Tsao MIRANDAS ATEMWENDE

TSAO

Mirandas Atemwende

for Mezzo-soprano, 2 Speakers and Chamber Ensemble

Score

Mirandas Atemwende MING TSAO

Second act of “Die Geisterinsel” (2015) for Mezzo-soprano, 2 Speakers and Chamber Ensemble

Texts from

Paul Celan Atemwende (1967)

J. H. Prynne The White Stones (1969)

J. H. Prynne Word Order (1989)

Scenes:

Erwartung 1

Es gibt einen Ort 22 Du entscheidest dich 42

Heute 58 Helligkeitshunger 95 Das Geschriebene127 Fadensonnen 152 Stehen 171 Vor der Erstarrung184

Caliban’s Wound Response 193 Against Hurt 225 The Wound, Day and Night 257

Mirandas Atemwende is a specimen of a commentary on Shakespeare’s The Tempest and forms a second act to Die Geisterinsel but can be performed independently of it.

also Bass clarinet

English horn

(with straight and cup mutes) straight and cup mutes) straight and cup mutes)

Instrumentation

Flute – also Bass flute

sostenuto pedal, plectrum, fishing line and rubber hammer)

strings detuned by one quarter-tone

Oboe – also English horn

Clarinet in Bb

Bass clarinet in Bb

Horn in F – with straight and cup mutes

Classical guitar and steel string guitar with amplification, volume pedal, distortion and effects, glass slide, ebow, one finely threaded metal rod, one violin or cello bow flute

also Bass clarinet

horn

players

Instrumentation

Flute also Bass flute

Clarinet 1 in B

Clarinet 2 in B also Bass clarinet

Oboe also English horn

Trumpet in C (with straight and cup mutes)

Horn in F (with straight and cup mutes)

Trombone (with straight and cup mutes)

Trumpet in C – with straight, cup and wah-wah mutes

Trombone – with straight, cup and wah-wah mutes

Piano (with sostenuto pedal, plectrum, fishing line and rubber hammer) Four strings detuned by one quarter-tone

Note: all woodwinds and brass must also have one thick metal clothes hanger and a bass (or cello) bow.

(with straight and cup mutes) straight and cup mutes)

1:Celesta *)

straight and cup mutes)

Percussion 1

Crotale (middle C, D)

Vibraphone (with functioning motor)

Crotales (a full set) *)

sostenuto pedal, plectrum, fishing line and rubber hammer)

Timpani (one large drum)

strings detuned by one quarter-tone

thick metal wire coat hanger large Tam-Tam

Large double-headed tom-tom

Snare drum

Triangle

Cymbal (16’’)

Guitar Classical guitar and steel string guitar with amplification, volume pedal, distortion and tremolo effects, glass slide, ebow, one finely threaded metal rod, one violin or cello bow

Vibraphone – with fully functioning motor

Large timpani drum

Timpani range:

2 double headed Tom-toms of different sizes

Large suspended Cymbal

Percussion two players

Steel-string guitar (with two glass slides, plectrum and ebow)

Classical guitar and steel string guitar with amplification, volume pedal, distortion and effects, glass slide, ebow, one finely threaded metal rod, one violin or cello bow

2 bass bows

Bass bows, 2 finely threaded metal rods superball mallets and 1 metal rod of medium thickness

Superball mallet

Metal clothes hanger

Vibraphone (with functioning motor)

Bamboo wind chimes

Crotales (a full set) *)

Glockenspiel *)

Timpani (one large drum)

Percussion 2

thick metal wire coat hanger

players

large bass drum

1:Celesta *)

snare drum

Vibraphone (with functioning motor)

Sleighbells

Crotales (a full set) *)

Cymbal (16’’)

Timpani (one large drum)

Large nipple-gong

thick metal wire coat hanger

Percussion 1:Celesta *)

Vibraphone (with functioning motor)

Crotales (a full set) *)

Timpani (one large drum)

thick metal wire coat hanger

large Tam-Tam

Large double-headed tom-tom

Snare drum

Vibraphone – with fully functioning motor

Marimba (3 octaves)

2 double headed Tom-toms

Steel-string guitar (with two glass slides, plectrum and ebow)

large Tam-Tam

Large timpani drum

Timpani range: Nipple gong appr.

