

sfz

27 a6

≈ ppp

≈ ‰ Elec.

∑

pp (sempre)

26 *

Repeat ad libitum modules, with a pause including up to the stage (zone B)

ÍTACA - Mosaico II 6 transizione

q = 68 q transizione

O stacc. œ. . . . . . œ. . . . . gli.ss. . B O.

(q = 48)

3 4

Bar. Sax.

œÆ J ‰ ≈

° ¢&

Fru. smorz.

2 4

gliss.

œ. . . . . . œ. . . . ∑

≈

R ≈ ‰ Œ

j nœ p mf

n.v.

# ˙˙ B˙

∑ óï ï –ï óï

ppp

5 8

simile

4 4

‚ æJ

h pp mf Bb

28 ‰™

‰ Œ Elec.

29 Œ

‰ c3

Sonidos graves, sonoridades roncas

o mf

g mf h h g

= transizione

O 5:4

6:4

Bar. Sax.

Fru.

4 4

æj ° ¢& 6 ™

6:4

≈ Œ

æ æ æ æ æ æ æ æ æ æ æ #œ nœ œ œ œ œ bœ nœ œ # œ œ

secco!

3 4

b >œ œ.

2 4

b œÆ

. . . b œ. . . . . œ. . . . gliss.

B6. R ‰™



≈ Ó

‰

nœ œ#œ n œ œ #œ

j n œ

3 4

stacc.

J 7:4

“f ”

fff

h h

33 Œ

30 Elec.

o3 h2

Repeticiones transformadas de Sib

‰

32 ‰ ™™

/ g

‰™

‰

h g

= q = 82 Fru.

¿ stacc.

Bar. Sax.

° ¢&

3 4 ≈

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ™ #œœœ ™™ < œ > 333 OOO ™™ ™ ≈ œ™ 3 O™ æJ J

5 8

3 4

#œ

5 8

∑ bœ .

#œ œ .

bœ .

œ .

∑

œ œ .

bœ .

h pp mf

pp f

34 i1

‰™

Œ Texto susurrado al revés (Epitaﬁo de Seikilos

Elec.

/ g f

3 4

ÍTACA - Mosaico II 7 transizione

3 4

Bar. Sax.

O transizione q Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿ Fru. ™ #OOO<™™œ> œœœ œœœ ™™ ≈ O ™™ ≈ œ œ™ J J g f pp mf h

° ¢&

q smorz.

Fru.

3 4

Muta a Sax. Alto

Ÿ~~~~~~~~~~~~~~~~~~~~~ #‚ ™ <3> #œ #œ æ

5:4

> ≈ j nO

(30")

#‚ #‚

gliss.

r BO

‰™

∑

#O (glottide) p

g h fp

p f trans.

Œ Voz

≈ > g

36 Ah!

‰

Œ Sonidos espacializados de murmullos del saxo alto

Elec.

/ h p (pp)

mf pppp

g h g4

35 transizione

pp (sempre)

Alto Sax.

3 4

< > <-5>

¡ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ #O ™ œ O OO ≈ nOO ™™ œœ ‰ J J ïï ï C2 Bb –ï ïó p pp mf

subtone

° ™ ¢& ™

Œ #O O O O bO O b‚ ‚ b‚ ‚ œ #œ ‚ n‚ b ‚ ‚ O bO O bO

™™

6:4

ppp

Slap -4

semitrillo

Fru. (q = 82)

p mf

2 4

5 8 ∑

‰

# eee b#4e. >

µµ ee µ4e >.

<-6>

simile -6

<-7>

< > <-7>

3 8 nn ee 4e >.

3 4

b ee 4e >.

n ee b 4e. >

‰

b ee 4e >.

h pp

sfz

38 (2º vez tacet) Elec.

/ ™™

‰

™™

Œ ‰

‰

∑

ppp

37 pp

ïï ï –ï ïï

= transizione

)

q = 58

ïï ï –ï Eb ï ï

smorz. 5:4

veloce!

3 4

Alto Sax.

4 4

° ¢&

aria

bO ™ ≈ J

∑

3™

Ó o

ppp

‰

b œo J

3 4 œo

µ œœ. ™ ™ ™ ™ b œœg BB œœ Bœ œ bœ Bœ œ bœ

4 4

aria

≈ n6 ™ J

6 J

o g ff

“f ”

39 h h

k1 fp Elec.

Sonidos mantenidos espacializados al rededor de la altura de Sib

Ó fp fp

fp fp fp fp fp

‰

ÍTACA - Mosaico II 8

transizione

)

q smorz.

bisb.

4 4

Alto Sax.

° ¢&

bO ™ J

≈

ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ ˙ 3 ™ O

3 4

aria

suono

bµ œœ Bœ Bœ

bœ ‰

J o

ppp

‰ h

œ J Œ

‰

ppp

> Bœ J fp

g h

41 j

40 g6

Elec.

42 g h f‰

‰

i2 pp

p (sempre)

= smorz.

Fru.

4 4œ

simile

Alto Sax.

5 8

nervoso

° #œœ . ¢& ïï ï –ï C3 óï

. Œ

Bœ J

‰

#œ æ

Bœœ æ

2 4 œ

<#>œœ æJ

3 4

7:4

# œ

7:4

mf mf

. nœ µœ J g h mf

‰ ïï ï –ï óï

∑

‰

4 4

d4 p

pp f

‰ Elec.

‰

o g

ppp mf

p (sempre)

q = 82

= ( q = 58)

veloce! Slap

<-4 > <-5> veloce! 86

Alto Sax.

