The Mind is the Cave (2017) for acting horn player
Programme notes:
Performance notes:
The Man is still imprisoned in the allegorical Cave described by Plato. The Cave is resonant and a magic horn resting in the middle of the scene acts like a device that, similarly to the fire in the allegory, projects a false soundimage on the walls. This is interpreted by the Man’s mind as a supernatural response. During the piece, the Man tries to communicate with the resonant phantom reply. He is deceived by the seemingly lively nature of the response and falls gradually into the illusion of being possessed. The louder the echo grows, the more frightened his screams become, originating a vicious circle of anxiety. Ultimately, the interlocutor is simply the natural echo produced by the structure of the Cave, but the Man cannot realise his mistake. Once he is left screaming alone without any horn sound reverberating, the piece finishes with the sole echo of his last cry, abruptly breaking the illusion of the mysterious conversation.
The piece is written mainly without an accurate tempo information. That is to allow the performer to pace the whole piece according to the resonance of the site. When a specific metronome is indicated, always adjust it to the acoustics too, without renouncing to a constant increase of tension throughout the whole piece.
Different lengths of vocal note.
Degrees of timbre in the note (full, broken, breath).
Note with imprecise pitch, always oscillating.
Low register voice clef, pitch not fixed (consider the lower possible register as the range of the clef, where the note hanging below the stave is the lowest singable pitch). The intervals correspond to the bass clef disposition. Make a creaky voiced sound ( aĚ° ) when the note is written detached below the stave.
High register voice clef, pitch not fixed (consider the falsetto register as the range of the clef, where the note leaning above the stave is the highest singable pitch). The intervals correspond to the treble clef disposition. The falsetto is always marked with the harmonic symbol.
All the score, including the vocal part, is in F
Copyright Š Gerardo Gozzi 2017 All rights reserved. No parts of this score may be reproduced, arranged, stored in a retrieval system or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the composer.
The Mind is the Cave dedicated to Clemens Gottschling
(2017) For the performer: The performer represents a human being in the act of communicating with an alleged presence. The piece needs to be set in a place with a largely resonant acoustics, such as a church or a wide industrial site. The ideal environment in which the piece should be performed would evade the traditional setting of the concert hall, and be evocative of a more mystical, or even spiritual atmosphere. In case of a performance in a conventional music place (presenting drier acoustics), an electronic reverb effect should be applied, placing a single microphone in the proximity of the bell of the horn in the final standing position (occurring in the third page of the score). Either in a reverberative environment or with an artificial reverb effect, the projection property of the instrument will fill the space with the longer echo, besting the untrained voice of the instrumentalist, which will lack the necessary projection to reverberate in the space (in the dry acoustics scenario, because it is far from the microphone). Thus, various degrees of “size” of the sound source appear throughout the piece. This is because the degree of sound projection varies sensibly, starting from the pure voice hummed outside the instrument, to the voice sung inside the instrument, up to the open horn played cuivré. Only the highest degrees of projection will resonate in the environment, creating the illusion of a reply to the player’s act that manifests itself only when the horn is played. The primary condition for reverberation is the full free sound of the horn.
The audience is the spectator of the psychological deceit of which the Man is victim. For this reason, the staging can evade the traditional division between scene and stalls: the final position where the performer plays should be at the spot of bigger resonance in the hall. This might well be at the very centre of the space. The natural reverberation comes from the walls. If an artificial one is necessary, place the speakers surrounding the audience. The digital effect should be a mere long reverb (the length of which can be decided by the player, being preferably lasting at least five to ten seconds), with no perceivable delay of the attack. At the beginning, the horn should rest in a visible and elevated place, not far from the final playing position. The player should approach it at an angle that makes the act in the first system of page 2 visible. Alternatively, the scene can also be staged in a different way – for instance, the reverb might come from a recess that represents the Cave; there the performer acts and plays, and the audience is witnessing the scene from afar. Any different staging is welcome, as long as it serves the main idea of the piece.