Triangle

Cymbal (16’’)

Steel-string guitar (with two glass slides, plectrum and ebow)

2 Bass bows, 2 finely threaded metal rods

Timpani range:

Timpani range: 8

Table-top steel-string guitar: Scordatura:

Percussion 2:

2 superball mallets and 1 metal rod of medium thickness

Vibraphone (with functioning motor)

Bass bows, 2 finely threaded metal rods superball mallets and 1 metal rod of medium thickness

Large double-headed tom-tom

Snare drum

Celesta and glockenspiel sound one octave higher than written,

Triangle

crotales sound two octaves higher than written.

Cymbal (16’’)

Crotales (a full set) *)

Full set of Crotales (sounding two octaves higher than written)

A seperate celesta performer may be used.

Steel-string guitar (with two glass slides, plectrum and ebow)

Glockenspiel *)

Timpani (one large drum) thick metal wire coat hanger large bass drum

Nipple gong (or large Tam-Tam if the piece is performed without Die Geisterinsel) – range of approximate pitch:

snare drum

glass slide, plectrum and practice mute)

Bass bows, 2 finely threaded metal rods superball mallets and 1 metal rod of medium thickness

glass slide, plectrum and practice mute) slide, plectrum and practice mute)

Vibraphone (with functioning motor)

Crotales (a full set) *)

Glockenspiel *)

Timpani (one large drum)

thick metal wire coat hanger large bass drum

Large suspended cymbal

2 bass bows

Scordatura:

2 Reibestöcke (threaded wooden dowels)

finely threaded metal rod, plectrum and practice mute) plectrum and practice mute)

Superball mallet

Metal rod of medium thickness

Metal clothes hanger

(cello)

Sleighbells

Cymbal (16’’)

Large nipple-gong

Steel-string guitar (with two glass slides, plectrum and ebow)

2 Bass bows, 2 finely threaded metal rods

Timpani range: Nipple gong appr. pitch: range of

2 superball mallets and 1 metal rod of medium thickness

soprano)

Sleighbells

Cymbal (16’’)

Large nipple-gong

Percussion 3

Steel-string guitar (with two glass slides, plectrum and ebow)

(speaking role) (speaking role)

Marimba (3 octaves)

Bass bows, 2 finely threaded metal rods superball mallets and 1 metal rod of medium thickness

member of the choir requires:

4 Timpani drums

Celesta and glockenspiel sound one octave higher than written, snare drum

crotales sound two octaves higher than written.

1) one timpani drum (of various sizes), alternatively a bass drum

A seperate celesta performer may be used.

2) a cello or bass bow

3) a thick metal wire coat hanger

(withmetalrod) ?

Timpani range: Nipple gong appr. pitch: range of 8

Table-top steel-string guitar: Scordatura: 6 5 4 3

*) Celesta and glockenspiel sound one octave higher than written,

crotales sound two octaves higher than written.

Violin I (with glass slide, plectrum and practice mute)

Violin II (with glass slide, plectrum and practice mute)

Viola (with glass slide, plectrum and practice mute)

Cello (with one finely threaded metal rod, plectrum and practice mute)

Contrabass (with plectrum and practice mute)

Glockenspiel (sounding one octave higher than written)

slide, plectrum and practice mute)

Snare drum

Singers

4) resonant surface materials (ceramic/stone/glass and hard plastic/metal and dry leaves/wood and paper of various types)

5) a notebook to rip pages from

glass slide, plectrum and practice mute) slide, plectrum and practice mute)

Miranda (mezzo soprano)

Full set of Crotales (sounding two octaves higher than written)

Large Tam-tam

threaded metal rod, plectrum and practice mute) plectrum and practice mute)

