SAUNDERS
ISSUU Version
For perusal only
ISSUU Version For perusal only
REBECCA SAUNDERS
to an utterance – study
for Solo Piano (2020)
Commissioned by Klangforum Wien, funded by the Ernst von Siemens Music Foundation
LEIP ZI G · L ONDO N · NE W YOR K
for AJ Saunders
ISSUU Version For perusal only
With my thanks to Nicolas Hodges
to an utterance – study for solo piano
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; linguistics: a speech sequence consisting of one or more words and preceded and followed by silence; the utmost, or last, extremity – to the brink of, at the precipice 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 solo piano was conceived as a disembodied voice. It seeks to tell its own story, wavering, on an uncertain quest. It seeks it´s final silence through its own excess of speaking: an incessant and compulsive soliloquy. A musical protagonist as being, on the precipice of non-being.
RS
Commissioned by Klangforum Wien, funded by the Ernst von Siemens Music Foundation for the première commercial audio recording on a portrait CD in 2020.
First performance by Joonas Ahonen at the Berlin Philharmonie on 4th September 2020 at the Berliner Festspiele Musikfest
Clusters
ISSUU Version For perusal only
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.
œ #œ
W hite key or black key cluster.
ãã
œ C hromatic clusters. arm arm arm
œ œ W hite or black note cluster, or thick chromatic cluster with whole forearm as a single attack.
Alternatively, both arm and palm clusters can be played with two hands for greater precision, particularly in the slower passages.
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 sign or chromatic are also notated.
a) Black key glissando.
b) W hite key glissando.
c) C hromatic 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.
> œ œ 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.
Clusters and glissandi
Silently depress keys.
3rd pedal.
Sustaining pedal.
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 other material. E xtreme contrast between legato and staccato at all times.
General
For grand piano with sosenuto (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 interpetation. 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.
Bar 1 silently depressed tones. Ossia: Use a heavy object to depress the three keys instead of the 3rd pedal. But remove it rapidly in bar 169 in less than 3 seconds to keep the flow of the climax. The ossia allows i) freedom of body movements, ii) employment of una corda freely, and iii) additional use of 3rd pedal at the players’ discretion, e.g. in bar 31 the black cluster can be held with the 3rd pedal. This is entirely at the performers’ personal discretion.
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.
RS, May 2020
ISSUU Version For perusal only
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 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.
Photo © Astrid Ackermann