Thorvaldsdottir AIŌN by ScoresOnDemand

Anna Thorvaldsdottir

AION for orchestra (2018)

Chester Music

AION MORPHOSIS TRANSCENSION ENTROPIA

(page 1) (page 49) (page 97)

Instrumentation 2 Flutes Alto Flute 2 Clarinets in Bb Bass Clarinet in Bb 2 Bassoons Contrabassoon 4 Horns in F 2 Trombones Tuba Percussion (3 players): 1:

1 Cymbal Large Tam-tam Large Bass Drum

2 Cymbals Large Tam-tam Large Bass Drum

Strings: Suggested division: Violin 1: upper staff desk 1–3, lower staff desk 4–6 Violin 2: upper staff desk 1–3, lower staff desk 4–6 Viola: upper staff desk 1–3, lower staff desk 4–5 Violoncello: upper staff desk 1–3, lower staff desk 4–5 Double Bass: upper staff desk 1–2, lower staff desk 3

Commissioned by Gothenburg Symphony Orchestra and Iceland Symphony Orchestra. First performed by Gothenburg Symphony Orchestra and Iceland Dance Company conducted by Anna-Maria Helsing, with choreography by Erna Ómarsdóttir, on 24 May 2019 at Gothenburg Concert Hall. Duration: c. 37 minutes The score is in C. Bass Clarinet is written at pitch. Double Basses require lower C extension. Orchestral parts are available on hire from the publisher.

Composer’s Note My music is written as an ecosystem of materials that are carried from one performer – or performers – to the next throughout the process of the work. As you play a phrase, harmony, texture or a lyrical line it is being delivered to you, passed on from another performer – performers – for you to carry on until it is delivered to another. All materials continuously grow in and out of each other, growing and transforming throughout the process. When you see a long sustained pitch, think of it as a fragile flower that you need to carry in your hands and walk the distance on a thin rope without dropping it or falling. It is a way of measuring time and noticing the tiny changes that happen as you walk further along the same thin rope. Absolute tranquility with the necessary amount of concentration needed to perform the task. As a composer I have a tendency to write music in rather low dynamics. The lower levels of dynamics (in the p area) indicate my wish for an approach to pitches and sound materials with a sense of ease and carefulness rather than merely indicating an audio level. I do not intend for the harmonies to be too quiet but rather projecting a sense of serenity, with determination, and with full presence and depth of the pitches. I would kindly ask that the dynamics be subtly dramatized, as appropriate in the progression of the music, and that pitches are carried with a strong sense of depth and projection, even at the dynamic level of p. The opening of Morphosis starts with waves of air – I think of this airy material as an echo of a lyrical wave through sounds and it should be performed with a sense of lyricism. Anna

Notation General When pitches are sustained/slurred through an extended period of time, breathe/bow as necessary, not synchronised. Former effect/sound/technique/indication gradually becomes the following one. All glissandos should be played throughout the duration of the note value it is written by. For example, w , slow glissando that starts at the beginning of the note and glissandos throughout the four beats of the note value. Similar with , faster glissando (depending on the destination of the following pitch). i h A small notehead above the stave indicates the note’s duration during glissandos or other effects (applied to distinguish between quarter notes and half notes).

B I μ ÷

Quarter tone flat Quarter tone flat below b Quarter tone sharp Quarter tone sharp above #

