SAUNDERS
to an utterance
for Piano and Orchestra
Full Score
ISSUU Version
REBECCA SAUNDERS
to an utterance
for Piano and Orchestra
Full Score
PRINTED AND DISTRIBUTED BY FABER MUSIC
LEIP ZI G · L ONDO N · NE W YOR K
ISSUU Version For perusal only
With my thanks to Nicolas Hodges and Enno Poppe
utterance
/ˈʌt(ə)r(ə)ns/ n.
something uttered, a spoken word, murmured, disclosed, a statement, or vocal sound; an act of uttering; vocal expression; the manner and power of speaking; logic, philosophy: an element of spoken language linguistics: a speech sequence consisting of one or more words and preceded and followed by silence; ME C1400; OF C13, oultrance, from oultrer, to carry to excess, to pass beyond; L.: ultrā beyond
to an utterance: archaic + literary: the bitter end, the utmost, or last, extremity – to the brink of, at the precipice
”The word connects the visible trace with the invisible thing, the absent thing, the thing that is desired or feared, like a frail emergency bridge flung over an abyss.“
Exactitude, from Six Memos for the Next Millennium, Italo Calvino.
The solo piano within this concerto was conceived as a disembodied voice. It seeks to tell its own story in endless variations, wavering, almost painful and inevitably unsustainable on an uncertain quest. It seeks its final silence through its own excess of speaking: an incessant, compulsive soliloquy. A musical protagonist being, on the precipice of non-being, among shadowy presences caught in limbo. As an image unfolds during the monologue, as it traces and seeks, it blurs, defies meaning, to finally lapse at the precipice of materialising. June 2020, RS
Commissioned by Roche as part of ROCHE COMMISSIONS for LUCERNE FESTIVAL. World premiere in Lucerne on September 4th 2021 by the Orchestra of the LUCERNE FESTIVAL ACADEMY conducted by Sylvain Cambreling with Nicolas Hodges, soloist, as part of LUCERNE FESTIVAL Summer 2021.
ISSUU Version For perusal only
Instrumentation
3 Flutes 2. and 3. doubling Piccolo
3 Oboes
3 Clarinets in Bb 2. doubling Bass Clarinet, 3. doubling Bass Clarinet and Contrabass Clarinet
2 Bassoons Contrabassoon
4 Horns in F Brass on podium behind winds.
4 Trumpets in C
3 Tenor Trombones F and Bb valves
Basstuba (Eb-foot)
Percussion (4 parts for 4–8 players) In a line and raised behind brass from far left to far right.
Piano Orchestra grand piano, accordion and harp together behind Violin 1 near edge of stage.
Button accordion Within curve of the piano on a small platform.
Harp Nearest to edge of stage.
Solo Piano
12 Violins I
12 Violins II
10 Violas
8 Violoncellos
8 Double Basses Players 1.–4.: 5-string scordatura prepared and de-tuned to G. Players 5.–8.: 4-string with extension to C.
General
Tempi given are only guidlines, much depending on the soloist, the acoustic and the size of the concert space. Pauses and resonances can be much longer. Tempo and fermatas depend on acoustic and interpetation. The given tempo markings are approximate. Pauses and fermatas are only guidelines – expand them more if you need!
The concerto oscilates between two states.
The fast sections are like a dancing fury – bring out extreme dynamic and timbral contrast at all times, and please note sudden contrast between Tempo I and more delicate Tempo II; the slower passages are always spacious, static and expressive – allow the solo piano resonances and expansive orchestra gestures to take shape before moving on.
Duration
Circa 28 minutes.
The score is in C
Conductor note for the score
This notation refers to the cluster notation for the harp, orchestral piano, solo piano and strings in the score:
A chromatic cluster, outer tones included.
Natural-note cluster or sharp/flat-note cluster.
Explanatory Notes – Piano Solo Clusters
Experiment with the position of the hand for some clusters, e.g. a white-note cluster can be played sidewards with the length of the hand, or a larger cluster can be spread between two hands.
A chromatic cluster, outer tones included.
Natural-note cluster or sharp/flat-note cluster.
White or black note cluster, or thick chromatic cluster with whole forearm as a single attack.
White note or chromatic cluster chord played with palm (circa major 7th).
Alternatively, both arm and palm clusters can be played with two hands for greater precision, particularly in the slower passages.
