River Rising for violin, stereo sound, and live electronics
Kirsten Volness 2014
River Rising FOR VIOLIN, STEREO SOUND, AND LIVE ELECTRONICS _____________________________________________
REQUIRED EQUIPMENT : •Audio interface that has three channels of output: 1–2 to stereo speakers, 3 to performer’s headphones for click track •Fixed media (ch. 1–2) auxed to a monitor speaker for violinist •Stereo speakers with ample bass response •Microphone on violin for balance and application of reverb, using onboard mixer effects, Logic/ProTools, or MAX patch •2-‐9 second reverb should be applied to violin part throughout as noted (may be adjusted to avoid feedback or skipped in live performances spaces with significant natural reverb). _____________________________________________ PERFORMANCE NOTES: •All accidentals carry throughout the bar in which they appear. •Timings, a rough transcription of the fixed media part (a.k.a. electronics), and click track cues are included in the score to aid in rehearsal and performance. •It is advisable to listen along with the electronics, marking your own notes and cues in the score regarding the description and placement of sounds that stand out to you. •At rehearsal A, the click track does not need to be followed exactly in terms of when accelerando/ritardando passages land on their final pitch; it is preferable to create an expressive arc with each phrase and play it how you feel it. The click is meant to provide a reference around which to play. Once the performer has a sense of how everything lines up, ideally they would know the electronic part well enough to play along by feel instead. (I understand the dedication and time that entails, so perform with the click if it feels better.) •Repeated notes m. 2–35 are to be performed freely, accelerating or decelerating as noted, the precise number of iterations to be determined by the performer (not by the notation). •The dark, squiggly line above mm. 8–9, 19–20, and 72–74 denotes a slow, wide vibrato/trill to whole step above the written pitch that should mimic the timing of the delay present in the fixed media part. •Tremolo marking on col legno battuto passage (m.42) denotes letting the bow bounce more than once, much like a percussionist would perform the diddle drum rudiment. •Various passages are marked “intermittent tremolo” in which the performer should choose how fast and often to tremolo (as noted) based on the mood and music of the fixed media part.
Commissioned by Cambridge Philharmonic Written for Andie Tanning Springer and Lilit Hartunian
____________________________________________ PROGRAM NOTE: River Rising is an elegy to those who have lost friends, family, livelihoods, and communities—sometimes an entire existence that can never be recovered—to unexpected tragedy. The hopelessness and horror that tsunamis, hurricanes, floods, earthquakes, war, illness, climate change, and other catastrophic forces may bring seem surreal, having never lived through anything like this firsthand. I wanted to take a moment to reflect on being overwhelmed entirely by situations beyond our control that may only be endured together. Special thanks to Mary Kouyoumdjian for letting me play and sample her beloved Siran. _____________________________________________ DURATION: 8 MINUTES _____________________________________________ CONTACT: KVOLNESS@GMAIL.COM WWW.KIRSTENVOLNESS.COM
for Andie Tanning Springer and Lilit Hartunian
River Rising
Kirsten Volness Reverb 4.5 seconds
Feel as free time, notated rhythms approximate (h=36) CLICK audible first 2 measures
Violin
& 22
{
∑
& 22 Ó
Electronics
? 22
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Blend with overtones, repeat freely with continuous accel.
Ó
Accordion (8va sempre)
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(0:06)
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until m. 36
(0:13)
(0:18)
˙
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& 43
(0:37)
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Kirsten Volness - River Rising - 2014
∑
repeated notes accel.
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15
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˙˙ ™™ ˙™ Kirsten Volness - River Rising - 2014
4
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Kirsten Volness - River Rising - 2014
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&
3
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(2:47)
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w
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22 w
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(2:31) Reverb 7 seconds Half Time Feel h=58
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ww ∑
w w w
w
∑
∑
(3:04)
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w
w w ww
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∑
w w ww ∑
∑
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w
w
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w w ww
w
w
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44 44 44
Kirsten Volness - River Rising - 2014
6
E 81
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Reverb 2 seconds (3:20) (3:14) Double time feel, slightly faster q=120
4 &4 w
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f
p
∑
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& 44
∑
∑
∑
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? 44
∑
∑
∑
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(3:34)
87
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92
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95
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Kirsten Volness - River Rising - 2014
sf
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∑ w w
6
∑ w w
3
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∑
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ff
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ww w w
(4:50)
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∑
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∑ pp
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iss. œ ˙ ™gl w J‰ ææ
(4:06)
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∑
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∑
&
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w w
118
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w w
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∑
&
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∑
Reverb 4.5 seconds
(3:58)
&
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∑
w w
102
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F (3:50)
∑
&
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j œ‰ œ œ œ >
6
w
∑ w w w
w
w
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∑ w w w w
w
∑ w w w w
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w
gliss.
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∑
w w w w
∑
w w w w
˙
˙ ∑
w w w w
Kirsten Volness - River Rising - 2014
8 (5:30) intermittent tremolo
128 (5:14)
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w
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136
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Ó
w w w w
w w w w
w w
wo w p
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Ó
∑
(6:06)
Œ
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cantabile
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w ∑
clusters continue... focusing on lower register, harmonies becoming ever clearer
Reverb 9 seconds
+ j œ ‰ ‰ œJ ˙™ >
Kirsten Volness - River Rising - 2014
wo w
w w
ff
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∑
w w
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w
wo w
∑
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(5:46)
w w w w
142
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∑
&
tremolo harmonics, alternating quickly between touching strings and not; any harmonics will do, not just those shown in notation
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œ
mf
˙
(6:26)
w w
w w
f
n#w w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
(6:42)
148
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f
∑
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∑
b ˙˙˙ ˙
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˙
˙
w w
p
∑
(7:06)
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∑
∑
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w
gliss.
9
(6:50)
˙˙˙
˙˙˙
mf
b ˙˙˙ ™™™ ˙™
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˙™ b œ b ˙ ™
(7:23)
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bw
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w ww
w ww
w w w w
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mf
b˙
f
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,
short
˙™
Reverb 4.5 seconds
I 163
Vln.
&
{
(7:34)
˙
mf Pulsating chords
& w ww
Elec.
?
(7:50 or sooner)
CLICK ends after downbeat uneven tremolo between G and F, fall from F to D
w
˙
˙û
sorrowful
U w
w ww
w
wû
U æ wæ
(8:02=end)
U ∑
sul tasto
just enough to be audible, fade with tape part
w ww
w
U ∑ U ∑
Kirsten Volness - River Rising - 2014