Large suspended Cymbal

Triangle

Metal wind chimes

Instrumentation

Sleigh bells

Flute also Bass flute

Bass bow

Clarinet 1 in B

Fernando (tenor)

Prospero (bass)

Caliban 1 (speaking role)

Caliban 2 (speaking role)

Choir: SATBEach member of the choir requires:

1) one timpani drum (of various sizes), alternatively a bass drum

2) a cello or bass bow

3) a thick metal wire coat hanger

4) resonant surface materials (ceramic/stone/glass and hard plastic/metal and dry leaves/wood and paper of various types)

2 Reibestöcke (threaded wooden dowels)

Clarinet 2 in B also Bass clarinet

Celesta (sounding one octave higher than written) in C, except for the strings and guitars which are transposed to standard tuning

5) a notebook to rip pages from

Superball mallet

Oboe also English horn

Metal rod of medium thickness

Trumpet in C (with straight and cup mutes)

Metal clothes hanger

Horn in F (with straight and cup mutes)

Trombone (with straight and cup mutes)

Note: the score is in C, except for the strings and guitars which are transposed to standard tuning

Piano – with sostenuto pedal, plectrum, metal beater, rubber hammer and a shot glass

Four strings are detuned by a quarter-tone

Piano (with sostenuto pedal, plectrum, fishing line and rubber hammer) Four strings detuned by one quarter-tone

Guitar Classical guitar and steel string guitar with amplification, volume pedal, distortion and tremolo effects, glass slide, ebow, one finely threaded metal rod, one violin or cello bow

Scordatura:

*)

Scordatura: Violin I

3/4-tone sharp

3/4-tone

add this after 1/4 tone sharp to the accidentals on top line of General section please add 1/4 tone sharp from PDF forlegende.pdf keyboard). The crotales are tuned to the following scale of pitches

please add this after 1/4 tone sharp to the accidentals on top line of General section please add 1/4 tone sharp from PDF forlegende.pdf

Steel-string guitar, laid level on a table (with glass

2 Bass bows

3/4-tone sharp please add this after 1/4 tone sharp to the accidentals on top line of General section please add 1/4 tone sharp from PDF forlegende.pdf

2 superball mallets and 1 metal rod of medium thickness

Cello scordatura

Guitar – Classical guitar and electric guitar with whammy bar, volume pedal, distortion, chorus, flanger, delay, octave (Electro Harmonix POG2) and tremolo effects (all independently controlled by a footswitch), glass slide, one finely threaded metal rod, E-bow and a vibraphone mallet with a flexible handle. Electric guitar scordatura

Guitar – Classical guitar and electric guitar with Whammy Bar, volume pedal, tremolo, distortion and delay effects, (all independently controlled with a footswitch), glass slide, ebow. The classical guitar may require amplification.

– Scordatura for both electric and classical guitars

The electric guitar is transposed throughout to standart tuning. The classical guitar is in standard tuning.

Violin I – with plectrum

Violin II – with plectrum

Percussion 1

Timpani range:

Percussion 1

Scordatura: one halftone lower for each string

Timpani range:

Viola – with plectrum

Violoncello – with plectrum

Scordatura: one tone lower for each string

2 Reibstocks (threaded wooden dowels)

*) Celesta and Glockenspiel sound one octave higher written. A separate celesta performer may be used.

Cello scordatura

Note: the score is in C, except for the violoncello and guitars

Duration: approx. 30 minutes

Table-top steel-string guitar: Scordatura:

steel-string guitar:

Double Bass with low C extension (sounding one octave lower than written)

Singers

Percussion 2 1 234

Timpani range:

Table-top steel-string guitar:

Scordatura:

Violin II and Cello are written at sounding pitch with the exception of fingered harmonics which are written at fingered pitch.

Percussion 2

Timpani range:

steel-string guitar: Scordatura:

Miranda – mezzosoprano

Caliban 1 – speaking role

Caliban 2 – speaking role

The score is in C.