Accidentals apply to one measure at a time and are on occasion reapplied within a measure for convenience. When playing on tremolo (or flutter tongue) there should not be an accent on the beats where the pitches change or between measures – the tremolo should be even throughout the passages as they move between pitches and measures. When notes are slurred throughout an extended period of time, breathe/change bow where necessary – not synchronized between performers. Dynamics on airy notes are relative to the sound of the effect, so they should be aimed at projecting relative to the nuance of the sound rather than in the same dynamic as a pitch with the same dynamics would. Woodwind/Brass In measures 127–133 it is indicated to perform on air with subtle [s] sound for a subtly distorted sound on air. This should produce a subtle white noise. Breathe where necessary, not synchronized. Brass performers might prefer to remove the mouthpiece and perform this effect straight into the instrument – explore for the best way to perform the sound of subtle white noise and synchronize in technique between performers. Wind/air sounds, no pitches sounding, the notehead is placed on the middle line of the staff. Written phrases played on air, resulting in slight changes of color to the sound. The airy quality should be prominent rather than the pitches. For bassoons, phrases ‘on air’ are written with double tongue effect and results in slightly changing colors to the air sounds. Tongue flick on air, written in rhythmic patterns (as a controlled flutter) e.g. Flutter tongue. Flute: key clicks and tongue ram for percussive effect. The upper notehead indicates the key click, the lower note is the sounding pitch/color effect. Clarinet: key clicks and slap tongue for percussive effect. The upper notehead indicates the key click, the lower note indicates the low percussive slap effect. Percussion Allow resonance of instruments to continue and do not stop or dampen unless otherwise indicated. Staff systems Percussion is written on two-line staves as follows: Tam-tam Bass Drum

For Percussion III: attacks on cymbal are written above the upper line as indicated. Tools Thick-haired wire scrubbing-brush (one each)

^ Large soft bass drum mallet (two each) & Medium soft bass drum mallet (two each) ¥ Wire brush (two each) ¨ Superball (one each) Hard yarn (two each) Double Bass Bow (one each)

Techniques Thick-haired wire scrubbing-brush – when indicated, use brush to sustain over skin of bass drum or surface of tam-tam in one quick stroke. There should not be an attack on the beat but rather the sound should be sustained (by the stroke of the brush against the surface/skin) without an initial attack. This should result in a distorted sound. Bass Drums – should be placed horizontally. Cymbal on skin of bass drum: When indicated, place the cymbal on the skin of bass drum so that the edge of the cymbal rests steadily on the skin with the bell/curve facing up. Play on the surface of cymbal, notated on the lowest staff line, resulting in a muted metal sound that is subtly supported by the low resonance of the bass drum. Percussion III: One of the two cymbals should be prepared with tape or similar on the edges for muted effect ( muted cymbal is performed as indicated, always on the edge where the cymbal has been muted.

). The

Sustain with hands in back and forth strokes on skin of bass drum by playing simultaneously with both hands in continuous strokes for an airy ‘breathing’ effect. Sustained back and forth tremolo strokes on tam-tam for distorted sound. This effect is also performed with wire-scrubbing brushes as indicated. When written with regular mallets, play quick whirl/rolls rather than rhythmic 32nd notes.

Strings In lyrical and expressive passages apply vibrato; when indicated, and during glissandos, play senza vibrato; in other passages apply vibrato as desired. Each string section is divided in two. For certain parts of the score each section has a solo line (written above the tutti staff). These solos are mostly composed of fragmented materials, but it is asked that this material be played lyrically and with expression. All col legno, pizzicato and much bow pressure material (on attacks/short note-values) is to be played distinctively and rhythmically. Abbreviations ord. s.p. l.b.pr. m.b.pr. c.l. b.str. sust.

ordinary, takes back all special effects previously applied sul ponticello light bow pressure (flautando), resulting in a light, airy and transparent sound. much bow pressure, bow very slowly to produce a scratching sound. col legno bow stroke sustained

Techniques For airy effect – place left hand (not only one finger) lightly to cover the indicated string, around the given pitch area, not on harmonic. Fingers are not to be placed on exact pitches. This produces an un-pitched airy sound. The upper notehead indicates the airy technique, the small notehead below indicates the open string where the technique is to be played. When indicated with ord., it refers to playing normally on the written effect and merely serves to take back indications of sul pont., much bow pressure etc. When indicated to perform airy textures on ppp, in Elision I, it refers to performing on air, not on a pitch, so that there is almost no sound at all being produced. This texture is intended for the visual projection of musical playing with as little sound as possible being produced through the instruments, while the performers are playing. When the airy notehead is written with a glissando, slide the hand down the string as indicated. This will produce various harmonic colors in the airy sound as hand glissandos over the strings. When indicated to ‘hold pos. of hand’, glissando over harmonics on the indicated string while holding the position of the hand. This results in ghostly effect of various harmonics as the fingers slide down the string. Much bow pressure performed on muted string, not on a pitch. When written on a short note-value (sixteenth note or eight note) this should produce a non-pitched percussive attack to the muted string; this works best when performed close to the frog. When written on a longer sustained note – apply a bit more (than ordinary) bow pressure to the string for a subtle atmospheric sustained distortion sound through continued movement of the bow. Not so much bow pressure that the flow of the bow is disturbed or that the sound becomes too aggressive or too scratchy, but rather subtly distorted sustained sounds, similar to white noise. For example, this is present in all strings in measure 128. Cross noteheads are written with instructions above such as col legno.

