Minas Borboudakis_Askese_EP12973_Score_ISUU Version - For perusal only_Extracts

BORBOUDAKIS

Askese. Salvatores Dei

for SATB Choir and Orchestra

based on the homonymous text by Nikos Kazantzakis

Full Score

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ISUU Version

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MINAS BORBOUDAKIS

Ασκητική (Askese)

Salvatores Dei

based on the homonymous text by Nikos Kazantzakis for SATB Choir and Orchestra (2012/13)

POD PETERS on demand

For perusal only

ISUU Version

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INSTRUMENTS

2 Flutes (2nd doubling Piccolo & Bass Flute)

2 Oboes (2nd doubling Cor Anglais)

2 Clarinets in Bb (2nd doubling Bass Clarinet) 2 Bassons (2nd doubling Double Bassoon)

4 Horns in F

2 Trumpets in Bb (1st doubling Piccolo Trumpet in Bb)

2 Trombones (2nd doubling Bass Trombone)

Timpani

Percussion I:

3 Wood Blocks, Hand Drum (played with a piece of polystyrene), low Log Drum, Crotales, Metal Rod, Gongs, 2 Cymbals (sustained), 1 China Cymbal (sustained), Vibraphone (with player II), low Thunder Sheet, Tam-tam (with player II), Bass Drum, 3 Metal Plates secco (not sustained), Glockenspiel, Geophone

Percussion II:

Piece of Paper, Bass Drum, Hand Drum (played with a piece of polystyrene), Crotales, Tam-tam (with player I), Vibraphone (with player I), Cuica, small Crash Cymbal, Metal Rod

Violin I

Violin II

Viola

Violoncello

Double Bass

Duration: c. 26 minutes

Commissioned by Bayerischer Rundfunk

First performance:

15 November 2013, Paradisi Gloria, Herz-Jesu-Kirche, Munich

Chor & Rundfunkorchester des Bayerischen Rundfunks, conducted by Ulf Schirmer

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SYMBOLS/ EXPLANATIONS

INDIVIDUAL or INDIV: EACH PLAYER SHOULD PLAY INDIVIDUALLY THE GIVEN PATTERN

WAVE VIBRATO: MAKE AN OSCILLATING VIBRATO ON THE GIVEN PITCHES ACCORDING TO THE RHYTHM ABOVE. BRASS CON SORD: PRODUCE THE RHYTHM WITH THE SORDINO

PLAY THE SAME PITCH WITH TWO DIFFERENT FINGERINGS OR STRINGS (BISSBIGLIANDO) ON THE GIVEN RHYTHM

APPROXIMATE PITCH

HIGHEST / LOWEST PITCH

PLAY THE PITCH WITH AIR (50% AIR/ 50 % SOUND)

AIR NOTES: PLAY THE PITCH WITH A LOT OF AIR IN ORDER TO PRODUCE A "WHITE NOISE" SOUND FL: 90% AIR/ 10 % SOUND

OB/ CA/ CLAR/ BSN: 100% AIR. BLOW ON THE KEYS, LIKE CLEANING THE INSTRUMENT

MULTIPHONIC SOUNDS

PLAY THE (ROUND) GIVEN PITCH AND SING THE DIAMOND SHAPED AT THE SAME TIME

WHISTLE TONES

PARTIAL NOTES

COVER THE ENTIRE EMBOUCHURE HOLE WITH YOUR LIPS AND PLAY THE GIVEN PITCHES. ARTICULATE THE VOLCALS WRITTEN ABOVE TO FORM THE AIRY SOUND.

JET WHISTLE: COVER THE ENTIRE EMBOUCHURE HOLE WITH YOUR LIPS AND BLOW STRONGLY. THE PRODUCED AIR AMPLITUDE SHOULD BE APPROXIMATELY LIKE THE LINE ABOVE. THE FINGERED PITCH IS GIVEN (d).

SPEAK INTO THE FLUTE

AIR NOTES: BLOW INTO THE INSTRUMENT (NOT THE KEYS) IN ORDER TO PRODUCE A "WHITE NOISE" SOUND

AIR NOTES: BLOW INTO THE INSTRUMENT (NOT THE KEYS) IN ORDER TO PRODUCE A "WHITE NOISE" SOUND AND PLAY THE GIVEN OR APPROXIMATE PITCHES.

ROLLING NOTES: PLAY THE GIVEN FINGERING (SEE PARTS) WITH STRONG LIP PRESSURE IN ORDER TO PRODUCE A FAST OSCILLATION

AIR NOTES: BLOW INTO THE INSTRUMENT IN ORDER TO PRODUCE A "WHITE NOISE" SOUND. HORNS SCHOULD PLACE THE MOUTHPIECE UPSIDE DOWN ON THE TUBE AND BLOW THEN.

