Tan Dun
ORCHESTRAL THEATRE II: RE
for two orchestras, bass voice and audience with two conductors
Full Score
G. Schirmer, Inc. New York, NY
Tan Dun
ORCHESTRAL THEATRE II: RE
for two orchestras, bass voice and audience with two conductors
Commissioned by Suntory Limited for the Suntory International Program for Music Composition in 1993 first performance July 1, 1993 by the Tokyo Symphony Orchestra conducted by Hiroyuki Iwaki and Tan Dun
G. Schirmer, Inc. New York, NY
to Toru Takemitsu
ii
Instrumentation: Orchestra II: Conducted by conductor II, on the podium facing the audience. 1 Bass voice 3 Piccolos 2 Oboes 1 English horn 2 Clarinets in B b 1 Bass clarinet 2 Bassoons 4 Horns in F 3 Trumpets in D 3 Trombones 1 Tuba Orchestra I: Conducted by conductor I, on the podium facing the orchestra. Percussion (4 players)
Player 1: Water-gong (8� - 12�) Water-triangle, 1 bottle for making bubbling sounds (prepare a big container of water on a stand for the above) Flexatone 2 Cowbells 1 Suspended cymbal 1 pair of stones
Player 2: 4 Timpani, with opening tuning
Player 3: Tamtam Crash cymbals 2 bongos 1 pair of stones 1 triangle (small, high pitch)
Player 4: Flexatone Bass drum Tubular chimes Slapstick
Piano Harp Strings (contrabass with 5 strings) 2 Conductors
duration: 22 minutes
iii
ORCHESTRAL THEATRE II: RE Performance Positions
Percussion 4
Percussion 3
Percussion 1
Percussion 2 Brass
Strings Bass vocalist
Conductor I
Conductor II
(on podium)
(on podium)
(Stage)
Oboe II
Oboe I
Clarinet II
Clarinet I
(Audience)
Bass clarinet
English horn
Bassoon I
Bassoon II Piccolo III
Piccolo II
iv
Piccolo I
ORCHESTRAL THEATRE II: RE Notes for Performance
BOTH CONDUCTORS 1]
In general, Conductor I will cue the on-stage musicians, and Conductor II will cue the musicians in the house and audience. The two conductors should be positioned as follows in order to see each other and to match tempi. (facing stage)
Conductor II
Conductor I
(facing audience)
2]
Instruments in the orchestral score appear in an untraditional order to reflect the spatial format of the divided orchestra, in which the winds form a circle around the concert hall.
3]
Dynamic notation during rests should be conducted with full feeling and intensity, bringing a dramatic sense to the audience.
4]
S
Singing or speaking (voiced).
5]
6]
7]
8]
Whispering/vocalizing (unvoiced).
1 ,
2 ,
3 , etc. Order of cueing musicians during sections A to F .
Conductor should raise left arm to cue audience to prepare to vocalize.
There are two places in which the audience is required to perform with the orchestra. Conductor I or II should rehearse the audience for several minutes for Section A (humming) and Section N (chanting); the conductor should be sure that the audience understands the cue sign. This rehearsal must be done immediately before the performance of the piece. The conductor must then leave the stage for one minute, and reenter as usual, creating a gap between rehearsal and performance. Instructions will also be printed in the program to assist the audience.
v
ALL PERFORMERS 1]
All orchestra members will vocalize. Vocalization is in the form of syllable-sounds with no fixed meaning (pronounced as in English).
2]
[ ] contain instructions for players’ voices, such as; [whispering] [humming] [chanting]
very high register high register middle register low register very low register
3]
Shaking sound following the ascending or descending shape of the line.
4]
5]
Indeterminate pitch clef, for playing and vocalizing; each player/voice should select his/her pitches independently.
,
, etc.
Very short glissando with no specific opening pitch, both into and out of a note, performed like grace notes.
6]
Turn the page forward (to left) with loud noise.
7]
Turn the page backward (to right) with loud noise.
BASS VOICE
1]
very high register high register middle register low register very low register
Indeterminate pitch clef, pitches to be determined by singer.
2]
Whispering/vocalizing (unvoiced).
3]
To be more spoken than sung (Sprechstimme).
vi
WINDS 1]
The winds will be located in the audience area as follows:
Stage Oboe II
Oboe I Clarinet I
Clarinet II English horn
(Audience)
Bassoon I
Bassoon II Piccolo III
Piccolo II
2]
All winds will stand to play, with stand lighting or house lighting.
3]
Because of standing position, all wind players need a neck-strap to hold their instrument.
4]
All reed instrument players should prepare a spare reed to be played by itself.
5]
6]
7]
Bass clarinet
Played on reed or head-joint only.
Notation of singing pitches is not transposed, and will often be different from playing pitches, which are transposed (for example clarinets and english horn).
Whispering/vocalizing (unvoiced).
vii
Piccolo I
BRASS
1]
Remove mouthpiece from instrument and play separately, or on an extra mouthpiece.
2]
Clap mouthpiece with palm while holding the mouthpiece in the instrument.
3]
Play as fast as possible and as many notes as possible.
4]
Notation of singing pitches is not transposed, and will often be different from playing pitches, which are transposed (for example french horns and trumpets).
5]
Whispering/vocalizing (unvoiced).
PIANO These pitches should be marked to be played inside piano.
Using arms to play as many keys,black and white as possible.
STRINGS 1]
,
,
,
Played behind the bridge.
2]
Bartok pizzicato.