" "

" " " "

" "

" !

% &

" "

" ! ! ' !

" !

(

" "

" !

)

" "

" !

" "

% &

" "

% &

" "

% &

" "

% &

" "

" " " !

" "

" " ! ' !

& " " ! '

" " ! ' !

" "

(

" "

//"

)

" "

, "

" "

& " " !

& "

& " " ! '

" "

! #"

//"

" "

//" "

(

" "

" " "

)

" "

" " "

" "

0 0

" "

" " "

" "

! #"

//"

" "

" " '

" " ! '

! " ! #

" " ! ' 1

% &

" "

$ "

%" &

" "

0 ' ' 0 ! '

%" &

" "

%" &

" "

" ! #" &

" #" &

" ! #" &

%" &

" "

" #" "

" "

! % ! !

" #" "

! " #" "

' & #

' " 1"

& 2 "

' & "

' " 1"

" "

" #" "

0 ' ' 0

! " ! #

! '

' !

& & & " & 2

' & " ' " 1"

' & " # 1"

1" "

" "

" # "

" #" "

& "

" "

" #" "

" "

" #" "

" / " "

" "

" / " "

" "

! % ! !

" "

" / " "

/ " "

" "

" #" "

! "

" / " "

" "

" / " "

" "

" 3 / " " / 1 "

/ 1 "

" 3 / " " / 1 "

/ 1 "

" "

" / " " "

/ 1 "

" "

" #" "

/ 1 "

" 3 / " "

/ 1 "

" #" "

(

" "

" #" "

' "

)

3 3 # 4 5 ' ' 0 # 0 3 0 /

" "

3 3 # 4 5 ' ' 0 # 0 3 0 /

" "

3 3 # 4 5 ' ' 0 # 0 3 0 /

0 " " " 6

7 ' 0 3 1 0 # # ! 6*3 7 & # # 0 0 /

0 " " " 6

7 ' 0 3 1 0 # # ! 6*3 7 & # # 0 0 /

0 " " " 6

7 ' 0 3 1 0 # # ! 6*3 7 & # # 0 0 /

0 " " " 6

7 ' 0 3 1 0 # # ! 6*3 7 & # # 0 0 /

3 3 # 4 5 ' ' 0 # 0 3 0 /

" "

3 3 # 4 5 ' ' 0 # 0 3 0 /

0 " " " 6

7 ' 0 3 1 0 # # ! 6*3 7 & # # 0 0 /

0 " " " 6

7 ' 0 3 1 0 # # ! 6*3 7 & # # 0 0 /

0 " " " 6

7 ' 0 3 1 0 # # ! 6*3 7 & # # 0 0 /

0 " " " 6

7 ' 0 3 1 0 # # ! 6*3 7 & # # 0 0 /

012 () )$ $()*+)$*, - . $) ,*$( (*/, (

" "

3 "

0 " " " 6

7 ' 0 3 1 0 # # ! 6*3 7 & # # 0 0 /

0 " " " 6

7 ' 0 3 1 0 # # ! 6*3 7 & # # 0 0 /

012

/ 1 "

! 0 ! 8 &

% &

" "

% &

& " "

, "

/ 1 "

//"

! 0 ! 8 &

! 0 " 8 "

! 0 ! 8 &

! 0 " 8 "

//"

! 0 " 8 "

" "

! 0 " 8 &

" "

! 0 " 8 &

( %"

" "

! 0 " 8 "

" "

! 0 " 8 "

& "

//"

! 0 " 8 "

" "

! 0 " 8 "

//"

" "

//"

" "

//"

& "

! 0 " 8 "

" "

! 0 " 8 "

(

! 0 " 8 "

" "

& "

" "

! 0 " 8 "

/ 1 "

//"

" / 1 "

/ 1 "

//" "

//" " "

//"

" "

//"

" !