TAP WITH YOUR HAND ON THE MOUTHPIECE

CYMBAL ON TIMPANI: PLACE A LARGE CYMBAL ON THE TIMPANI AND MAKE A TREMOLO ON IT. FOLLOW APPROXIMATELY THE GLISSANDO AMPLITUDE WITH THE PEDAL ON THE GIVEN RHYTHM

Strings Strings Strings Strings Strings Strings Strings Strings Strings Strings Strings Strings Strings Strings Strings

ISUU Version

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PLACE THE SCREW OF THE BOW ON THE GIVEN STRING. PLAY A LEFT HAND PIZZICATO ON THE GIVEN RHYTHM AND SLIDE THE BOW (SCREW) LIGHTLY

CRUNCH BOW: PLACE THE INSTRUMENT ON YOUR KNEES AND THE BOW ON THE BACK OF THE INSTRUMENT. THE BOW SHOULD TOUCH THE BOW HAIR. TURN THE DIRECTION OF THE BOW ON THE HAIR TO PRODUCE A CRUNCHY SOUND.

HOLD ALL FOUR STRINGS MUTED AND PLACE THE BOW ON THE BRIDGE (NOT SUL PONT.!!). KEEP BOWING IN ORDER TO PRODUCE A CONTINUOUS "WHITE NOISE". START AND INTERRUPT THE SOUND RANDOMLY

HOLD ALL FOUR STRINGS MUTED AND PLACE THE BOW ON THE BRIDGE (NOT SUL PONT.!!). KEEP BOWING IN ORDER TO PRODUCE A CONTINUOUS "WHITE NOISE".

HIGHEST FLEGEOLETT

PRODUCE A SCRATCHY TONE BY PRESSING HEAVYLY THE BOW. 100% NOISE

PLACE THE BOW NEXT TO THE FINGER OF YOUR LEFT HAND AND PLAY TONE WITH LIGHT BOW. THE RESULT IS AN AIRY SOUND WITH 50% NOISE 50% TONE

NORMAL TONE | 50% TONE- 50% NOISE- SOUND | 100% NOISE SOUND

HOLD ALL FOUR STRINGS AND PLAY A BARTÓK PIZZ.

GLISSANDO OVER FOUR QUARTERS. ONLY THE BEGINNING PITCH IS IMPORTAND

INDIVIDUALL (EACH PLAYER) RHYTHMICAL IMPROVISATION ON THE GIVEN PITCH (HARMONICS). THE MOVEMENT SHOULD BE VERY SLOW

MAKE A HARD PIZZICATO ALL OVER THE FOUR STRINGS BEHIND THE BRIDGE, WITH A PLASTIC CARD (CREDID CARD) OR A PLECTRUM,

RANDOM FLEGEOLETTS

INDIVIDUALL (EACH PLAYER) RHYTHMICAL IMPROVISATION ON RANDOM FLEGEOLETTS

BOW GLISS. PLACE THE BOW NEXT TO THE GIVEN PITCH (D) AND START BOWING TOWARDS THE BRIDGE (SUL PONT.) AND BACKWARDS. THE LEFT HAND DEPRESSES THE GIVEN PITCH (D) LIGHTLY.

sp. SUL PONTICELLO

st. SUL TASTO

sp. st. MOVE GRADUALLY FROM SUL PONT. TO SUL TASTO

ASKESE SHOULD BE PERFORMED WITHOUT VIBRATO EXEPT THE INDICATED PHRASES/ INSRUMENTS.

BREATHING: IN PASSAGES WITH LONG NOTES, BREATH AD. LIB. BE CAREFULL THAT YOU ENTER INPERCEPTIBLY.

THE SCORE IS WRITTEN IN C. PICCOLO, BASS FLUTE, CROTALES, DOUBLEBASSON & DOUBLE BASS SOUND 8va HIGHER/ LOWER.

For perusal only

based on the homonymous text by Nikos Kazantzakis Minas Borboudakis (*1974)

r fl ≈ ‰‰‰ŒŒ‰

R œ ˘ ≈ ‰‰‰ŒŒ J œ œr fl ≈ ‰‰‰ŒŒ J œ

R œ ˘ ≈ ‰ŒŒŒ‰

R ˘ ≈ ‰ŒŒŒ‰

R œ ˘ ≈ ‰ŒŒŒ fl œ fl œ

‰ŒŒŒ

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 naturwissenschaftlichkosmologischen 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