! ! ! ! ! ! ! ! gleb!kanasevich!(b.!1989)!
suono%infinito%(2015)% for$cello$and$prepared$piano,$doubling$melodica$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
% PERFORMANCE%KEY% ! VARIOUS!REMARKS! ! The!melodica!is!to!be!placed!in!a!sturdy!stationary!position,!slightly!to!the!right!or!the!player,!to!facilitate!the!right!hand’s! swift!switching!between!the!two!keyboards.!!The!extremely!agile!passages!on!melodica,!as!in!measure!332,!should!be! attempted!entirely!with!one!hand!to!blur!accuracy!and!trespass!the!threshold!of!physical!playability!at!the!approximate!given! tempo.! ! tempo%giusto%–!the!tempo!marking!is!to!be!relatively!determined!by!the!fastest!tempo%in!which!the!passages!are!rhythmically! executable.!!Pitch!accuracy!through!the!entire!work!occupies!a!secondary!priority!level!after!rhythmic!precision.! ! col%legno%tratto%is!always!to!be!executed!with!half!hair,!half!wood.!! ! Measures!585!through!651!are!to!be!interpreted!rather!freely,!with!priority!being!given!to!gesture!and!the!aim!to!generally! erase!any!remaining!hint!of!ensemble’s!rhythmic!precision!and!replace!it!with!sonic/textural!unity.!!Aside!from!these! measures,!rhythm!(especially!straight!sixteenth!note!patterns)!is!to!be!observed!with!relentless!precision,!yet!with!a!light! touch!in!the!quieter!dynamics.! ! fischio!–!any!type!of!whistle!can!be!used!as!long!it!is!able!to!produce!the!faintest,!quietest,!and!most!whimpering!sound,!with! fluctuating!mid!to!low!pitch.! ! vibrato%quasi%Karkowska%–!the!vibrato!style!“Karkowska”!refers!to!an!artist,!“described!by!Daniel!Barenboim!as!‘a!gifted! young!violinist’,![who]!was!born!in!Lodz,!Poland,!and!made!her!successful!solo!debut!at!the!age!fifteen!at!the!prestigious! String!Masters!Festival!with!Zielona!Gora!Philharmonic!playing!Mendelssohn’s!Violin!Concerto,!the!performance!that![was]! met!with!standing!ovations!and!encores;”!who,!since!her!debut,!has!transformed!into!an!iconic!figure!and!an!internet! celebrity,!notorious!for!a!particularly!wide,!visceral,!and!violently!rapid!style!of!vibrato.!!Vibrato!of!each!note!under!such! indication!should!be!at!least!a!minor!third!in!width.!!Additionally,!the!notes!should!be!bowed!mercilessly,!romatically,!yet! embodying!the!overall!austerity!and!wit!of!the!work.! ! ! PIANO!PREPARATION! ! ! The!piano!is!to!be!prepared!with!theraputty!(elastic!physical!therapy!tool),!pressed!lightly!over!the!strings!in!front!of!the! dampers,!just!enough!to!mute!the!strings!and!slightly!obscure!the!pitch!definition.!!Additionally,!a! hand!towel!with!a!pitched!cowbell!or!a!small!saucepan!need!to!be!placed!on!top!of!the!strings,!just! past!the!dampers,!in!order!to!avoid!buzz!between!metal!objects,!yet!maximize!the!impact! transmitted!to!the!cowbells/saucepans!from!the!piano!hammers!to!achieve!a!faint!percussive!sound,! reminiscent!of!a!cowbell!stricken!with!a!wooden!beater.! The!pitches!to!be!prepared!are:!A0,!A#0,!B0,!C1,!C#1!(represented!by!the!low!box!notehead!interval! of!A0!and!C1!in!the!diagram);!C4,!C#4,!D4,!D#4,!E4!(represented!by!the!box!notehead!interval!of!C4! and!E4);!and!G#7,!A7,!A#7,!B7,!C8!(represented!by!the!box!notehead!interval!of!A7!and!C8).! ! ! CELLO!NOTATION! ! ! The!percussion!clef!and!“x”!noteheads!in!the!cello!part!indicate!playing!behind!the!bridge.!!The!four! notes,!represent!the!four!strings!in!ascending!frequency!order.! ! ! Finger!position!approximately!at!a!quartercway!mark!up!the!segment!of!the!string!behind!the!bridge.! ! ! Finger!position!approximately!a!third/halfway!mark!up!the!segment!of!the!string!behind!the!bridge.! ! ! !!Indicates!use!of!whistle!(found!only!in!the!percussion!clef!sequences).! ! ! ! Approximate!duration:!19!–!20!minutes! !