MATRE
... I have said this before ... for Trombone and Orchestra
Full Score
ØRJAN MATRE
... I have said this before ... for Trombone and Orchestra (2010,
rev. 2024)
Full Score
LEIP ZI G · L ONDO N · NE W YOR K
Commissioned by Sverre Riise
Instrumentation
Solo Trombone
Flute 1
Flute 2
Oboe 1
Oboe 2
Clarinet in B b 1
Clarinet in B b 2, doubling Bass Clarinet Bassoon
Contrabassoon (also playing ratchet and handle castanets)
Horn in F 1
Horn in F 2
Horn in F 3
Horn in F 4
Trumpet in C 1
Trumpet in C 2
Trumpet in C 3
Tenor Trombone 1
Tenor Trombone 2
Bass Trombone
Tuba
Timpani
Percussion 1
Percussion 2
tom-toms (5) bongos (2) log drum cow bell guiro ratchet (mounted on a stand) sleigh bells crotales tam-tam gran cassa (can be shared with perc. 2)
glockenspiel temple blocks (5) metal blocks (dry sound) vibraslap (mounted on a stand) piccolo snare drum triangle woodblock sandpaper marimba almglocken – two pitches (D and E) gran cassa (can be shared with perc. 1)
Harp
Strings
The score is transposed.
Durata: approximately 22 minutes
The contrabassonist is asked to play ratchet and handle castanets. If one extra percussion player is available, the ratchet/castanets part could be played by this musician.
Whenever the percussion parts are marked "setup", the notation refers to the following instruments:
Percussion 1
Percussion 2
Dynamic markings with quotation marks indicate the intensity of the performance action and not the resulting absolute volume of the action.
Flutter tongue
Brass instruments: valve tremolo
Notes in parentheses with a trill sign above indicates the note that is to be trilled. When a trill to the same note is indicated, use an alternate fingering. Where there is no trill notes indicated, the trill should span a minor second up.
Winds and brass: air sound
Trumpet/trombone: closed harmon mute
Trumpet/trombone: open harmon mute
Trumpet/trombone: transformation from closed to open harmon mute
Trumpet/trombone: a quick tremolo effect with the hand rapidly covering and opening the exit of a harmon mute.
Trombone: roman numbers indicate slide position
Heavy bow pressure. Pitch should still be audible.
Trombone: diamond note heads are to be sung through instrument. Be sure to obtain a good balance between singing and playing.
Multiphonic passages are notated with suggested fingerings and the desired pitches. If the given fingering does not work, the player is encouraged to explore alternatives that will preserve the notated pitches as faithfully as possible. Where fingerings are not suggested, and the multiphonics are notated as cluster, the fingering (and the resulting pitches) is up to the performer.
"…I have said this before…"
"... I have said this before ..." is based on the piece "... but I must have said this before ..." for trombone and ensemble, commissioned by Ensemble Ernst with support from the Norwegian Composers Fund in 2010. The orchestral version is considerably expanded – not only is the instrumentation upscaled, new material has also been added. In addition, the four short intermediate movements from the original trombone/ensemble-piece have been replaced with a completely new contrasting second movement.
The new version has been prepared with support from the Norwegian Society of Composers.
"... but I must have said this before ..." was premiered September 10, 2012 by Sverre Riise and Ensemble Ernst, conducted by Thomas Rimul.
"... I have said this before ..." was premiered November 21, 2024 by Sverre Riise and The Norwegian Radio Orchestra, conducted by Holly Hyun Chow.
*Choose two different multiphonics for bar 4 and 5, both with a high degree of dissonance
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 awardwinning 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
Photo © Irène Zandel