Secondly, if both the upper and lower notes are given and the soloist has a larger or smaller stretch than the given cluster interval, then always keep the upper note (the “melodic” pitch) adjusting the size of the cluster beneath it accordingly. The physical gesture should not be compromised, keeping its power and intention. The extended lyrical line threaded through the composition thus remains clear.
Glissandi
Always non-diminuendo, and as clear and continuous as possible. The starting note shows the “melodic” attack. For the purpose of clarity, natural, flat/sharp signs or chromatic are also notated.
a)Black key glissando.
b)White key glissando.
c)Chromatic glissando. A minor second glissando unless i) an interval is notated, or ii) a thicker line shows a larger interval – choose according to context, speed and angle of hand.
Width of glissing interval changes during the glissando.
A chromatic palm roll from side of hand to full palm holding down keys, or alternatively a roll from base of hand to full palm. A forceful, heavy and fast gesture.
Other
ISSUU Version For perusal only
˙ n f Throughout the piece mix the alternating white and black clusters and glissandi to make a single fused block of sounds. As shown in this example, neither white nor black notes should dominate the final sonic image.
Silently depress keys. Sustaining pedal. 3rd pedal.
This triplet material is sempre legato – keep the triplets “wide” and if necessary use pedal at times to keep legato quality and ensure strong contrast to the staccato material.
General
For grand piano with sostenuto (third) pedal. Open piano-lid fully.
The soloist will need to wear soft fingerless gloves throughout!
Throughout the piece the tenuto markings and accents show the leading melodic line – Explore this further – Expressive!
Although it may not always be technically possible to trace this line exactly, keep it in mind and allow this to determine the interpretation, phrasing and line.
Tempo and fermatas depend on acoustic and interpretation. The given tempo markings are approximate. Pauses and fermatas are only guidelines – expand them more if you need!
The fast sections are like a dancing fury – bring out extreme dynamic and timbral contrast at all times. Please note the sudden contrast between Tempo I and the more delicate Tempo II
The slower passages are static and expressive – allow the piano’s resonance to take shape before moving on.
Minimum pedal markings are given – in addition use it sparingly at your discretion.
Explanatory Notes – Orchestra
Flutes
Fluttertongue
Raise or lower by a ¼-tone. Pitch not exact – an expressive and timbral function.
Glissando
Crescendo from, and diminuendo to, nothing.
vib Vibrato only if marked.
sf / sff Always very hard accents.
The four following effects use similar techniques and have very hard loud noise-based accents: Overblow on lower fingering, aiming for highest overtones – noise!
Oboes
Glissando down overtone spectrum from given tone – noise! With and without fluttertongue.
Glissando up, or down, from highest overtone possible, from, or to, to written lower tone –noise! With and without fluttertongue.
Jet whistle up and down, changing fingering midway – air and noise!
Glissando
Bisbigliando: same-note trill – 2 notes of strong timbral contrast. Fast expressive trill, not in 16th-notes.
Horns
Fluttertongue
F–horn [13] ¼-tone. Fingering and horn given, e.g. bar 239.
+ Stopped
o Open
½+ ½-stopped
Trumpets
Mutes: Trumpets 1–3 – Wawa and Harmon*. Trumpet 4 –Wawa
Wawa: Use Wawa mute that can be removed noiselessly and quickly from the bell.
* Harmon: use Wawa mute and extend stem out ¾ for harmon timbre.
Gradually from closed to open and back again.
Trill hand or finger/s very fast – open/close – in front of wawa mute.
Glissando down the partials to lowest partial possible – explosive and rough.
Fluttertongue
[023]
Raise or lower by a ¼-tone or ½-tone with given fingering. Use for ½ or ¼-tone glissandi. To glissando down extend 1st or 3rd valve. Prepare valve to then glissando back up.
Fluttertongue. If high and quiet additional lower tones may enter, this is fine.
Bisbigliando: same-note trill – 2 notes of strong timbral contrast, fast and fluid.
Bisbigliando in regular rhythm.
Raise or lower by a ¼-tone. Pitch not exact – an expressive and timbral function.
vib Vibrato only if marked.
Molto vibrato, wide, wild and expressive.
Crescendo from, and diminuendo to, nothing. Use partial “air” timbre to facilitate if necessary.
Glissando
Raise or lower by a ¼-tone. Pitch not exact – an expressive and timbral function.
Bisbigliando: same-note trill – 2 notes of strong timbral contrast. Fast expressive trill, not in 16th-notes.
