BORBOUDAKIS
things happening for double bass player
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MINAS BORBOUDAKIS
things happening
for double bass player
(2021)
EDITION
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for Nikos Tsoukalas & Sophie Lücke
Nora Gomringer: „Wilson Opera Monologue“, aus der Sammlung „When waiting, a woman is funny“, erschienen im Band „achduje“ bei edition spoken script 16, Der gesunde Menschenversand, Luzern, 2015
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PERFORMANCE NOTES
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BOW GLISSANDO ON THE STRING WITH HIGHEST BOW PRESSURE
RHYTHMIC STRUCTURE OF VIBRATO
JAZZY RIGHT HAND TΑPPING ON STRING(S)
NATURAL HARMONICS GILSSANDO ON THE GIVEN STRING OR ON THE STRING OF THE BEGINNING PITCH
a) NORMAL TONE
b) 50% TONE- 50% NOISE/ AIR
c) 100% NOISE/ AIR
THE PLACE WHERE THE SOUND SHOULD BE PRODUCED, IS INDICATED. IF NOT THEN IT SHOULD BE PRODUCED WITH BOW PRESSURE
GLISSANDO OVER FOUR QUARTERS. ONLY THE BEGINNING PITCH IS IMPORTANT
APPROXIMATE PITCH, FOLLOW THE MELODIC LINE WITH RANDOM PITCHES
EXTREMELY HIGH RANDOM HARMONICS
MUTE ALL FOUR STRINGS AND PLACE THE BOW ON THE BRIDGE OR AT THE SIDE OF THE BRIDGE (NOT SUL PONT.!!), AS INDICATED. KEEP BOWING IN ORDER TO PRODUCE A CONTINUOUS "WHITE NOISE".
NOISE CLEF: HIGH, MIDDLE, LOW
(m.)s.t. (MOLTO) SUL TASTO
n.p. NORMAL POSITION
(m.)s.p. MOLTO SUL PONTICELLO- ALWAYS RICH IN HARMONICS dist. DISTORTION- MAINLY A NOISY SOUND WITH A LOW PERCENTAGE OF PITCH
MICROTONES
Æ MOVE GRADUALLY FROM ONE BOW POSITION/ SOUND TO THE NEXT MUTE ALL STRINGS!
b.p. BOW PRESSURE
100 = NOISE
75= PITCH/ NOISE
50= ORDINARIO
25= FLAUTANDO (BOW FLAUTANDO)
VOICE: THERE ARE FOUR TECHIQUES TO PERFORM THE POEM REQUIRED
SPEAK: FOLLOW THE THE BASS LINE WITHIN THE AMBITUS OF YOUR SPEAKING VOICE, BUT WITHOUT SINGING. VOICE AND BASS LINE SHOULD BE MIXTED.
PARLANDO: RHYTHMICAL SPEAKING ON MAINLY ONE LEVEL. MINIMAL MELODIC DIFFERENCE.
SPRECHGESANG: MIXTURE OF SPEAKING AND SINGING. THE DIFFERENCE BETWEEN THE PITCHES IS IMPORTANT. KEEP THE TONAL GESTURES OF THE MOTIVES ALWAYS ON THE SAME PITCHES IF POSSIBLE.
SHOUT: EXPRESSIVE, THEATRICAL SHOUTING, WITHOUT PITCH.
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Minas Borboudakis (*1974) for double bass player based on the poem "Wilson Opera Monologue" by Nora Gomringer
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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