The instrument assumes the role of a magical device which, in the mind of the protagonist, puts the human in touch with a responsive entity. It is vital that the player listens carefully to the reverberation and paces the piece accordingly. The action of listening should be evident in the acting throughout the whole piece, making the idea of a conversation plausible. The piece will then change pace from site to site, because the “reply” is effectively a second part performed by the space and the performer should dialogue with it. Such an attempt to communicate with this invisible entity resembles in many aspects a religious ritual. So the voice of the performer continually seeks to harmonise with the divine, bouncing between two opposite and yet complementary approaches. His chant includes both the pure countertenor voice coming from the Gregorian tradition and the guttural creaky sounds at the bottom of the voice range alluding to the “oms” used in Asian meditation. The suggestions generated by the mind lead the character into a circle of growing fear for communicating with something undetected. Towards the end, the horn seems to capture the performer’s voice inside its pipes, engaging in a chase of glissandi. The piece ends with a muted scream inside the instrument: the mouth is eventually freed once the echo of the instrument disappears, leaving only the reverb of his loud, clear voice. The dialogue ultimately remains a mere illusion in the mind of the performer because it is, after all, only the acoustic reflection of the sounds that he produces – perhaps the Man realises it in the end.
What the Man’s mind mistakes for an actual speaking entity, is assimilable to the shadows described in Plato’s “Allegory of the Cave.” What men perceive as sounds are vibrations coming from their surroundings, always transformed and interpreted by the mind. Extensively, everything perceived by our senses is not an accurate account of the world around us but is information continuously filtered by our imagination. Humankind is still unable, in many ways, to escape the Cave. It is both our blessing, for it helps us to reach the sublime land of creativity, and our doom, because it keeps us from distinguishing between reality and our hallucinations.
The man wanders in the allegorical cave
Gerardo Gozzi
Enter the hall from a remote door, mumbling the fragments gently and repetiting them freely like a litany
6
(voice)
6
¸ ‚ µ6
‚
[m]
[a]
Gradually add the new elements (they do not always need to be sung in the same pitch)...
‚
[e]
BÒ Ò
& Ò µÒ
¥[a]
µ
‚
B
[m]
& Ò µÒ
‚
G‚
[e]
...keep interchanging the fragments, progressively diminishing the frequency of the initial ones...
B
B O
--¥
‚ [a]
‚
≥--
3
‚ [m]
[f] [e̤ ] [n][o] [e̤ ] [i]
Ò Ò
BÒ Ò ¥[a]
¥
Approaching the magic instrument
‚ [e]
3 µ‚
[e̤ ] [m][o]
fi¸
When approaching the horn, the voice becomes lower and broken like speaking in an emotional state while trying to control the tone...
‚
[t][e̤ ] [o]
Ò ‚ ‚ BÒ
[o] [r] [a]
fi¸
µ‚
≥--
[t][o] [i]
...until the voice does not come out anymore
¸ ‚
[a]
© Gerardo Gozzi 2017. All rights reserved
¸ B‚ [æ]
[o]
[n] [e]
O
2
The Mind is the Cave Press the hands against the body and slowly bring them to the mouth, then press the palms against the lips to to firmly cover them
pp cresc. molto
---------
"mp"
"f " N
Beating the fists on the belly
›
› [a̰ ] æ >æ
o µ‚ ‚ ‚ µ‚ µ‚ ¥
&
œ µœ
& NϾ p x w
Ò Ò
Ò Ò
[o]
µœ
N#w
0
[a]
Nw
¡
Òo Ò
( f )
( mp )
[o]
[o]
< w>
poco dim.
B ¥¡ w
Ò Ò /
/
¥ cuivré B poco
¥ ord. n
ppp
0
µ
o Ò Ò p
¥[a]
¥ ¡-ã < #œ >
[a] Pull the horn abruptly off the mouth (keeping it open), thearically listen to the surrounding space, & then sing again
&
¥ ¡-ã < œ>
˜
µ
µ ppp
¥¡ < µœ > pp
slowly
µ‚ ‚ ‚ BB‚ µ‚ ‚ µ‚ Ò #Ò ¥[o]
&
>
[a]
2 poco 3
mp
(horn)
0
Ò Ò
¥¡ w
+ bw
&
¥b¡-œã œ+
bend up to Eb half stopped, still sounding D
(p)
(voice)
;
( mp
BÒ Ò ¥[a]
¥ [a̰ ]
mp
still singing inside the horn
0
/
( mf )
f
›
/
:
B
#
p
"mf "
Ò Ò
G , bw+
Òo µ o Ò
p
"mf "
[o]
?
