Wanted to by ootootoo

Julie Herndon

Wanted

2019 2 sopranos, fl, ob, cl, hn, hp, pno, gtr, perc, 2 vln, vla, vc, db, cellular phones and clay vessels

Program Notes: This piece is a fleeting glimpse into the interaction between isolation and connection, helplessness and volition. Players join a group call, their phones feeding-back as they approach one another on stage. One singer is figuratively paralyzed. The other singer is her advocate, carrying her contained voice into spaces of varying resonance. The room is alive and responsive to her efforts. She carries this energy back to the first singer, who may or may not be empowered by this act. Duration ~10 minutes (including the time it takes to connect and disconnect feedback network)

MATERIAL REQUIREMENTS 14 Clay Vessels Line clay or terra cotta pots with a piece of felt inside. Sizes may vary, but vessels should be small enough to be easily carried and large enough to conceal phones. If you do not have pots (or for rehearsal purposes), it’s possible to run the piece using only phones. However, the timbre of the feedback is quite shrill without the resonance of the pot. 14 Phones Each player (except Sop. 2) requires a cell phone set as follows: • ringer off • speakerphone on (when connected to call) • volume at ¾ level and/or roughly equivalent to others in the group (some adjustment is required depending on particular phones used). o NOTE: Sop. 1 volume set to low volume • phones placed speaker down into vessel o NOTE: Sop. 1 places phone speaker facing out of vessel.

Phone tree in score (pg. 1) outlines a suggested call order. Designated players add up to 5 calls at a time, so that all players are in a single multi-person conference call. After phones have been placed in vessels and carried forward, each player positions them on stage in front of instrumental seating area so that they do not generate feedback unprompted, but will respond with feedback when sound is input. Staging Sopranos begin in front of ensemble. Instruments should be spaced so that Sop. 1 is able to walk between players. An example setup, with pathways for performers pictured with arrows: winds (left); plucked/percussion (center); strings (right)

CHARACTERS and INSTRUMENT NOTES Soprano 1: Advocate Proactive, supportive, and reactive. Carries the “voice” of Soprano 2 in clay vessel around the room, inviting feedback and sound from other vessels. Respond to this feedback, modulating volume by how close you get to others (the closer you are, the louder the feedback). Each stage directive indicates a region of the ensemble to move toward and among. Timings are approximate and indicate a fairly continuous circular movement around the stage. Soprano 2: Locked-in Stoic, passive, isolated (but not fearful or tense). In a state of metaphorical paralysis that could be likened to Locked-in Syndrome, a medical condition in which a person is conscious, but is unable to move their body. When Soprano I returns at the end of the piece, you believe you can change, that you too can move. You are hopeful, but you remain stuck …or do you? Percussion Snare drum with hard stick and fingertips Piano preparation Drape piano strings near hammers with a cloth (about the size of a scarf, but heavy enough to mute each string). Leave space to access strings for harmonics at mm. 35, 40-41. Apply additional pressure to cloth at m. 46 for blended muted/harmonic sound.

C Score

wanted to

for Ensemble Dal Niente Soprano 1

Soprano 2 (___)___-____

(~2â&#x20AC;&#x2122;)

Flutist

Standing in position on stage alone

Stand behind audience

add hp, pno, gtr, perc (merge each call into original call)

cell phone ringer off max volume max brightness Oboist (___)___-____

ALL PLAYERS [on speakerphone] When in the group call, place phones in clay vessels speaker facing down (note: sop. 1 speaker facing up) In pairs, carry vessels forward and bring them together, so that they chirp with feedback.

Use phone tree so that each player is in the same multi-person conference call as follows:

Then place vessels in front of where you will be seated at your instrument. (as pictured below).

Clarinetist (___)___-____

Once on stage, Sop. 1 continues to hold vessel, standing beside Sop. 2.

Horn player (___)___-____

Harpist (___)___-____

(~1â&#x20AC;&#x2122;)

call fl, ob, cl, hn (merge calls and turn on speakerphone) note: sop. 1: min. volume

ALL PLAYERS (except Sop. 2) (___)___-____

Julie Herndon

add vln I, vln II, vla, vc, db (merge each call into original call)

stage

S.1

audience

Pianist (___)___-____

Guitarist (___)___-____

Percussionist (___)___-____

Violinist I (___)___-____ Violinist II (___)___-____ Violist (___)___-____ Cellist (___)___-____

Double bassist (___)___-____

phone call area

C Score

q. = 50 Tempo flexible in response to feedback

Soprano 1

Soprano 2

Flute

Oboe

Clarinet in B b Horn in F

Harp

Piano

Guitar

Snare Drum

Violin I

Violin II

Viola

Cello

Double Bass

)

6 & 8 ú.