Performance notes

Performance notes General

Performance notes

Durations: dotted half note

half note

Quarter-tones: gradual transition from one state to another.

quarter tone accidentals

an eighth-tone sharp or the natural eleventh harmonic (depending on context)

1/4-tone flat 1/4-tone sharp 3/4-tone sharp either an eighth-tone sharp or the natural eleventh harmonic (context will determine)

Durations: dotted half note

half note

Durations: dotted half note

refer to the amount of

eighth-tone flat or the natural seventh harmonic (depending on context)

For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note.

For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note. necessarily the sounding result.

durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note. necessarily the sounding result.

Dynamics in quotations, “ ", refer to the amount of force or effort required to produce a sound and not Glissandi: notes in parentheses of a glissando are not to be articulated independently.

transition from one state to another.

Quarter-tones: gradual transition from one state to another.

for longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note.

“ f ” dynamics in quotations refer to the amount of force or effort required to produce a sound and not necessarily the sounding result.

Dynamics in quotations, “ ", refer to the amount of force or effort required to

Quarter-tones: gradual transition from one state to another.

For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note. necessarily the sounding result.

or effort required to produce a sound and not Glissandi: notes in parentheses of a glissando are not to be articulated independently.

Dynamics in quotations, “ ", refer to the amount of force or effort required to produce a sound and not Glissandi: notes in parentheses of a glissando are not to be articulated independently.

Glissandi: notes in parentheses of a glissando are not to be articulated independently.

gradual transition from one state to another. Glissandi – notes in parentheses of a glissando are not to be articulated independently.

Durations:

Flute and Clarinets: with some pitch mostly breath through indicated

Oboe:

harmonic refer to the amount of force or effort required to produce a sound and not of a glissando are not to be articulated independently. from one state to another.

All:

1/2 breath 1/2 pitch Flute and Clarinets: with some pitch mostly breath through indicated breath only fingering

Flute and Clarinets: with some pitch mostly breath through indicated breath only fingering

For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note.

fingering is provided. Clarinet fingerings refer to the German system. In general, the clarinets and oboe/english horn are free to choose their own fingerings, provided that there is variation in the fingerings and there is a large amount of noise content to the resulting sound (producing a “scream-like” effect).

Dynamics in quotations, “ ", refer to the amount of force or effort required to produce a sound and not

Glissandi: notes in parentheses of a glissando are not to be articulated independently. Quarter-tones: gradual transition from one state to another.

(cello) arco (withmetalrod)

jet−whistle (flute only)

G lips enclose the mouthpiece while pronouncing “shh” into the instrument (flute only)

“aeolian sounds” (flute only): blow air over the embouchure hole to produce a sound like wind. In places where this action is called for on the bass flute, a normal C-flute may be used if the effect is more effective.

Cello scordatura

L.H. pizz.

L.H. finger percussion touch

return to ordinary bowing technique and position (left-hand) right-hand)

ordinary technique

without muting strings(no R.H. attack, simply touch the strings at the indicated position with the L.H.)

L.H. finger percussion

For longer durations whilst using special noteheads, circles around noteheads are used for durations equal to or longer than a half-note.

L.H. finger percussion

Glissandi: notes in parentheses of a glissando are not to be articulated independently. gradual transition from one state to another. half

Dynamics in quotations, “ ", refer to the amount of force or effort required to produce a sound and not Glissandi: notes in parentheses of a glissando are not to be articulated independently. gradual transition from one state to another.

hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

Dynamics in quotations, “ ", refer to the amount of force or effort required to produce a sound and not

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

necessarily the sounding result.

Singers

without muting strings(no R.H. attack, simply touch the strings at the indicated position with the L.H.)

nail pizz. snap pizz. L.H. pizz.