Nw
? bw¡
o ›
dolce p
pppp, echo
p
?
o
[a̰ ] 1/2 valve
Theatrically capture the sound produced by the voice with the hands and carefully bring it to the bell of the instrument, as if holding something precious
Use the rests to move towards the final standing point (in the next page) – take more steps during the longer breaks
pppp
[o]
o ‚ ææ
( fff )
¥[a]
[o]
The initial attempt to operate the magical device
o Ò Ò
"fff "
"f "
Ò Ò
< ‚>
[a]
B 2
Nw /p
0
The Mind is the Cave
inside the instrument
¿
Ò Ò [u] -
"f "
"fff "
‚ ææ +
æ
ah!
&
Fall down on the knees, like a sign of resignation
stopped horn
Keep pressing the fist against the body and move the hand towards the forehead while looking upwards
¿
Like a spoken litany
‚ ≥--O 3
ææ
-
æ
[a]
3
--¥
O
3
[o] [n][e̤ ]
[u]
p
[e]
( mp )
&Ò Ò
[o] F 1 3
F
& Nœ œ œ œ ˙
p
poco
& Ò Ò µ ‚ ‚ ‚B‚ Ò Ò
mp
Ò Ò
[a]
&
& ‰ µœ œ™ µœ œ ™ mp
≥--
µœ
Nµ‚ ≥O-- ‚ O--¥ (inside the instrument)
‚
[o] [e] [n][i] [f] [a]
œ
B 2 3
F 1 3
œ œ µœ œ 3 œ µœ B&œ
1/2 valve
legato
˙
f
mp
6
q= N40
(in case of digital reverb, towards the microphone)
w
&
stand up!
¥Bell facing up
[o]
mp, morbido
o Ò nÒ
&µ
:
o o o ‚‚‚
p
5 ŒA
[o]
nœ œ œ 1/2 valve
p
BNµ˙
Ò Ò
[a]
poco
¥[a̰ ]
;
; The whole body is almost immobile, like handling a fragile object
¸ µ¸
¸ Bœ ˙
:
< µœ >
B 1 2
B 3
p
p
[a̤ ]
[o]
¡-ã ¥>¡ 1
Beating the right hand fist on the chest
poco
+
+ 1/2 valve ¸ œµœ µœ œ
œ
B œ œ nœ µ˙
pppp
G,
6 ,
[a̰ ]
p
& b‚ 2 mp 3
b œ µœ
+
¡
b6 ™ :
& µœ Bœ 5 Œ A
5:4e
+ bœ p
;
¸ µœ
4
The Mind is the Cave
o o ‚ µ6 æ
( mp )
&
# ææ
‚ #‚ ™
¥[i] + #œ
[o]
& <n>œ #œ œ œæ 5 Œ A 5:4x
ï ‚ ™ B‚ æ
[u]
¡
5 ‰A
˙
&
µ
#
[e]
bw
lip vibrato
¥ dolce G,
¥¡-ã ¥+ ¥¡
cuivré
F 1 3
:
;
˙
œ
mp
p
3
Ò™ & ‰ #3 µÒ
&
+
œ
p
¥Gradually turning back forward
5 ‰A
#œ 2œ œ 2œ
¡-ã
µœ
¡
Bœ
#œ
f
mp
;
µœ
/ < 6>
+ + #œ µœ
+ #œ
B 1
p
"f "
p
f
5 ‰A
p
n
œ
mf
[e]
¸ µœ¸ #œ
2 3
¥¡-ã ¥¡
#w
[e]
b ˙: ™
nÒ Ò
¥¡-ã
B
w :
;
*if using a microphone, make sure to keep the bell within its range
;
0 The magic horn captures the resonance and the player finally stands with confidence
¡
3
NBw
µœ
n
B
¡
+
bœ
bw
b
B
[o]
B
bw
ppp
o Ò B Ò & &œ
µ
"mf "
2 "ff "
F 2 3
¿
œ
mp
bœ
6
5 A
µ ™
? µÒ Ò ?
