INGRAM MARSHALL Peaceable Kingdom for chamber orchestra and tape
Ingram Marshall R PERCERBLE KINGDOM
for 18 players and tape
R Peaceable Kingdom was commissioned by Betty Freeman for the Los Rngeles Philharmonic New Music Group and is dedicated with much affection to her.
Instrumentation: 2 Flutes ( 1 piccoto:a
2 Oboes ( 1 English Horn) 2 Clarinets
O E-flat)
2 Bassoons 4 lliolins
2 Uiolas 2 llioloncelli 1 Doublebass 1 Keyboard (Yamaha Clauinoua) The tape part 11Ias constructed with sounds deriued from recordings made in Smokuica (Korcula), Yugoslauia (a umage funeral procession with marching band), and Bellagio (Como), Italy (bell peals from St. Giacomo Church)
(91990 Ingram Marshall
ArrncEABlE KINGDOM PERFORMANCE NOTES
The balance between the sounos emanating from the ensemble and those from the tape is critical. The loud speakers should be placed where audience , players and conductor can equally hear a good blend. Monitor speakers may be necessary on stage. In some halls, discreet amplification of instruments, especially the strings, may be desirable. Regarding the Clauinoua: this is an electronic keyboard instrument made by Yamaha. Either the CLP 550 or 660 should_ be employed. The registrations called for- PNO 1, PNO 2, HPS, en, and GU IT refer to fiue of the seuen timbres auailable on the instrument. They are Piano 1, Piano 2, Harpsichord, Celeste and Guitar. Euen though the instrument is capable of subtle dynamic contrast uia the keyboard, it may be necessary to adjust the uolume control slider on the instrument to get a required pianissimo. Generally, the slider should be at full gain. The tone and reuerb settings should be at "bright" and "Hall." In the score, transposing instruments are notated at concert pitch, eucept for Piccolo and Double bass which are notated in their usual manner. Sync:hronlzotlon between tape and instruments is uery important. The conductor must use an accurate and easy to read stop watch. Conductor cues the start of tape and starts the watch. There are fiue seconds of silenc:e on the tape before the first sounds appear. At some points in the score, the ensemble is literally playing along with the band heard on the tape (At letters H and I). At letter J the fragment from the uillage band heard on the tape is heard alternately at different pitches and tempi, so the ensemble must "keep" up with these rubato etttremes. At letter K, howeuer, the material on tape is "looping" ond delayed, so the ensemble goes ahead on Its own, adhering to the indicated metronome marking. from minute 12:25 (M) the tape sounds fade away and are absent until minute 15:00 (0). The conductor may haue to t1djust tempo to make sure that the ensemble does not lag behind or get too far ahead. In any case, the u-ucial factor is the fff Clauinoua (Celeste) gong-like sonority 111hich must I.le played at minute 14:55. The timing for the end of section o (p. 23) is indic:ated as "approH. 16:45- 50." This is because of the tempo fluctuations beginning with the Acee!. at minute 16:02 and ending with the rit. and rail .. In any case, the beginning of section P should start close to 16:50 to toincide with the material on the tape which aJ)pears at minute 16:55.
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