ALL PLAYERS wait for feedback to settle

hold vessel to Sop. 2

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· Î bÏ

Ï J

Ï bÏ

#Ï

Ï gliss. ÏJ

harm. gliss. freely sul A gliss. harm. gliss.

úo . ¹

gliss.

#ú.

Ï Ï

#Ï

Ï.

bÏ Ï. J &Ï

Ï Ï #Ï

gliss.

Ï. p

s.t.

gliss.

s.p.

Ï.

gliss.

Vc.

move,

Ù~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ? 68 ú . ú. ú. o P (s.t.)

ÏÏ

1111111111111111111111 ú. ú. ä. #Ï. Ï. Ï. J p

#Ï nÏ ÏÏ # # ÏÏ ÏÏ .. Ï Ï Ï. J Ï ·

Ï. P

Ï.

Å #Ï Ï R

bisb.

~~~~~

j & 68 Ï b Ï

can't,

move,

Hn.

#ú.

can't

Ï. #Ï. Ï. Ï.

Ob.

ä. #Ï. J

Ï.

Ï bÏ nÏ

· ·

harm. gliss. freely s. sul A . glis harm

úo . ¹ high pos. o . Ñ harm. gli

ss.

liss. Ïo . harm. g

& ÏJ # Ï

Ï.

& ú .

move,

Ï.

Fl.

gliss.

ú.

#Ï.

nÏ. ä Ï

move,

ú.

B b Cl. Hn.

Hp.

Pno.

? #Ï

#Ï

S.Dr. H.

Ño .

high pos. 56

Vln. I

Vln. II

Vla.

& Î.

Vc.

& ?

D.B.

· harm. gliss.

Ño . gliss. Ïo .

#Ï

Ïo .

harm. gliss.

gliss.

úo .

harm.

gliss harm.

Ïo . ¹ . gliss.

harm

Ño .

high pos. harm. g

Ño .

#Ï

Ïo .

. gliss

harm

· iss.

Ño . gliss. Ïo . gliss. Ño .

Ño . gliss. Ïo .

Ño .

high pos. harm. g li

Ïo .

Ño .

ss.

glis

o Ïo . gliss. ú .

liss. harm. g

#Ï

· úo .

harm. gl Ïo .

ä Ï Ï .. Ï Ï Ï > > P

j Ïo

gliss.

s.t. harm. gliss. freely sul A gliss. harm.

úo . ¸

finger tap on drum head

high pos. ha rm. gliss.

liss.

Ño . Ïo .gliss. Ño . gliss.o Ï.

ú.

Ño . gliss. o Ï.

move,

#Ï

s.t. harm. gliss. freely sul A

úo . ¹

#Ï

Gtr.

ú.

can't,

111111 Î. · & Ï. ¹ bisb. 56 ,,,,++++ 111111111111 ú ú. . & ¹ 56 · · & Ï Ï. 56 Ï bÏ bú. J bÏ Î Ï & J Ï J bÏ ¹ bÏ Ï · & Ï J 56

nÏ.

#ú.

Ob.

#Ï.

gliss.

#Ï nÏ #Ï ·

harm . glis

j Ïo

o. Ï. Ï harm

. liss.

j Ïo Î

. glis

harm. g

j Ïo

Ño . Ïo . Ño . o liss. úo . Ï.g

· harm.

gliss.

j Ïo

#Ï. nÏ. ú.

ppos. Ï . ä . # Ï . .. ú . J

#ú.

Ï . ä # Ï ..

Remain on stage and repeat until all players are behind audience with phone off

& .. Ï .

ä .# Ï . # Ï . Ï . Ï . Ï . Ï Å # Ï Ï Ï Ï J R I

can't,

& .. ä . # ÏJ . Ï . Ï . # ú .

free tempo, drifting in and out of sync

& ..

can't

move,

& ..

Ob.

& ..

B b Cl.

& ..

Hn.

& ..

Hp.

& .. & ..

Pno.

? .. & ..

Gtr. R.

S.Dr. H.

& ..

gliss.

#Ï. ä Ï ú. move,

can't,

ú.

(move)

ú.

ppos. . U #ú. n ú.

(can't)

move.

End call one by one

When the call is over, signal sopranos to end.

.. .. .. .. .. .. .. ..

& ..

? ..

D.B.

Slowly carry vessel back to area where you began.

move,

ú .

move,

Vc.

Gently set aside instruments and pick up vessels.

can't

#ú.

& ..

Vla.

ALL PLAYERS (except Sop. 1 & 2)

move,

ú.

Vln. II

 Ï . gliss. # Ï .

Ï. nÏ.

gliss.

& ..

Vln. I

move,

free tempo, drifting in and out of sync

Fl.

Ï. nÏ. Ï #Ï Ï. J gliss.

final ending

dim. with each repeat