" " !

" "

//"

" "

(

" "

//"

" "

//" " "

((

" "

1" "

/ 1 "

" "

/ 1 "

()

" "

/ 1 "

" "

5 "

" "

/ 1 "

" "

/ 1 "

" "

//"

" " "

/ 1 "

" " "

/ 1 "

//"

" " "

" "

" " "

" " " 1 0 # # !

" " "

//"

" "

" " "

" "

" " "

//"

" "

" " "

//"

" "

" " "

' & " 1 ' & 0 9 &

" " "

//"

)

" "

" " "

//"

" "

" " " / " "

//"

" "

" " "

" "

' & " 1 ' & 0 9 &

//"

" " "

" !

//"

" "

" !

" " "

' & " 1 ' & 0 9 : &

" "

" " "

' & " 1 ' & 0 9 &

" !

" " "

" !

" " "

)

" "

" " "

' & " 1 ' & 0 9 &

" " "

" "

//"

" " "

" "

" 1"

" " " 1 0 # # !

" " "

" 1"

" " "

//"

" " "

" "

" / " "

" " "

" "

' & " 1 ' & 0 9 : &

//"

" " "

" " " 1 0 # # !

" " "

//"

" " !

" " " " " "

" " "

" " !

//"

" " "

" "

" " "

" !

" " "

//"

" "

" " "

" "

" " "

" " !

" " "

" !

" / " "

" !

)

" "

" " " # # !

" " "

" "

" " "

" "

" " " 1 0 # # !

" " "

" %

" " "

//"

" " "

" "

" " "

" "

" " "

' & " 1 ' & 0 9 : &

//"

" " "

//"

" "

)(

" "

& '

& "

" %

/ " "

" " "

" !

" / " "

" "

" !

" %

" "

" !

" " "

//"

" " "

" "

" !

/ " "

" " "

" !

//"

" " "

' & " 1 ' & 0 9 &

" !

" " "

" "

" " "

" !

" "

" " "

' & " 1 ' & 0 9 : &

" " "

" !

' & " 1 ' & 0 9 &

" " "

" " " " " "

" " !

" "

" " "

//"

" !

" " "

))

" "

& "

& '

" " "

" "

" " " / " "

" "

" " "

" "

//"

" " "

" " " 1 0 # # "

" " "

//"

" " "

' & " 1 ' & 0 9 : &

//"

" " "

" / " "

//"

" " "

" "

" " "

' & " 1 ' & 0 9 &

" " "

" "

& "

//"

" " "

" !

//"

" " "

" / " "

" !

' & " 1 ' & 0 9 : &

" !

6 7

' & "

1 ' & 0 9 &

" " "

" !

" " "

" "

" !

" " "

" "

" " "

" / " "

" !

" " " 1 0 # # "

" " "

" " !

" " "

" "

" !

" " "

" " !

" " " "

" " "

" "

" !

" " "

" "

" / " "

" " "

" "

" " "

" "

//"

" " "

//"

" " "

" " " "

" " "

(

" "

% &

(

//"

" " "

" "

" !

/ 1 "

" " " " " "

" " !

/ 1 "

" !

" "

" " "

//"

" " "

/ 1 "

//"

" "

" " "

" !

" " "

//"

" " "

//" " !

/ 1 "

" " " # " "

" " "

//"

" "

" " "

/ 1 "

//"

/ 1 "

//"

//" " !

/ 1 "

//"

" " "

" "

/ 1 "

//"

/ 1 "

//" "

/ 1 "

//"

/ 1 "

" "

//" "

//"

" "

/ 1 "

//"

" "

//"

/ 1 "

//"

/ 1 "

//"

/ 1 "

//"

/ 1 "

//"

)

" "

) "

" //"

//"

//" "

//"

" "

//"

//" "

//"

" #" "

//"

" "

" #" "

//"

" #" "

' !

" #" "

" "

" #" "

" #" " "

" #" "

" "

" #" "

" " 0 ! ! ' !