With expressive vibrato.
espr
Bar 481 – Choose fingering for a complex stable loud multiphonic, with given bass tones sounding.
Trombones
Mute: Wawa. Use Wawa mute that can be removed noiselessly and quickly from the bell.
Gradually from closed to open and back again.
Trill hand or finger/s very fast – open/close – in front of wawa mute.
Wawa hand trill in regular rhythm.
Glissando
Fluttertongue
Raise or lower by a ¼-tone. Pitch not exact – an expressive and timbral function.
Basstuba with Eb-foot (alternative F-foot) Mute is required.
Clarinets
Bassoons
Percussion
Instrument list
Percussion 1
TT
Large Paiste Tamtam, 130–140cm
BD Large bass drum
Coils 2 old metal car coils, hung
WB 3 Woodblocks
Toms 3 Tomtoms
ChCS / ChCL 2 Chinese cymbals, small (high) and large (low)
Ratchet High wooden ratchet
Percussion 2
Timp Timpani 30–32"
Guiro
Coils
Large long guiro
2 old metal car coils on a Side Drum
Nico Large bass Nicophone* on Timpani
Ratchet Medium wooden ratchet
Crot Crotales –
BP 4 Bell plates –
ISSUU Version For perusal
Percussion 3
BD Large bass drum
ChCS / ChCM 2 Chinese cymbals, small (high) and medium
Ratchet 2 wooden ratchets, high and large (low)
Toms 3 Tomtoms
Guiro Large long guiro
Spr Drum Medium spring drum
WB 3 Woodblocks
Percussion 4
Rins
Klangschalen/Prayer bowls – on Timpani 30-32"
BP 4 Bell plates –
Guiro
Coils
Large long guiro
2 old metal car coils on a Side Drum
Nico Large bass nicophone* on Timpani
Ratchet 2 wooden ratchets, medium and large (low)
WB 3 Woodblocks
ChCM Medium chinese cymbal
Bongos 2 Bongos, high and medium
LR Large and very low lion’s roar
Spr Drum High spring drum
*Nicophone is available for purchase/hire via from lunason.com or for hire from the composer via info@littlebit.eu.
Notes on each instrument
BD Percussion 1 and Percussion 2 – Bass Drum, very large natural skin, double-sided , plus chain
Just off-centre for full resonance.
edge Trill lightly on skin very close to rim – high overtones!
Gradually move from edge to centre of skin.
Play at wooden rim. To protect wooden rim fix a thick long bamboo stick ca. 50cm, diameter 10cm, diagonally at Bass Drum rim.
Contact points on stick: a tip b mid-point. When sf / sff play at b
b a move from middle of stick to tip while playing.
Continuous trill. Move suddenly to bass drum centre at crescendo. Damp immediately.
+chainPlace very light sizzle-chain on skin of drum – hear high trilling surface of sound with low resonance of drum. At f becomes distorted.
Small superball beater dragged over skin of drum – seek high tone, “melody”.
Large (ord.) superball beater dragged over skin of drum – for dark low fluctuating resonance when p, and distorted when f
Other beaters:
Very large thick fluffy beaters.
Ordinary bass drum beaters.
Hard felt
Extra thick snare sticks to avoid damage to drum skin at f / ff. Ossia at ff – large roundheaded wooden beaters, at pp – thin snare sticks.
Large round-headed wooden beaters.
Bongos Percussion 4 – 2 Bongos, high and medium
BP Percussion 2 4 Bell plates –
Percussion 4 4 Bell plates –
Please note, lowest four plates are bass octave.
2 points of contact: Top-¼ for high spectrum splash. Low centre for bass tone centre-low.
Damp in exact rhythm.
½-damp to achieve new quieter dynamic.
Beaters:
Bell plate beaters, large and soft.
Hard square wooden hammers (eg Kolberg 843H) or hard metal bellplate beaters (*ossia: with thin strip of thin leather).
Small bronze beaters, e.g. 817 from Kolberg or bronze crotale beater
ChC Percussion 1 – 2 Chinese cymbals, small (high) and large (low).
Percussion 3 – 2 Chinese cymbals, small (high) and medium.
Percussion 4 – Medium chinese cymbal.
All with big spectral resonance and fixed on stand.
Hard felt
Medium felt
Soft felt
arcoBowed
P Hard plastic
Wirebrush
Coils Percussion 1 – 2 old metal car coils, hung, for high partials and long resonances.
