BAUCKHOLT
Doppelbelichtung
für Violine und Samples
ISSUU Version
For perusal only
ISSUU Version For perusal only
CAROLA BAUCKHOLT
Doppelbelichtung
für Violine und Samples
POD PETERS on demand
ALLE
EDITION PETERS
LEIP ZI G · L ONDO N · NE W YOR K
ISSUU Version
For perusal only
Commissioned by Arts Council Norway for Karin Hellqvist
First performance on 13 September 2016 at Ultima Festival, Oslo by Karin Hellqvist and Michael Acker (SWR Experimentalstudio)
ISSUU Version For perusal only
PERFORMANCE NOTES
Doppelbelichtung could be performed in different set ups, depending on the locaton. Here you can see the first performance in version 1: www.youtube.com/watch?v=oAKePb1FA_Q
Version 1: With transducers on hanging violins. This is especially effective outdoors with violins hanging in the trees, or in rooms where you don’t have loudspeakers.
Version 2: Six or four channel version, or stereo.
Version 1:
2 speakers for live amplification and playback channels 1 & 2
4 violins and 1 viola with transducers
As an alternative to ordinary loudspeakers, the resonating bodies of the violins are excited to vibrate by transducers. Accordingly, they are to be positioned as sound sources in the room. If possible, the violins should be suspended from the ceiling, so the audience can move freely underneath or sit. The violins should not hang outside the audience area, but preferably over the audience in order to achieve a good location and proximity to the sound sources. The heights of the violins can vary slightly and should be about 2–2.5 meters. The wiring to the transducers should be as inconspicuous as possible from above. If the suspension of the violins is not possible, they can alternatively be placed on small pedestals or hung on large microphone stands.
5 miniature full range speakers, approx. 5 cm ø / 10 watts, e.g. Visaton BF 45
Besides the violins there are 5 more sound sources. Since only bird sounds are transmitted as sound material, miniature loudspeakers are ideally suited for this purpose. Models with about 5cm diameter and 10 watts are sufficient. The miniature speakers 1–3 also hang from the ceiling. In the score they are referred to as Ast 1–3 (branch 1–3). No. 4 is hidden on the floor far away. No. 5 is attached to the soloist’s music stand and serves as an audio monitor for better synchronization with the prerecorded tape.
Microphoning (e.g. Sennheiser MKE–1)
The violin is amplified with a microphone (e.g. Sennheiser MKE–1), which is unobtrusively attached to the violin. The amplification makes it possible to balance the levels of the violin and the prerecorded tape. In some places, the violin can be manually mixed with some reverberation to adapt to the different spatial situations of the bird recordings.
Pro Tools tape
The 12-channel tape is started in bar 11 on the second beat. Starting point of the tape is second 7.5. Then the tape runs through. The synchronisation between the soloist and the tape is done exclusively by ear. To facilitate this, the striking points or the whole tape are played over the small monitor speaker to the soloist.
Version 2:
ISSUU Version
For perusal only
See previous information. L1 L2 L3 L4
L4 Zusatz
L5
L6
Transducer (Specht)
Ast 1
Ast 2
Ast 3 Boden Monitor front left front right centre right back right additional back right back left centre left back right centre right centre left front left back right for violin player
Electronics available from the publisher – please contact electronics@editionpeters.com
ISSUU Version
Doppelbelichtung für Violine und Samples
dedicated to Karin Hellqvist
For perusal only
Carola Bauckholt
(2016)
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
For perusal only
ISSUU Version
For perusal only
ISSUU Version
For perusal only
ISSUU Version For perusal only
For more than 200 years, Edition Peters has been synonymous with excellence in classical music publishing. Established in 1800 with the keyboard works of J. S. Ba ch, by 1802 the company had acquired Beethoven’s First Symphony. In the years following, an active publishing policy enabled the company to expand its catalogue with new works by composers such as Brahms, Grieg and Liszt, followed in the 20th century by Richard Strauss, Arnold Schoenberg and John Cage.
Today, with its offces in Leipzig, London and New York publishing the work of living composers from around the world, Edition Peters maintains its role as a champion of new music. At the same time, the company’s historic and educational catalogues continue to be developed with award-winning critical and pedagogical editions.
Seit über 200 Jahren steht die Edition Peters für höchste Qualität im Bereich klassischer Notenausgaben. Gegründet im Jahr 1800, begann der Verlag seine Tätigkeit mit der Herausgabe von Bachs Musik für Tasteninstrumente. Schon 1802 kamen die Rechte an Beethovens erster Sinfonie hinzu. In der Folgezeit wuchs der Katalog um neue Werke von Komponisten wie Brahms, Grieg und Liszt sowie – im 20. Jahrhundert – Richard Strauss, Arnold Schönberg und John Cage.
Als Verleger zahlreicher zeitgenössischer Komponisten aus aller Welt ist die Edition Peters mit ihren Standorten Leipzig, London und New York auch weiterhin Anwalt neuer Musik. Zugleich wird das Verlagsprogramm im klassischen wie im pädagogischen Bereich kontinuierlich durch vielfach preisgekrönte Ausgaben erweitert.
Photo © Irène Zandel
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