For perusal only
NORDIN
Premonition
for Amplified Violin, Amplified Paetzold Contrabass Recorder and Electronics
ISSUU Version
For perusal only
ISSUU Version
For perusal only
JESPER NORDIN Premonition
for amplified Violin, amplified Paetzold Contrabass Recorder and Electronics
Score
EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN
ALL RIGHTS RESERVED
HENRY LITOLFF’S VERLAG / C. F. PETERS
A member of the EDITION PETERS GROUP
FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK
ISSUU Version
For perusal only
ISSUU Version For perusal only
Instrumentation
Amplified Violin
Amplified Paetzold Contrabass Recorder Electronics*
*The sound file is available on CD from Edition Peters or as download from http://www.jespernordin.com/downloads/Premonition_soundfile.aif
Duration: 7 mins approx.
Performance Note
Both instruments should be amplified and preferably also have a quite heavy compressor on them. Depending on the hall, there might be need for a reverb, but it should be limited and subtle. The electronics in the piece consists of a single sound file in stereo that should be well blended with the live instruments. The piece needs active diffusion to make sure everything is heard at all times. The sound file plays throughout the piece and should be started on cue from the musicians or by the musicians themselves. The timing between the electronics and the musicians is approximate but the musicians might want to use a stop watch to stay more or less in time with the sound file.
The sound file is made with recordings of a violin played by Karin Hellqvist, a Paetzold contrabass recorder played by Anna Petrini and a grand piano and a harpsichord played by Jesper Nordin.
The first performance took place at the Huddersfield Contemporary Music Festival 2013, given by the Faint Noise Duo (Karin Hellqvist and Anna Petrini).
This score reflects the state of editorial work and correction as at October 2013.
Paetzold contrabass recorder
1:00
Senza misura (timing indications are approximate)
body of instrument bridge Start soundfile
ISSUU Version For perusal only
Premonition
Loop this phrase, slowly and out of sync with each other
vary fingering on left hand ad lib - slowly and without key noises (= covered labium)
Loop this phrase, slowly and out of sync with each other. Do not change to this phrase at the same time and make a transition where you change between this and the earlier phrase
continue with left hand pizz-tap ad lib (not too many)
play on tailpiece
vary fingering on left hand ad lib - vary between slow and fast (with occasional key noise) fl.z.
Choose a steady rhythm (not too fast and not too slow) and keep it for a few seconds, then change to a new rhythm
1:45
≈P Make circular motions with the bow sometimes using the whole bow, sometimes just a part of it. Vary the pitch slightly.
Do not change to this phrase at the same time and make a transition where you change between this and the earlier phrase ≈P
Fingered C with left hand, glissando made with right hand at labium - going from pure noise to pitch.
Choose a steady rhythm (a little faster than before) and keep it for a few seconds, then change to a new rhythm
2:30
Do not change to this phrase at the same time and make a transition where you change between this and the earlier phrase
F Make circular motions with the bow while using exaggerated bow pressure. Vary the pitch around B, sometimes with gliss
Fingered C with left hand, glissando made with right hand at labium - going from pure noise to pitch. Sometimes choose another pitch close to B
start adding a few soft and dry left hand tap-pizz without pitch
start adding a few soft and dry key noises with the left hand
Vln.
Pz. Rec.
Vln.
ISSUU Version
Loop this phrase, vary the lenght of the crescendo and play it out of sync with each other
Do not change to this phrase at the same time and make a transition where you change between this and the earlier phrase
For perusal only
& ?
exaggerated bow pressure p-P
Pz. Rec. ¬ –––> Œ ¬ + æ ––æ > Œ
3:45
Pz. Rec.
3:15 & ?
-ƒ p-P
do a glissando to a pitch close to B
Fingered C with left hand, let right hand go from completely covered labium to quasi-open or open. ( ) ( )
Choose a steady rhythm (not too fast and not too slow) and keep it for a few seconds, then change to a new rhythm
Do not change to this phrase at the same time and make a transition where you change between this and the earlier phrase
≈P ≈P Make circular motions with the bow sometimes using the whole bow, sometimes just a part of it. Vary the pitch slightly.
Fingered C with left hand, glissando made with right hand at labium - going from pure noise to pitch.
For perusal only
p (dynamics indications are approximate, synchronize with the dynamics of the recorder)
follow the natural dynamic curve, start soft and play louder and louder
ISSUU Version
For perusal only
Make circular motions with the bow Vary the pitch around B, sometimes with gliss
Fingered C with left hand, glissando made with right hand at labium - going from pure noise to pitch. Sometimes choose another pitch close to B
Loop this phrase, slowly and out of sync with each other body of instrument
vary fingering on left hand ad lib - slowly and without key noises (= covered labium)
ISSUU Version
For perusal only
ISSUU Version
For perusal only
ISSUU Version For perusal only
Jesper Nordin
Jesper Nordin (b. 1971) studied at the Royal College in Stockholm, at IRCAM in Paris with Philippe Leroux and later with Brian Ferneyhough at Stanford University, where he carried out research at the CCRMA Studio. Electronic elements, folk, rock and improvisation inform his music. Conductors Daniel Harding, Kent Nagano, François Xavier Roth, have collaborated with Nordin; the BBC Scottish Symphony Orchestra, Basel Symphony Orchestra, Finnish and Swedish Radio Symphony Orchestras, and Ensemble Orchestral Contemporain have performed his music. Nordin was composer in residence at P2 (classical channel of Swedish Radio), who released the CD Residues (2006). He has also released an iOS app – Gestrument – based on his own composition technique, and used worldwide to create music in genres including Electronica, Techno and Jazz.
Jesper Nordin (*1971) studierte an der Königlichen Musikhochschule in Stockholm, bei Philippe Leroux am IRCAM-Institut in Paris und später bei Brian Ferneyhough an der Stanford University. Dort forschte er auch am CCRMA-Studio für Elektronische Musik. Seine musikalische Sprache ist von elektronischen Elementen geprägt; weitere Einflüsse kommen aus den Bereichen Volksmusik, Rockmusik und Improvisation. Dirigenten wie Daniel Harding, Kent Nagano und François Xavier Roth haben mit ihm zusammengearbeitet; seine Werke wurden vom BBC Scottish Symphony Orchestra, dem Sinfonieorchester Basel, dem Finnischen und Schwedischen Radio-Sinfonieorchester und dem Ensemble Orchestral Contemporain aufgeführt. Jesper Nordin war Composer-inResidence bei P2, dem Klassiksender des Schwedischen Rundfunks, der 2006 sein Album Residues veröffentlichte. Ausgehend von seiner eigenen Arbeitstechnik entwickelte er die inzwischen weltweit genutzte iOS-app “Gestrument”, mit der Komponieren auch in Genres wie Electronica, Techno und Jazz möglich ist.
Photo © F. Sandstroem