3]
Press the bow on the strings with intensity to make a growling sound.
viii
ORCHESTRAL THEATRE II: RE (Cond. by Conductor II) (Facing the audience)
A
Tan Dun (1’35” — 2’)
Orchestra on stage
15
(8”)
(*) Bass Vocalist
2
hong mi la ga yi go
[humming]
(fade out)
3
Bass Vocalist
Cond. II m
(hong, mi, la, ga, yi, go)
[humming]
4 [humming]
Ob. 1 m
13 Ob. 2 m
[humming]
(Co
nd.
1)
5 Cl. 1
[humming]
m
12 Cl. 2 m
(playing)
1 Bs. Cl. [humming] (fade in)
14 Audience [humming]
m
11 E. H. [humming]
m
6 Bn. 1 [humming]
m
10 [humming]
Bn. 2 m
[humming]
9
8
7
Picc. 3
Picc. 2
Picc. 1
m
B
[humming]
m
(*) At cue 15 the conductor is to fade out all players except the Bass. The Bass is to continue for about 8 seconds.
m
(Cond. by Conductor II) = 60
3
(*) Bass Vocalist (8”)
3
[hongmilagayigo] During this bar, Cond. I should turn slowly and face the stage.
C
(*) After about eight seconds conductor I should begin section C. Bass fades out at cue 4 of section C.
(fade in) [humming]
(Conductor I: cues 1, 2, 3, 4, 7 and 8) (Conductor II: cues 5 and 6)
1
Brass Perc. Piano m
[humming] Vn. I Vn. II
2
[humming]
3
= 60 m
6
Vla. Vc. Cb. m
S Cond. I Greatest sound can be hear d only.
(Bass vocalist fades out) = 60 In silence
len ce
[whispering]
= 60
7
si
4 Cond. II
(10”)
Mountains bir ds
Bass Vocalist Hong
Si
’ Paths [whispering]
5 (3")
Winds Gone
All Performers
corr. 11/93
flying none [whispering]
len s
(Orchestral voices stop here)
8
[whispering]
S
Copyright © 1993 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.
and tra ces
Gone
G
3
= 56
become more and more improvisatory Ob. 1 cresc. poco a poco become more and more improvisatory Cl. 1 in B cresc. poco a poco become more and more improvisatory Bs. Cl. in B become more and more improvisatory
cresc. poco a poco
become more and more improvisatory
cresc. poco a poco
Bn. 1
Picc. 1 cresc. poco a poco become more and more improvisatory Picc. 2 cresc. poco a poco become more and more improvisatory Picc. 3 cresc. poco a poco
become more and more improvisatory Bn. 2
cresc. poco a poco
become more and more improvisatory E. H.
cresc. poco a poco become more and more improvisatory Cl. 2 in B cresc. poco a poco become more and more improvisatory Ob. 2 cresc. poco a poco
Bass Vocalist
G
a2, mouthpiece
= 56
1 3
gliss.
Hn. in F
sub. a2, mouthpiece 2 4
gliss. sub. a2, mouthpiece
1 2
gliss.
Tpt. in D
sub. mouthpiece 3
gliss. sub. 1.
Tbn. 12 Bs. Tbn. Bs.Tbn. Tuba
Pno.
Hp.
G
= 56 (Flex.), becoming more and more improvisatory
1 cresc. poco a poco
2 Perc. 3 (Flex.), becoming more and more improvisatory 4 cresc. poco a poco sul D
(playing)
gliss.
I Vn.
(playing)
sul D .
gliss
II
gliss.
(playing) Va. sul C Vc.
Cb.
gliss.
gliss.
13
I ( = 60)
38 Ob. 1
Cl. 1 in B
Bs. Cl. in B
Bn. 1
Picc. 1
Picc. 2
Picc. 3
Bn. 2
E. H.
Cl. 2 in B
Ob. 2
Bass Vocalist yi
go
hong
I ( = 60) 1 3 Hn. in F 2 4
1 2 Tpt. in D 3
Tbn. 12
Bs.Tbn. Tuba
pizz. inside piano
Pno.
Hp.
I ( = 60) 1
2 Perc. 3
4
I Vn. II
Va. richochet solo Vc. (div.) Cb.
30 113 Ob. 1
Cl. 1 in B
Bs. Cl. in B
Bn. 1
Picc. 1
Picc. 2
Picc. 3
Bn. 2
E. H.
Cl. 2 in B
Ob. 2
Bass Vocalist
Aud.
Cond. II
a2 1 3 Hn. in F
a2 2 4 a2 1 2
Tpt. in D 3
Tbn. 12 Bs.Tbn. Tuba
Pno.
8ba
Hp.
(Flex.) 1 3
5
3
2 Perc. Tam-tam 3 (Flex.) 4
I Vn. II
Va. non div. Vc. non div. Cb.
31 116 Ob. 1
Cl. 1 in B
Bs. Cl. in B
Bn. 1
Picc. 1
Picc. 2
Picc. 3
Bn. 2
E. H.
Cl. 2 in B
Ob. 2
Bass Vocalist
Aud.
Cond. II
a2 1 3 Hn. in F
a2 2 4
a2 1 2 Tpt. in D 3
a2 a2 Tbn. 12 a2 a2 Bs.Tbn. Tuba
Pno.
8ba
8ba
Hp.
(Flex.) 1 5
2 Perc. (T.-t.) 3 (Flex.) 4
I Vn. II
Va.
Vc.
Cb.
3
3
5