Percussion 2 and Percussion 4 – 2 old metal car coils on a side drum for maximum complex long resonances.
On very small pieces of black expanded black sponge-rubber (or dense polysterene) and secured with thin plastic wire. You will need a side drum for each coil.
Medium felt
P Hard plastic
M Metal
Thin light triangle stick
Crotales. Percussion 2 , mounted.
Beaters
P Hard plastic
Guiro Percussion 2 and Percussion 3 – Large (loud) long hard-wood guiro, preferably flat/open form, fixed on stand.
LR Percussion 4 – Large and very low Lion´s Roar
Nico Percussion 2 and Percussion 4 – Large/low bass Nicophone*. For maximum resonance laid diagonally on Timpani (see above) across two edges on small pieces of black expanded spongerubber or compressed polystyrene. Top surface has rills for the glissando: Guiro effect.
Cut resonance of glissando dead.
Slow gentle glissando over rills.
The two large slats on the side have two central tones.
Beaters
M Kolberg heavy triangle stick (metal centre).
Medium gong beaters or leather covered tubular bell beaters.
P Hard plastic
Small bronze beaters
Thin light triangle stick.
*Nicophone is available for purchase/hire via from lunason.com or for hire from the composer via info@littlebit.eu.*
Ratchet Percussion 1 – High ratchet
Percussion 2 – Medium ratchet
Percussion 3 – 2 ratchets, high and large (low)
Percussion 4 – 2 ratchets, medium and large (low)
All wooden, fixed on stand.
Rins Percussion 4 – Klangschalen/Prayer bowls,
Beaters
On skin of large Timpani 30-32", detuned at pegs by a 4th for maximum resonance.
Medium felt or prayer bowl beater, Hard beater
Spr Drum Percussion 3 – medium spring drum, Percussion 4 – high spring drum
Timp Percussion 2 – Timpani 30–32", scordatura pegs ca. third to a fourth down. Pedal alters pitch up to about an octave.
Use pedals to glissando between highest and lowest sound (circa 1 octave). No pitches given.
Can Large (empty) 500g coffee can or similar metal vessel with thin chain inside – gives ferocious roar and distortion with superball beaters dragged on skin.
Ossia: no Can and only a very light sizzle chain on timpani skin.
Drag 2 superball beaters over timpani skin, continuous. At p / pp dark low resonance, at f montrous noise and distortion.
Subito damp with hand inside the can.
· At edge of timpani on taut skin between the wooden hoop beneath the skin and the timpani rim. Very high trill without timpani resonance.
edge On skin nearly over the wooden frame at edge. High trill with timpani resonance.
Beaters
Near centre.
Large-headed superball
Rubber handles of Kolberg triangle beaters
Ordinary timpani beaters.
P 2 hard plastic, e.g. glockenspiel, or hard rubber beaters.
ISSUU Version
Toms Percussion 1 and Percussion 3 – 3 Tomtoms, high, medium, low
Beaters
Medium felt
Extra thick snare sticks
Small round wooden beaters.
TT Percussion 1 – Large tamtam ca. 130–140cm diameter.
Contact points:
For perusal only
‚ centre „ main large smooth zone ‰ outer-ridged zone  side/edge
Thin metal stick single stroke across whole width of tamtam.
Small superball beater dragged over surface of tamtam – seek high melodic tones.
Large (ord.) superball beater dragged over surface of tamtam – for dark low fluctuating resonance.
Other beaters:
Large soft beaters.
Hard felt beaters.
Small round-headed wooden beaters.
WB Percussion 1 and Percussion 4 – 3 Woodblocks, high, medium, low Beaters
P Hard plastic
Extra Instruments
Piano
Grand piano with sostenuto (third) 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. Use white stickers on the metal frame to mark the strings inside.
Prepare the lowest two strings A and Bb with rubber or plasticine, very near the bridge with maximum pressure. Identical to the damped sound played with heavy pressure on the string. Very round, dark beautiful sound, without overtones.
On the keys
ord Return to playing on the keys.
A chromatic cluster, outer tones included.
Natural-note cluster or sharp/flat-note cluster.
White or black note cluster, or thick chromatic cluster with whole forearm as a single attack.
Very fast fluid glissando with sleeve or glove.
On the two prepared strings – see above.
