The Ruined Edifice for ensemble
Jacob Gotlib
Š 2010
INSTRUMENTATION
Flute (doubling Alto Flute) Oboe Clarinet in B-flat (doubling Bass Clarinet) Violin Viola Violoncello Contrabass (with C extension)
Program Notes: In the summer of 2009 I moved to Buffalo, New York, a city whose iconic postindustrial ruins are an integral part of its geographical and psychological landscape. Buffalo’s broken structures are distorted and distended, buried and rotting under layers of dirt, rust, and other scars. Although the romanticism of urban decay is to some a particularly tired cliché, it, like de Kooning’s women, calls conventions of beauty into question. The frightening beauty of a ruined edifice, as opposed to the clean, fresh sensuality of a newly built structure, is the kind that has lived, changed, and reacted to its world and to time, a momenti mori for we the inhabitants. I was not concerned with any of these things when I began to write this piece; its true beginnings were in more abstract musical issues. However, as I was writing and listening to the sound material, I couldn’t help but imagine myself inside one of the crumbling houses or churches that I pass every day. The sounds of the piece took on an architectural quality, becoming the beams, bricks, plaster, and stone, and I felt as if I were witnessing a time-lapse image of the building’s collapse while inside of it. Like much of my recent music, The Ruined Edifice is in two complementary movements. The first movement, “Monolithic and Unstable,” uses sounds that add noise, distortion, and dirt to cover and bury the original instrumental tone. The second movement, “Dustlike,” subtracts the original instrumental tone to reveal the dust and artifacts that it had buried.
Stage Layout:
Notes and notation for wind instruments:
The performers should be arranged in score order from stage right to stage left, with flute being on stage right and contrabass being on stage left:
Fl.
Ob.
Cl.
Vln.
Vla.
Vcl.
Cb.
Key slaps. These occur primarily in sections A and 2A. Strike as many keys as possible simultaneously for maximum effect. Particular keys are not specified.
Alternate timbral fingerings. Choose up to two alternate fingerings for the note specified. These are notated either as measured oscillations or as unmeasured timbral trills.
Conductor
General Notes:
Timbral trill.
All instruments play non-vibrato. Dynamic markings indicate production effort, not volume -- the ensemble should aim for as balanced a sound as possible. Dotted slurs indicate phrase markings. When possible, passages within a phrase should be done in a single breath or bow. If this is not possible, make breath and bow changes as discreetly as possible. In section I (mm. 63-76), phrase markings are not indicated -- play as much in one breath or bow as is comfortable.
Multiphonics. The circular notehead shows the loudest or main pitch, the diamond noteheads shows secondary pitch(es). Fingering charts for individual multiphonics have been omitted from the score, but are indicated in each players’ part.
The following manuals were consulted for multiphonics: Flute: Artaud, Pierre-Yves, and Geay Gérard. Flûtes au présent. Paris: Éditions Jobert, 1980. Oboe: Veale, Peter, and Claus-Steffen Mahnkopf. The Techniques of Oboe Playing. Basel: Bärenreiter, 1994. Clarinet in B-flat: Krassnitzer, Gerhard. Multiphonics für Klarinette mit deutschem System. Wiesbaden: Edition Ebenos, 2002. Bass Clarinet: Bok, Henri. New Techniques for Bass Clarinet. Paris: Éditions Salabert, 1989.
Aeolian Sound. Exhale or blow through the instrument, avoiding a definite tone. In the case of the clarinet and oboe, it may be helpful to expel some air from the corners of the players’ mouths for a more prominent sound.
Breathy tone. Play note softly and add breath noise, creating a “colored noise” or “noisy pitch.”
There are several types of vocalization sounds, which are described as follows: Hum while playing. Play the larger note while humming the smaller one. Hum the note in unison with the played note, but slowly oscillate !-step above and below the played note. Hummed note may be 8va higher or lower than written to accommodate player’s range.
Hum through instrument. Without playing, hum the lowest note in your range through the instrument, also oscillating the pitch ! step. The sound resembles a low, indistinct murmur.
Aeolian hum. Hum through instrument as described above, but with added breath noise.
Notes and notation for string instruments: Muted bow sound. Mute indicated string with left hand (avoiding a harmonic node), and bow normally. The resulting sound should be as little pitched as possible. Muted ricochet. Mute indicated string with left hand (avoiding a harmonic node), and bounce bow across string in a sharp jeté motion.
Muted Bartok pizz. Mute indicated string with left hand (avoiding a harmonic node), and perform Bartok pizzicato.
Tap. Tap on body of instrument with fingertips.
Unison beating. While playing a note, play its unison on an adjacent string. Slowly oscillate one string !-tone above and below the main pitch, creating a “beating” effect.
Overtone flux. Place the bow very near the bridge and subtly alter bow placement and bow pressure to bring out certain overtones of the played note. The sound should be unstable and constantly changing in pitch contour, somewhat resembling electric guitar feedback.
Scratch tone. Bow with excessive pressure, creating a very low, noisy sound with as little pitch content as possible. When possible, gradually increase bow pressure when “entering” scratch tone, and gradually decrease pressure when “exiting.”
Slow bow speed. Bow the indicated note slower than normally. The sound should be an unstable pitch with much noise and “artifacts.”
Half-harmonic. Left hand finger pressure should be halfway between full pressure and harmonic pressure. This is an unpredictable effect than creates oscillations between faint pitch and noise.
Bow positions are indicated with N (normale), SP (sul ponticello), and ST (sul tasto). Arrows between two markings indicate a gradual transition between bow positions. If unspecified, position is normale. Bow position is always sul ponticello in overtone flux passages. There are frequent passages that employ double-stop counterpoint between stopped strings and/or harmonics. The following is an example:
In these passages, the partials of the different harmonics will be in competition. Do not try to make two very clear tones; the sound should be unstable, sometimes emphasizing one partial, sometimes another.
There are several types of trills involving harmonics, which are described as follows:
Stopped/harmonic trill. Trill between fully stopped note pressure and harmonic pressure.
Stopped/half-harmonic trill. Trill between fully stopped note pressure and half-harmonic pressure.
Harmonic/noise trill. Trill between harmonic and muted string. The effect should be an unmeasured, pulsating harmonic.
The Ruined Edifice for Ensemble SurPlus
I. Monolithic and Unstable q = 56-63
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A. Fl.
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February 2010 May 2010 Buffalo, NY