L.H. finger percussion

Strings

Woodwind

gentle overpressure bowing bring out pitch "crunch" hard over-pressure bowing slow bowing with overpressure

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

return to ordinary bowing technique and position (left-hand) (R.H. = right-hand)

breathy pitch

1/2 breath 1/2 pitch

1/2 breath

1/2 pitch

gentle overpressure bowing bring out pitch "crunch" hard over-pressure bowing

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

L.H. finger percussion

Action clef:

end of fingerboard sul tasto molto sul tasto

Oboe:

Flute and Clarinets: with some pitch mostly breath through indicated breath only fingering key click slap tongue jet whistle (flute only) where air noise is present weak fingering

Action clef:

end of fingerboard sul tasto molto sul tasto

Flute and Clarinets: with some pitch mostly breath through indicated breath only fingering key click slap tongue jet whistle (flute only) where air noise is present weak fingering

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

nail pizz. snap pizz. L.H. pizz. ord. return to ordinary bowing technique and position (left-hand) (R.H. = right-hand)

Action clef:

Brass inhale

breathy pitch breath only multiphonic (produce in throat) multiphonic

inhale

end of fingerboard sul tasto molto sul tasto

Action clef:

Oboe: natural harmonic

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

kkkkkkkkkkkkkkk  (cello) arco (withmetalrod) ?

end of fingerboard sul tasto molto sul tasto

L.H. finger percussion

end of fingerboard sul tasto molto sul tasto

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

multiphonic (produce in throat)

breathy pitch breath only multiphonic (produce in throat) multiphonic breathy flutter tongue sprechstimme sprechstimme breathy (Voice)

breathy multiphonic

breathy flutter tongue sprechstimme sprechstimme breathy

All: exhale slap tongue darkest breath sound with varying degrees of colour

flutter tongue

end of fingerboard sul tasto molto sul tasto

Horn and Trombone: brightest indicated fingering air noise through Trumpet:

*) *) the sprechstimme should be performed (roughly 80% speaking quality) with more speaking than singing.

gentle overpressure bowing bring out pitch "crunch" hard over-pressure bowing slow bowing with overpressure

breath only multiphonic (produce in throat) multiphonic breathy flutter tongue sprechstimme sprechstimme breathy

exhale slap tongue darkest breath sound with varying degrees of colour

multiphonic (produce throat) multiphonic breathy flutter tongue sprechstimme sprechstimme breathy

(and Guitar)

flutter tongue sprechstimme sprechstimme breathy

*) *) the sprechstimme should be performed (roughly 80% speaking quality) with more speaking than singing.

ghostly glissandi:

gentle overpressure bowing bring out pitch "crunch" hard over-pressure bowing slow bowing with overpressure

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

Horn and Trombone: brightest indicated fingering air noise through Trumpet:

Action clef:

sing while inhaling **) sing while exhaling **) produce a “damaged” sound that is slightly unstable and fragile. It should sound distinctly different than singing while exhaling.

spoken ghostly glissandi: a mixture of pitch and air with a slightly unpredictable quality to the glissandi; do not articulate the notes in parentheses

6 1 () 1 6 ()

sing while inhaling **)

spoken ghostly glissandi: a mixture of pitch and air with a slightly unpredictable quality to the glissandi; do not articulate the notes in parentheses

glissandi:

end of fingerboard sul tasto molto sul tasto

texts found in the libretto should be spoken as if an actor/actresswere reciting them. *) *) the sprechstimme should be performed (roughly 80% speaking quality) with more speaking than singing.

sing while inhaling **) sing while exhaling **) produce a “damaged” sound that is slightly unstable and fragile. It should sound distinctly different than singing while exhaling.

Action clef:

sing while inhaling **) sing while exhaling **) produce a “damaged” sound that is slightly unstable and fragile. It should sound distinctly different than singing while exhaling.

end of fingerboard sul tasto molto sul tasto

sing while inhaling **) sing while exhaling **) produce a “damaged” sound that is slightly unstable and fragile. It should sound distinctly different than singing while exhaling.