Prepare and silently depress keys and hold with sostenuto, 3rd pedal.
Button accordion
Button accordion with three manuals MI, MII and MIII. The accordion should have the low contrabass and piccolo top octave on both manuals:
Use MI chin registers for sudden register changes and double register sounds. Written at sounding pitch. Where there are octave pitch combinations from registers/stops, the lowest octave is notated. Re-distribute chromatic chords between MI and MII as you feel necessary.
A chromatic cluster, outer tones included.
Natural-note cluster or sharp/flat-note cluster.
Chromatic cluster, extra wide, using palm diagonally on buttons in given range. n vib Non vibrato.
vib Always without vibrato unless otherwise stated.
Possible types of vibrato include: ord. LH vib, ord RH vib, knee vib, button vib.
Harp Requires 2 hard plectrums. Tuning indications given. Lowest two tones always Db and Cb; highest tone always Gb
Natural-note cluster or sharp/flat cluster, outer notes inclusive, with given pedals.
Chords are non-arpeggio unless otherwise stated.
Harmonics written an octave lower. Secco, rhythmically exact. Hard plectrum.
Inside the piano
In Inside the piano on the strings. If frame of piano is in the way, choose another nearby cluster.
Light glissando with finger pad of 3rd finger. In front of dampers.
Fast glissando on strings in front of, or behind, the dampers with hard plectrum. Brutal if low and ff
Pedal
Sustaining pedal. 3rd pedal.
Fast repetitive scale figures, LH/RH different rhythms. A blurred image. Hear the buttons continuously.
At mp–ff use a RH flamenco-guitar technique.
Gradually depress for gentle start, as if from nothing. Decrescendo as if to nothing.
Single tones emerge one-by-one with crescendo, and disappear one-by-one with decrescendo. Gently half-depress button (M1) to lower tone by ca 1/4-tone. Bring out beats between the tones.
Bellows shake – fast tremelando
BS in regular rhythm.
Bellows stop, dead onto next beat.
> Accents always at maximum dynamic sf and sff
Arpeggio very fast with two plectrums simultaneously in contrary motion. près de la table For all tenor range staccato (secco) chords. Play at bottom of string. Very dry.
Glissando. Direction of glissando given. With finger or plectrum. When ff, low and l.v., strings may hit against each other.
Strings
All strings
12 Violins I, 12 Violins II, 10 Violas, 8 Violoncellos, 8 Double Basses
st sul tasto
ISSUU Version For perusal only
sp sul pont.: pp/ppp bring out overtones. f/ff sound towards distortion.
Glissando. Tenutos during a glissando mark separate bows!
Glissando to top or bottom of string.
Stop bow abruptly.
Bow behind the bridge on given string. Deilicate and fluid. Pitch varies from one instrument to another. vibVibrato
n vib Non vibrato
Raise or lower by a ¼-tone. An expressive and timbral function.
Crescendo from, and diminuendo to, nothing.
Bartók pizz. on notated open string, damping all strings. Very loud and dramatic.
Double sound: Bartók Pizzicato with the left hand on the notated string and immediately attack string with the wood of the bow to damp the string. The bow attack creates a loud vibration between string and bow. Loud and dramatic.
Harmonics
Artificial harmonic
Natural harmonic trills sempre sul pont. – always very fast and regular, quasi mechanical. Hear layers of very high overtones!
Lower finger (blacked out) stays on harmonic with upper finger trilling (white). When necessary, the string number is given.
Fast regular rhythmic harmonic finger patterns always on one string – no string crossings! Sempre spiccato, sempre sul pont. spiky and hard-edged.
Black harmonic notehead: finger 1 depresses harmonic throughout.
White harmonic noteheads: upper fingers, released immediately.
Double Basses – extra notes
Pizzicato with immediate fast glissando to top of the string.
sff noisy and distorted. Accent deep in the string and fast release. Either sp or sp sub ord after accent.
Players 1.–4.: V-string scordatura prepared and de-tuned to G. The string may flap a little against the fingerboard if f / ff –here the unusual timbre is more important than the actual pitch.
Players 5.–8.: 4-string with extension to C.
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Rebecca Saunders
Rebecca Saunders (b. 19 67) 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; 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 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 räumlich verteilte Kammergruppen, ein Konzert für Schlagzeugduo und Orchester mit dem Titel void sowie die Raumperformance Yes für Sopran, 19 Solisten und Dirigent.
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