° ¢&

4 4 bœ J

µ œœ. Bœ Bœ

‰

5 8

secco!

. Œ

‰

bµ œœ. Bœ Bœ

œœ œ œ

3 4

BB œœ bœ bœ

j ≈ b4 >

e ≈ ## eee b 4. >

µµ ee bµ4e. >

5 8 Œ

‰

nœ #œ

œgliss. #œ

5:4

48 Œ Elec.

ppp

mf f

49 Œ

‰

h (mf)

p pp (sempre)

ÍTACA - Mosaico II 9 transizione transizione

Slap

q nat.

<-6> <-7 > 6:4

5 8

Alto Sax.

° ¢&

2 4 nO #O

ne ≈ n ee b 4. > sfz h g

‰

b ee n 4e. >

b œ. .

≈

7:4

œ. .

B O. R

gliss.

≈ g

3 4 ‰™

b˙œ œ œ œ œ œ #O‚ b‚ ‚ ‚ bO O bO n ŒO J

“ ff ”

fp 6:4

7:4

h mf

‰ 50

‰

Œ h

pp p f mf

g ‰

Elec.

pp (subito) ff

The soloist moves from area B to area C stage

= Tempo primo

q = 48

come una cadenza

( a memoria)

TRAVESÍA 2 transizione smorz.

4 4

(7" ca)

1 8

Aire e suono

3 4

nervoso Alto Sax.

° ™ ¢& OO nO bO n‚

œ œ

œ nœ n ‚ b‚

‚

O bO

U < Ó>

Œ O J

#O ™ ‚ b‚ #œ

ïï ï ïï ó

A C3

5:4

6:4

#BOO

™™

7:4

∑

< ‰> –

(7" ca)

pppp mf

U R3 (c.94)

o U < Ó>

™™

Elec.

∑

(pp) fff

= ¿

Fru. smorz.

3 4

Alto Sax.

° ¢&

6 8

6:4

. #Bœœ

Elec.

smorz.

. nœ µœ J g ff h

∑

. ≈ µnœœ

‰ ïï ï –ï óï

. #BOO æ

>O nervoso O æ æ

2 4 œœ

œœ

‰

∑

æ ïï ï ïï ó

pp (sempre)

nœœ

‰

3 4

h g

ppp mf

– C3

∑

h g

∑

ÍTACA - Mosaico II 10

Repeat ad libitum modules, with a pause including up to the area C. 6:4 7:4

5:4

e = 128

3 4

102

Alto Sax.

° ¢&

Ta C

. œ

. b œœ œ .

. smorz. furioso

2 4

Fru.

œœ

‰

œ .

œœ

æ bœ

‰

æ œ

æ æ œ bœ

¿ secco! æ æ U ™™ œ #œ Œ

#œ

3:2 Bb

g mf h h g

g p

pp mf

Elec.

b œœ œ .

œ . ïï ï –ï óï

∑

fff



∑

™™

∑

C = (35”)

Lento

5 4

105

Bisbligiato simile

Alto Sax.

√ Œ

° ˚ ¢&

Llegar

allí,

aquí

3 4 ∑

rico

tu destino

pp (ma sonoro)

cuanto

habrás

ganado

camino

54 g9

53 l1

Melodía del Epitaﬁo de Seikilos con transformaciones tímbricas y nota pedal

Elec.

55 o

transizione

= veloce!

veloce! 6:4

107

Alto Sax.

° ¢&

3 4 OO

bO O

‚

‚ nœœ #œ

œ bœœ b ‚

‚ n O bO O

5 8

O O

5 4

œ™

12 8

O O ™™

∑ 6:4

™™

5:4

veloce!

p (sempre)

™™

#œ ' g

#œ '

œ #œ ' '

œ '

<#> œ '

œ '

ff (sempre)

≈ ∑ f Elec.

™™ (2º vez tacet)

/ p

pp mf

Whispering text within the instrument, noise of keys for each syllable

™™

ÍTACA - Mosaico II 11

Slap

Fru.

stacc. (30% aria) (30% aria) simile simile

12 8

110

Alto Sax.

(aperto)

(nat.)

j >4

° ¢& #>8

#>4

#n ‚‚ #‚

j #O. >4

5 8

µ#‚‚ ‚

j #O.

12 8 ∑

æ #O

æ #‚

æ œ

j #O.

‚.

j #O.

7 4

µ#‚‚ ‚

>4 g g g p

“ff ”

f mf

h ïï ï –ó ïï

h ïï ï –ï óï

56 Ó™

‰

Elec.

# ‚‚ #‚

a7 p

h p

mp f

transizione

q smorz.

7 4

113

Alto Sax.

° ¢&

3 4

Bisbligiato

Œ puertos

que

tú

antes

ignorabas

Fru. veloce!

Fru. 5:4

æ #œ

æ œ

æ #œ

æ œ

#>O #O

≈ j #O

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #‚ ™ <#3> œ #œ æ æ æ

pp (ma sonoro)

g h fp

f mp

p mp

mf Elec.

o mf

‰

cresc. poco a poco e accell. p

= (6”)

O ¿ (3") rall. 116

° &

æ #‚

Bisbligiato

æ #‚

gliss.

r BO

U ≈

‰

sin (3")

ella,

jamás ∑

habrías

partido.

pp (ma sonoro)

(glottide) Alto Sax.

Voz trans.

≈

¢& > g pp ff

62 h

Ah!

a8 (3")

San Fernando (Cádiz) - Spain 29 / IX / 13

U h ‰™ Elec.

Œ g10

/ g f ( mf )

o 