3
"f "
3
mp
[o]
≈
2 "mf "
p
Turn around (to the left) like expecting to find an interlocutor in the direction of the bell of the instrument*
2 "f "
o µÒ Ò
B 2
B 2
p
[o]
( mp )
&
µœ ™ œ
˘m˘
˙
:
Discretely looking around for another strange bell
Freely and slowly, allow the reverberation to build up
µ‚ ™ ‚ 6 5:4x
shake the instrument
2 "f "
"mf "
n
¿0
5:4x
[e]
( mp )
"ff "
G,
) 3
pp
mp
&
/
B œ œ œ µ˙
1/2 valve
2
6
ppp
Long and abrupt, evoking the sound of strange bells
mp
‚o
n
O
An ancestral melody q= N40
<n>œ œ œ œ œ µœ œ æ F 0
F 1 3
F 1
B 1 3
I
F 1
mp and fast, like talking
Bœ æ
n
?
The Mind is the Cave
& Œ
µÒ Ò™
‰
Œ
[o]
4 & Œ
6
µ
œ
n#œ
mp
Gœ
µ6
"f "
& Ó
µœ
B 2
5:4e
&
F 1 3
nœ ™ mf
¥ ¥ Jœ œ F 0 0
s. glis oth o m s
µœ
2
µœ
µœ
.
.
Jœ
B 0
œ- œ- œ- œ- µœ
Ææ 6:4e
˜ & #› [o]
n œ+ pp
poco
#œ ææ
¥[m]
x w
.
.
.
.
.
.
p
µx w
x w
ppp
x w
Almost struggling to open the mouth, the lips are attached as if under a spell
x w
x w
n µœ ™
B
œ
mf
B æ ‰
G
f
mp
F 1
B 3
‰ ¥¡-ã + n bœ B
¡
µœ ™
¡
Bœ n µœ œ
Œ
µ‚
[o]
¥ ¡-ã < µœ >
Œ ¥¡-ã B æ
‰
G,
5
[a]
µ
Very slow (with a little accel.), allow the reverberation to build up
F 1 3
‰
µÒ Ò
#œ
¸ ‰ Bœ
µœ
(breathe freely, when needed)
2œ p
f
"mf "
f simile
Ò BÒ
¸ µ‚¸
"mf "
+ µœ ™
#œ
"pp" interrupted, struggling sound
(inside the instrument)
p
¡ n œ ≈ œ
[o]
5:4x
"f "
p
bœ
[o]
6
&
œ-. œ-. œ-. œ µ œ p
x w
œ æ
bœ æ
mp poco cresc.
-ã œ¡ ¥¡œ ¥<#¡œ> œ+
¡
˙
x w
¡
F 1 3
/+
¸ ¸ n ‰™
B 3
.
n
‚ ææ
[i]
F 2
F 1
nœ
& n‚ F 3
µœ+
4
B 3
B
n
pp, echo
"mf "
mp cresc.
Suddenly, the expression on the face of the player looks alarmed
&
¡
+ µ œ œ Bœ
nœ ™
pppp "mp"
µœ B œ
B
œ
mf
5
¥¥¡-ã
B 0
mp
¥¡-ã ¥¡ #œ µ # ≈
. µ-œ. B&-œ. œ µ ‰ b œ & ¡-
Œ
fi¸
& Œ
Œ
[a]
F 1 3
5
loud breath
[a]
G, p
¡
œ B n bœ
pp, possibile
B ææ
?
6
The Mind is the Cave
b‚o & æ
"mf "
Gradually more anxious q= N60 F 1 2
¥ ¥¡¸ + bœ¸Bœ ™
G
f
œ
¥+ bw
F 1 2 3
F 1 0
¥¡-ã
? µ˙¡
The body language, too, progressively becomes anxious F 1 2 0
p
[a]
&
ff
¿
≥--
&
mp
2
¸
? 6™
( f )
9
¿
O ≥--æ
˜
[a]
port.
