SAUNDERS
fury for Double Bass solo
ISSUU Version
For perusal only
ISSUU Version For perusal
REBECCA SAUNDERS
for Double Bass solo fury
POD PETERS on demand
Explanatory Notes
ISSUU Version
For perusal only
For double bass with five strings. For scordatura tuning please see bar 1.
s.t. Sul tasto.
s.p. Sul pont.:a. at pp/ppp, hear overtones - written tone inaudible; b. p - f distortion and noise content grow; c. at ff complete “noise“.
½-s.p. SP-colouring, but at all dynamics written tone remains audible and noise/overtone content is heard but not dominant.
Microtonal adjustment always by a quarter-tone - a timbral and expressive function which need not be exact.
–, Bow stop onto next beat.
s.p. st. Gradual and constant change of timbre. flaut Flautando – very fast and light bow stroke.
Let the open strings ring. , ,
Crescendo from silence, or decrescendo to silence.
A wide and clearly rhythmic vibrato at sul pont. Hear rhythmically moving overtones.
Vibrato pulse at start of note, like an expressive accent, then subito non vibrato.
”Noise” attack, marcato extreme accent, deep in the string, and then subito ordinary, unless otherwise indicated.
Double stops: on long notes bring out interference beats between the two tones by controlling speed of bow and allowing open string to ring.
Glissando to highest pitch on given string.
glissando from highest possible tones on given strings.
Vertical motion back and forwards between fingerboard and bridge – complete distortion.
viol. batt. Battuto violently, sff (crini) on the fingerboard and hear wood of bow hit fingerboard. Sempre secco.
Left hand ”release“ pizzicato of all open strings as fast as possible.
Barrée glissando to top of strings bringing out distortion and overtones.
Natural harmonic at sounding pitch on given string.
A clear break.
ISSUU Version
For perusal only
Very heavy bow. Play like a harmonic at non-harmonic node around the area of the 4th – 8th harmonic. Avoid “proper” overtones and seek double layers of overtones. Distortion and sul pont. timbre for very loud and complex noise component.
General
Tempi
Duration
RS
Left hand or right hand slap on given strings. Loud and percussive. +
This is a melody! The quarter-tones have a timbral and expressive function and need not be microtonally exact. Imagine the quarter-tones make up a reduced melodic line. Within this very reduced palette of sounds, the extremes of articulation are very important - absolute contrast of timbre, attack and intent. Take every opportunity to explore soft, expressive and warm sounds. Change bows freely and often on long notes. Many bowing are given, but adapt and change as necessary. Silence is the canvas - despite choleric nature of sound material, all sounds surface out of and disappear into silence.
At “slower” take your time to draw out expressive and melodic moments. Sudden contemplation. Absolute contrast to the driven and passionate music.
ca. 6 minutes.
ISSUU Version
For perusal only
ISSUU Version
For perusal only
ISSUU Version For perusal only
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 Huddersfeld 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; void, a concerto for percussion duo and orchestra; and Yes, a spatial performance for soprano, 19 soloists and conductor.
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 Huddersfeld 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 räumlich verteilte Kammergruppen, ein Konzert für Schlagzeugduo und Orchester mit dem Titel void sowie die Raumperformance Yes für Sopran, 19 Solisten und Dirigent.
Photo © Astrid Ackermann