Minas Borboudakis_Angels_EP14048_Score_ISUU Version - For perusal only_Extracts

BORBOUDAKIS

Angels

A Dance Theatre in Seven Images for Percussion Quartet and Electronics

Score and Parts EP

ISUU Version

For perusal only

ISUU Version

MINAS BORBOUDAKIS

For perusal only

POD PETERS on demand Angels

A Dance Theatre in Seven Images for Percussion Quartet and Electronics (2013/14)

ISUU Version

For perusal only

Dedicated to Pieter Jansen and Raymond Curfs

Commissioned by the Maastricht Academy of Music enabled by the Edmond Hustinx Foundation

First performance:

26 June 2014 at Muziekgieterij / Timmerfabriek, Maastricht (Netherlands)

Diego Yañez Busto, Nestor Morales Vitoria, Tim Verstegen, Jonathan Beyers (Percussion), Jan van Opstal (Director / Choreographer) & Minas Borboudakis (Conductor)

ISUU Version

INSTRUMENTS

For perusal only

Percussion I: snare voice*, 4 midi pads, crotales, bass drum, set of snares, 5 metallic secco objects (not sustained), 7 boobams (tuned hight to low), metallic rod (approx. 30cm), heavy chain (+ metallic surface), tubular bels (with 2nd player)

Percussion II: snare voice*, 4 midi pads, snare drum (played with styropor/ styrofoam), vibraphone, 4 wood blocks, 2 cymbals, 6 rototoms, tubular bels (with 1st player)

Percussion III: snare voice*, 4 midi pads, vibraphone, bass drum, tam tam (with 4th player), china cymbal, 2 cymbals, middle thunder sheet, 4 tom toms, plastic foil

Percussion IV: snare voice*, 4 midi pads, bass drum, Gongs, tam tam (with 3rd player), 1 prepared crotale, sustained metallic spiral, 4 triangels, soprano snare drum (drum ´n bass snare), 2 timpani (lowest, low), high bongo, 5 metallic secco objects (not sustained), plastic foil, china bowls

*snare voice is a sustained snare drum with the snares on.

The player selects and sings one random pitch (each player his/ her own) into the drum in order to make the snares vibrate.

The following membranophone instruments, 7 boobams, 6 rototoms, 4 tom toms and bass drums, should be tuned as one instrument from highest (hight boobam) to lowest (4 bass drums) in order to play the rhythmic structures in the 5th movement as melodic lines.

The 4 bass drums must be equally tuned. It is recommended to use 4 equal (not mixed) very large bass drums.

Duration: c. 60 min.

china bowls gongs pitch prepared crotale

technical requirements

Hardware

6 aktive lautspeakers

4 x 4 percussion midi pads audio interface with min. 6 outputs pc oder mac

Software

For the realisation of Angels is the software sampler Kontakt 5 by Native Instruments requiered. The audio tracks (intermezzi I&II) can be played by any sequenzer (Ableton, Logic) The sampler presets as well as the audio tracks of the project can be hired by Edition Peters or downloaded under www.minasborboudakis.com.

Disposal

The six lautspeakers should surround the stage and audience as shown beside.

presets & tracks

Presets

The presets are already routed in the software sampler Kontakt 5.

Tracks

The tracks for the Intermezzi I&II are produced as mono tracks and should be loaded in your sequenzer in the right output as indicated on the name of the files.

"et dixit illis angelus" [Luke 2:10]

Minas Borboudakis (*1974)

60 sec ≈ pppp - P pppp - P pppp - P snare voice* P o midi pads pppp - P Preset I/ 1

*snare voice: is a sustained snare drum with the snares on. The player selects and sings one random pitch (each player his/ her own) into the drum in order to make the snares vibrate. The text can be repeated ad lib. improvisando improvisando improvisando improvisando

Perc I

ã & & & ã electronics

sim. Øpp o [q= 64]*

[q= 20-25]*

Perc II

[q= 20-25]*

Perc III

arco : A tempo motor: [q= 64]*

pr. crot.***

[q= 20-25]*

Perc IV

96 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ senza misura as slow as possible vibra. vibra. track snares**

w ≤ o (keep bowing) arco Øpp

motor on œœ#n ≤ o

motor on tempo motor: [q= 64]* arco PED. PED. œb

*The main feeling of the 2nd part should be as a free, aetheric song of the crotales. However there should be a main tempo impulse of approx. q =20-25.

At the beginning of the part the vibrato (motor rhythm, written over the staves) of the vibraphones as well as the pattern of the 1st perc. should be synchronized (q =64) with the oscillation of the track. The main tempo of the rest players remains q=20-25 !!!!

** scratch lightly a separated set of snares on the rim of a snare drum.

***stick a 1 or 2 cent coin on the crotales and play arco on it in order to produce a fine buzz noise while bowing. Hold the crotale with your hand in the center.

*hold the pedal down and move the motor wheel by hand in different tempi like an irregular oscillation ã o metalic st.

"I saw the angel in the marble and carved until I set him free" [Michelangelo]

III Perc II

Perc IV Perc I 354 ≠ ∑ ∑ ∑ ∑ ∑ –∑ q = 112 midi pads midi pads

1

midi pads

timp. super ball

pads

wooden sticks ord.

5 metalic secco objects

metalic st.

[random order of notes]

5 metalic secco objects

[random order of notes]

ISUU Version

For perusal only

ISUU Version

For perusal only

ISUU Version For perusal only

Minas Borboudakis

Minas Borboudakis (b. 1974) studied composition and piano in Munich and Hamburg. He attended masterclasses with Luciano Berio, George Crumb, Wolfgang Rihm, Rudolf Kehrer and Aleksey Nasedkin, and regularly appears as a pianist all over Europe, performing his own music and other repertoire of the 20th and 21st centuries. His style is characterized by microtonality, percussive timbres and glissando sounds, and explores the inspiration he derives from ideas of time and space as well as from a close study of classical philosophy, literature and mythology. His work also reflects a contemplation of scientific and cosmological questions. With its strong rhythmic momentum, his music incorporates archaic tonal systems and ancient Greek rhythmic patterns, as well as experimental electronic sounds. These, in turn, have an immediate impact on the treatment of the acoustic material, resulting in an interweaving of the two.

Minas Borboudakis (*1974) studierte in München und Hamburg Komposition und Klavier. Er besuchte Meisterklassen bei Luciano Berio, George Crumb, Wolfgang Rihm, Rudolf Kehrer und Aleksej Nasedkin und konzertiert europaweit als Pianist sowohl mit eigenen als auch mit anderen Werken des 20. und 21. Jahrhunderts. Zentrale Momente seiner von Mikrotonalität, perkussiven Timbres und glissandierenden Klängen durchzogenen Kompositionen sind die Beschäftigung mit Zeit und Raum und die Auseinandersetzung mit antiker Philosophie, Literatur und Mythologie sowie mit naturwissenschaftlich-kosmologischen Fragen. Die Einbeziehung antiker Tonsystem und altgriechischer rhythmischer Muster prägen seine einem starken rhythmischen Impuls unterworfene Musik ebenso wie das Experimentieren mit elektronischen Klängen, ihr unmittelbarer Einfluss auf die Gestaltung des akustischen Materials und die Verschmelzung der beiden klanglichen Ebenen.

Photo © Marianna Karali