SAUNDERS
ISSUU Version
For perusal only
REBECCA SAUNDERS
crimson
EDITION PETERS
ALLE RECHTE VORBEHALTEN · ALL RIGHTS RESERVED
LEIPZIG · LONDON · NEW YORK
POD PETERS on demand
ISSUU Version
For perusal only
Explanatory Notes
Grand piano with 3rd pedal/sostenuto pedal. Open piano lid fully, but do not remove. Remove music stand and place further back on the frame, or use the top section of a heavy music stand. Requires a metal piece to glissando the strings (e.g not too heavy coin). I suggest using stickers to mark the tones inside the piano.
Silently depress keys.
3rd pedal. Sustaining pedal. una corda Soft pedal.
Pedal-action attack sff. Stamp foot down. Gives big pool of resonance.
Pedal-action release sf. Foot suddenly releases pedal with a sidewards motion.
A chromatic cluster, outer tones inclusive.
White-note cluster. Black-note cluster.
Thick clusters (black-only, white-only, and chromatic respectively) in given range, exact tones not important, as many as possible. Played with palms or with whole forearm.
Thick chromatic cluster glissandi between given limits.
Elbow hits first tone. Glissando, holding down all tones with forearm and extended palm.
Thick chromatic cluster, as big as possible. Top note given, lowest tones unspecified.
On strings inside piano, with palm or metal.
If frame of piano is in the way, choose a different cluster as nearby as possible.
Very fast glissando inside the piano with metal.
Slam piano lid shut. If lid hits piano keys and this cannot be changed, alternatively slam lid open.
Play on wood, slap with palm at position 1., 2., or 3.: Main position is 1. Explore using 2. and 3. for timbral variation.
Position 3.: LH under the keys at lower end of piano.
Additional notes:
Part one
Bring out the upper and lower melodic lines. Expressive!
Use the sustaining pedal throughout to achieve a legato effect between the clusters, except where additional pedal markings are given.
sim.
Resume ordinary legato pedaling.
* b.56 and b. 111: pedal change a little later to catch low LH resonance.
The upper chords, either before or after the beat, are always tied into the clusters with the pedal.
Part two
Bring out extreme timbral and dynamic contrast at all times.
The pauses in the 2nd part are ideal durations which may need to be extended minimally for 3rd-pedal preparation.
Duration: ca. 21 minutes.
RS
ISSUU Version For perusal only
Rebecca Saunders
Rebecca Saunders (b. 1967) studied with Wolfgang Rihm at the Musikhochschule in Karlsruhe, Germany, and for a doctorate in composition with Nigel Osborne at Edinburgh University. She lives in Berlin. Saunders’ numerous composition prizes include three Royal Philharmonic Society Music Awards, two BASCA British Composer Awards and the 2019 Ernst von Siemens Music Prize. Her works have been performed at festivals including the Huddersfield Festival, the Berlin Biennale and the Darmstadt International Summer Course. In 2009 she became a member of the Berlin Academy of Arts. Saunders’ works include chroma, for chamber groups distributed throughout the performance space, albescere, written for Ensemble Modern and the Neue Vocalsolisten Stuttgart, and a double concerto for trumpet, percussion and orchestra.
Rebecca Saunders (*1967) studierte Komposition bei Wolfgang Rihm an der Musikhochschule Karlsruhe und promovierte an der Edinburgh University bei Nigel Osborne. Sie lebt in Berlin. Saunders wurde für ihr Schaffen vielfach ausgezeichnet, u. a. mit drei Royal Philharmonic Society Music Awards, zwei BASCA British Composer Awards sowie mit dem Ernst von Siemens Musikpreis 2019. Ihre Werke erklangen bei zahlreichen Festivals, wie dem Huddersfield Festival, der Berliner Biennale und den Darmstädter Ferienkursen für Neue Musik. 2009 wurde sie zum Mitglied der Berliner Akademie der Künste ernannt. Zu ihren Werken zählen chroma für im Raum verteilte Kammergruppen, albescere (entstanden für das Ensemble Modern und die Neuen Vocalsolisten Stuttgart) sowie ein Doppelkonzert für Trompete, Schlagzeug und Orchester.
Photo © Astrid Ackermann