MATRE
Syklus for Orchestra
Score
ØRJAN MATRE
Syklus
(2021) for Orchestra
POD PETERS on demand
L E I P ZI G L ONDO N NE W YOR K
Instrumentation
Flute 1, doubling Piccolo 1
Flute 2, doubling Piccolo 2
Alto Flute
Oboe 1
Oboe 2
Oboe 3, also playing Bicycle bell in B
Clarinet in B b 1
Clarinet in B b 2
Clarinet in B b 3, doubling Clarinet in E b
Bassoon 1
Bassoon 2
Contrabassoon, also playing Bicycle bell in G #
Horn in F 1
Horn in F 2
Horn in F 3
Horn in F 4, also playing Bicycle bell in E
Trumpet in C 1
Trumpet in C 2
Trumpet in C 3, also playing Bicycle bell in D #
Tenor Trombone 1
Tenor Trombone 2
Bass Trombone
Tuba
Timpani
Percussion 1
Tubular bells
Guiro
Vibraslap
Woodblocks (2 - high pitches)
Water chimes - D5 (Tubular bell tube to be descended into a bucket filled with water for glissando effect.)
Percussion 2
Percussion 3
Harp
Celesta
Strings
Sandpaper
Piccolo snare drum
Water chimes - A4 (Tubular bell tube to be descended into a bucket filled with water for glissando effect.)
Gran cassa
Triangle (small)
Bicycle (see under for instructions)
The score is transposed.
Durata: Approximately 11 minutes
Commissioned by The Norwegian National Youth Orchestra with support from Arts Council Norway. First performance by The Norwegian National Youth Orchestra (Conductor: Johannes Gustavsson) August 1st 2021 in The Stavanger Concert Hall, Stavanger, Norway.
Bicycle bells
Four of the musicians (Oboe 3, Contrabassoon, Horn in F 4 and Trumpet 3) are asked to play bicycle bells, each tuned to specific pitches. The bells can be obtained by contacting the composer. The bells are not completely in tune, the B and D# beeing slighly lower than notated. If the bicycle bells are not available, it is also possible to use glockenspiel staves.
Trumpet 3 Horn in F 4 Contrabassoon Oboe 3
Bicycle
Percussion 3 is asked to play "Bicycle". A bicycle, preferably an adult sized, should be turned upside down, resting on the seat and the handlebars. The bicycle is "played" by rotating the pedals, and carefully holding various objects (plastic, cardboard and metal) against the rotating spokes to create different clicking sounds. When the pedal is released, the effect should be a clicking ritardando, as the wheel slows down. The performer is encouraged to experiment with different kinds of materials and different thicknesses and sizes to create sounds that blend into the orchestral textures. The sounds should be clearly audible, but should not have a soloistic effect.
Dynamic markings with quotation marks indicate the intensity of the performance action and not the resulting absolute volume of the action.
Quarter tone flat/sharp
1/6 tone flat, always representing the 7th harmonic
Diminuendo al niente
Flutter tongue
Winds/Brass: Air sound - no pitch.
Alto flute: Airy sound, mix between air sound and normal sound. Pitch should be audible.
Trumpets/Trombones: Closed harmon mute Horns: Stopped horn
Trumpets/Trombones: Open harmon mute Horns: Not stopped
Trumpets: A quick tremolo effect with the hand rapidly covering and opening the exit of a harmon mute.
Strings: Circular bowing (i.e. sul pont. sul tasto). The sounding result should be vague and unstable, but still with a clear projection of the notated pitches.
Strings: Hit (do not pluck) the middle of the string gently while fingering the notated pitch. The result should be a vague trembling sound.
Commissioned by The Norwegian National Youth Orchestra
First performances:
1 August 2021, Konserthus, Stavanger 3 August 2021, Kilden, Kristiansand 4 August 2021, Ibsenhuset, Skien 6 August 2021, Festspillene, Elverum
Ungdomssymfonikerne (Norwegian National Youth Orchestra), conducted by Johannes Gustavson
Molto
* The musicians should whistle the notated pitches, but micro variations in pitch are intended. Whistling parts are doubled in flutes, oboes, timpani and bassoons, in case whistling might be difficult for some of the performers. Shift of octaves (up or down) is possible, but not desirable. For rehearsal purpose, the flute players can play the whistling parts on piccolo flute.
** The clarinets should sound slightly out of tune, like a broken harmonica.
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.
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Photo © Irène Zandel