"f "
+ #œ
f3
¸ #œ nebe be e b
˘m˘
m ü
& Ϫ
"f "
&6 Violently shake the instrument, like losing control of it
¥ cuivré
? œ™ ¥¡ã Gœ B 2
eb
f
n ææ
¥ ¥ n
F 0 2 3
Bw n
B
¥
F 1 0 3
F 1 2 3
mp
ï 6™
o¸ ‚
pp
[o]
[o]
¥¡-ã ¡ b≈ ˙ ææ
B
"mf "
b‚ ¸ æ n ‚¸ œ
pp
poco
e# e# e# e# e # e port.
e Kw
lip vibrato
( mf )
as above
Ò Ò
"ff "
G6
(inside the instrument)
"f ", possibile
Pull the head backward in a sudden, theatrical move, away from the instrument – soon the mouth gets violently sucked back into the mouthpiece
≥--
[a]
¥ ¥¡œ# e# pe#orete#. e# e
¡-ã
B 0
poco
Open the mouth at the side of the mouthpiece, still firmly pressed against the lips
œ
( ff )
¥¡ + µ w Gœ & f
mf
fff
¿
abruptly
N#w ¿
‚o &æ p
F 1 1 1 1 0 2 2 2 2 0 3 3 3 0
¡
?#œ ff
s. glis ssive re g g a
&
œ, G
µw mp
After bewilderedly looking around, the player listens to the reverberation and is drawn to the mouthpiece, like in a trance
Progressively wider vibrato, the speed of the irregular trill matches that of the vibrato
Ÿ~~∏~∏∏~~∏∏∏~∏ + ∏~¯¯¯ nœ ™< bœ > µœ f
¡
Nµ˙ ™ p
p,
[o]
& ‰bœ µœ Bœ œ F 1 3
B 2
The Mind is the Cave
& &
ó µ
N# ™
< #‚ >
µ
"f "
≥--
‚™ B
‚
[a]
¡
¥> + #œ ™
<
fi¸
mf
µœ nebebe
p
( f )
&
&
9 < ¡-ã >
e# e# e e# e e # # œ port.
poco
"fff " sounding mp
N›
[m]
&
‚
6
[o]
( mf )
&
f fi¸
G,
G‚
<# ‚> ¡-ã
# œ e#
nÒ Ò [a]
¥¡
e e e # e#e # port.
˙™
p
The whole body keeps moving, following the melodic line
Progressively changing the timbre to a more metallic cry
f
;
Ò Ò
( ff )
[i]
¥ cuivré ff
? µœ
mf
: ,G o
( f )
While the body is slightly shaking, keep pressing the mouthpiece against the closed lips, then open them abruptly while pulling off the horn (possibly wait until the echo of the horn disappears completely)
"ff "
The whole body shudders as if possessed
˙™ e#e#e#
$
?
Faster, weaving the sounds into the reverberation
[a]
®e#e#e ort.
port.
G,
o ›
( mf )
7
¥ ord. G,+ ˙
[a]
B 0 11 1 1 0 2 2 2 2 0 3 3 3
& mf
e porte. e# ¡ œ + e # #œ e # G, 2 f 3
ff
g ro liss. ug h
?
œ
≥--O
b˙
[e]
&œ
mf
poco
‚ æ æ
F 1 1 1 1 0 2 2 2 0 3 3 3
ss. y gli ousl i x an
#œ f
& 6™ [a]
-ã Bœ b peoebrt.œ ¥¡ <œ> æ F 2 3
B 0
mf
"f "
≥--
9 ¥[a̰ ] ˙ mf
&
+ ¥¡-ã B & w f
( fff )
¸ ‚¸
[a]
"f " ( mf )
The piece terminates with the performer looking around and waiting for an echo of the horn that never arrives... (Optionally, the performer wanders through the space, walking again along the path of the entrance.)
mp
poco dim.