" "

" " 0 ! ! ' ! "

7 "

" "

" " 0 ! ! ' !

" "

" 8 8 !8 9 % ! # # ! 9 ! !

1 "

" 8 8 !8 9 % ! # # ! 9 ! !

1 "

" 8 8 !8 9 % ! # # ! 9 ! !

" 8 8 !8 9 % ! # # ! 9 ! ! "

" " "

" "

. "

" " "

,$ "

" "

& "

" "

;

" "

; "

" "

< "

//"

" " "

" "

" " "

" "

//"

" " "

" "

" " "

' & " 1 ' & 0 9 : &

" " "

" " !

" " "

" "

" " "

" "

" " " " 1 0 # # !

" " "

" "

" " "

" "

" " "

//"

" "

" " " " 1 0 # # "

" "

" " " "

" "

//"

" " "

" "

" " "

//"

' & " 1 ' & 0 9 &

" " "

//"

" "

" " "

" "

" !

' & " 1 ' & 0 9 : &

//"

" " " 1 0 # " "

//"

" "

" !

" " "

" "

" " " / " "

" "

" " "

" " " " 1 0 # # "

//"

" "

" !

" "

" " "

" "

//"

" " " " "

" " "

//"

" " "

" "

" " "

' & " 1 ' & 0 9 : &

" "

" " "

//"

" " "

//"

" " "

//"

" " "

" " " "

//"

" " "

" "

" " "

" !

" "

" " "

" "

" " " " " "

" "

" " !

" " "

//"

" " "

" "

//"

" "

" " "

" "

" " "

" "

" !

" " " " 1 0 # # "

" "

" " "

" " !

" " "

" "

//"

" " "

' & " 1 ' & 0 9 &

" " " " " "

" "

" " !

" " "

" "

" ' & " 1 ' & 0 9 &

" " "

//"

" " !

" " " " " " " "

" " "

" " !

" " "

//"

" "

" " "

" "

" " "

//"

' & "

1 ' & 0 9 : &

" " !

" " "

//"

" "

' & " 1 ' & 0 9 &

" " "

" " " " " "

" " !

" " "

" "

" " "

' & " 1 ' & 0 9 &

" " "

" "

" " !

//"

" " "

" "

" " "

//"

" / " "

" "

//"

" " "

" "

' & "

1 ' & 0 9 &

" " "

" "

" " "

//"

" "

" " "

//"

" " "

" "

" " "

" "

" " "

" "

//"

" " "

" "

' & " 1 ' & 0 9 : &

" " "

" " " " " " "

" "

" " "

" " " "

" "

" " "

" "

" " " "

" " "

' & "

1 ' & 0 9 &

" " "

//"

" "

" " "

" "

" " "

//"

" " "

" " " "

" "

" " " " " "

" " "

" "

" " "

! #

" "

! #

" "

& "

" "

& "

;

" "

" 6 / " "7

" "

/ " "

" / " "

" "

" " "

" "

" !

0 " " " 6

7 ' 0 3 1 0 # # !

" "

" " " " # #

" "

" 3 ! ' !

" "

" 3 ! ' !

" "

! " ! #

" "

0 ' ' 0 ! ' " #"

" #" "

(

" "

" #" "

' ! "

" #" " "

)

" "

' ! "

" #" "

! % ! !

& ' 0 !

//"

" "

" #" "

" "

" #" "

" "

" #" " "

" #" "

' !

" "

" #" "

" !

" "

" #" ""

" #" "

! % ! !

/ 1 " 1"

/ 1 "

/ 1 " 1"

" "

6 1"7

" "

1" $

" " "

" " " "

0 0

" " "

$$ "

" " " "

$$ "

0 0

(

" "

" !

)

0 0

" "

0 0

" "

" !

/ 1 "

1" / 1 "

/ 1 "

" "

&& = "

/ 1 "

1" / 1 "

/ 1 "

" "

1" $ / 1 "

1" < 1 1 "

< 1 1 "

" "

! ! ! !

< 1 1 "

! !

< 1 1 "

! !

" "

1" $

% ! > ! %

" "

33 "

1" $

" "