All sprechstimme and speaking must be performed in a completely non-expressive manner and,

Bar 462 and 676

breathy pitch breath only multiphonic (produce in throat) multiphonic breathy flutter tongue sprechstimme sprechstimme breathy

Percussion pizz. with plectrum (table-top guitars) down stroke up stroke of its own accord let sound die bar slide across all strings at the position indicated on the bottom or top string slow arpeggiation across all strings

sing while exhaling **) produce a “damaged” sound that is slightly unstable and fragile. It should sound distinctly different than singing while exhaling.

a mixture of pitch and air with a slightly unpredictable quality to the glissandi; do not articulate the notes in parentheses

gentle overpressure bowing bring out pitch "crunch" hard over-pressure bowing slow bowing with overpressure at the same time in a non-mechanical manner.

All english texts found in the libretto should be spoken as if an actor/actresswere reciting them.

and speaking must be performed in a completely non-expressive manner and,

mixture of pitch and air with a slightly unpredictable quality glissandi; do not articulate the notes in parentheses

slow bowing with overpressure at the same time in a non-mechanical manner.

pizz. with plectrum (table-top guitars) down stroke up stroke of its own accord let sound die bar slide across all strings at the position indicated on the bottom or top string slow arpeggiation across all strings

at the same time in a non-mechanical manner.

sing while inhaling **) while exhaling **) produce a “damaged” sound that is slightly unstable and fragile. It should sound distinctly different than singing while exhaling.

slightly unpredictable quality the notes in parentheses

sing while inhaling – produce a “damaged” sound that is slightly unstabel and fragile, it should sound distinctly different to singing while exhaling.

speaking must be performed in a completely non-expressive manner and,

rub or tap vibraphone mallets or snare sticks together on Timp. (hold stick towards edge of Timp.) top bottom

sing while inhaling **) sing while exhaling **) produce a “damaged” sound that is slightly unstable and fragile. It should sound distinctly different than singing while exhaling.

The simple speaking rhythms indicate pacing, and can be deviated from slightly, as to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated)

sprechstimme breathy unpredictable quality parentheses

Guitar strum across open strings ( ) attackless harmonics ( )

glottal stop

the libretto should be spoken as if an actor/actresswere reciting them.

be performed in a completely non-expressive manner and,

bowing bring out pitch over-pressure bowing overpressure at the same time in a non-mechanical manner. from slightly, as to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated)

actor/actresswere reciting them. *) the sprechstimme should be performed (roughly 80% speaking quality) with more speaking than singing.

breathy pitch breath only multiphonic (produce in throat) multiphonic breathy flutter tongue sprechstimme sprechstimme breathy (Voice)

at the same time in a non-mechanical manner.

rub or tap vibraphone mallets or snare sticks together on Timp. (hold stick towards edge of Timp.) top bottom

Sprechstimme – should be performed with more speaking than singing, roughly 80% speaking quality non-expressive manner and,

sing while exhaling manner and,

pitch at the same time in a non-mechanical manner.

spoken ghostly glissandi: a mixture of pitch and air with a slightly unpredictable quality to the glissandi; do not articulate the notes in parentheses

should be spoken as if an actor/actresswere reciting them.

reciting them. should be performed speaking quality) speaking than singing.

attackless harmonics

necessarily the sounding result. left hand finger percussion audible release of strings

speaking rhythms indicate pacing, and can be deviated from slightly, as to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated)

left hand finger percussion audible release of strings

sprechstimme and speaking must be performed in a completely non-expressive manner and, strum across open strings

All english texts found in the libretto should be spoken as if an actor/actresswere reciting them. *) *) the sprechstimme should be performed (roughly 80% speaking quality) with more speaking than singing. spoken

sing while inhaling **) sing while exhaling **) produce a “damaged” sound that is slightly unstable and fragile. It should sound distinctly different than singing while exhaling.

rhythms indicate pacing, and can be deviated from slightly, as to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated)

Celesta clusters: W B white notesnotes black chromatic

pacing, and can be deviated from slightly, as to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated)

*) *) the sprechstimme should be performed (roughly 80% speaking quality) with more speaking than singing. Ghosty glissandi – a mixture of pitch and air with a slightly unpredictable quality to the glissandi. Do not articulate the notes in parenthesis.

Note: All sprechstimme and speaking must be performed in a completely non-expressive manner and,

at the same time in a non-mechanical manner.

Strings

L.H. finger percussion without muting strings(no R.H. attack, simply touch the strings at the indicated position with the L.H.) R

spoken ghostly glissandi: a mixture of pitch and air with a slightly unpredictable quality to the glissandi; do not articulate the notes in parentheses

The simple speaking rhythms indicate pacing, and can be deviated from slightly, as to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated)

voiceless whispering with approximate pitch notation

to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated)

Note: All sprechstimme and speaking must be performed in a completely non-expressive manner and,

L.H. pizz. ord. return to ordinary bowing technique and position (left-hand) (R.H. = right-hand)

L.H. finger percussion without muting strings(no R.H. attack, simply touch the strings at the indicated position with the L.H.) R

at the same time in a non-mechanical manner.

The simple speaking rhythms indicate pacing, and can be deviated from slightly, as to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated)

All english texts found in the libretto should be spoken as if an actor/actresswere reciting them.

Voice

nail pizz. snap pizz. L.H. pizz. ord. return to ordinary bowing technique and position (left-hand) (R.H. = right-hand)

All Sprechstimme and speaking should be performed in a non-expressive and, at the same time, a non-mechanical manner. The simple speaking rhythms indicate pacing, and can be deviated from slightly, as to not sound mechanical (a kind of “rhythmic sprechstimme” where the rhythm is approximated).

The Caliban texts in the last three scenes should all be spoken in a non-expressive, yet non-mechanical manner.

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

gentle overpressure bowing bring out pitch "crunch" hard over-pressure bowing slow bowing with overpressure

mute / unmute strings shaded harmonic this requires only slightly more left-hand finger pressure than is normally required for the execution of a hatural harmonic. Only a hint of the fingered pitch should be perceptible. In rapid passages slightly more finger pressure can be used, coupled with flautando bowing, than in the passages with shaded harmonic glissandi, which should be ghost-like and very delicately played. (This is to ensure the articulation of each note in the more rapid passages.)

Action clef:

end of fingerboard sul tasto molto sul tasto

breathy pitch breath only multiphonic (produce in throat) multiphonic breathy flutter tongue sprechstimme sprechstimme breathy (Voice) spoken ghostly glissandi: a mixture of pitch and air with a slightly unpredictable quality to the glissandi; do not articulate the notes in parentheses

breathy pitch breath only multiphonic (produce in throat) multiphonic breathy flutter tongue sprechstimme sprechstimme breathy spoken ghostly glissandi: a mixture of pitch and air with a slightly unpredictable quality to the glissandi; do not articulate the notes in parentheses

end of fingerboard sul tasto molto sul tasto

*) *) the sprechstimme should be performed (roughly 80% speaking quality) with more speaking than singing.

texts found in the libretto should be spoken as if an actor/actresswere reciting them. *) *) the sprechstimme should be performed (roughly 80% speaking quality) with more speaking than singing.

Note: All sprechstimme and speaking must be performed in a completely non-expressive manner and,

gentle overpressure bowing bring out pitch "crunch" hard over-pressure bowing slow bowing with overpressure at the same time in a non-mechanical manner. speaking rhythms indicate pacing, and can be deviated from slightly, as to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated)

sing while inhaling **) sing while exhaling **) produce a “damaged” sound that is slightly unstable and fragile. It should sound distinctly different than singing while exhaling.

at the same time in a non-mechanical manner.

The simple speaking rhythms indicate pacing, and can be deviated from slightly, as to not soundmechanical (a kind of "rhythmic sprechstimme" where the rhythm is approximated)

All english texts found in the libretto should be spoken as if an actor/actresswere reciting them.

Duration: ca. 41 min.

(Voice)

Mirandas Atemwende

Vibraphone

flaut.

Bow Crotale on Timpani

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Edition Peters

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. Bach, 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 offices 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.

The offices of Edition Peters in Talstraße, Leipzig Geschäftssitz der Edition Peters in der Leipziger Talstraße

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