Thorvaldsdottir SPECTRA

ScoresOnDemand

Thorvaldsdottir, Anna Spectra

Score for sale (North America): https://www.halleonard.com/product/viewproduct.action?itemid=284544 Score for sale (UK, Europe and other territories): https://www.musicroom.com/product-detail/product1142011/variant1142011/ Information about the work and materials for hire: http://www.musicsalesclassical.com/composer/work/57461

Chester Music Limited Part of the Music Sales Group

Commissioned by the NJORD New Nordic Music Biennale. The first performance was given on 27 January 2018 at the Koncertkirken, Copenhagen, Denmark, by members of the Copenhagen Piano Quartet.

Duration: c. 9 minutes

Composer Note The piece is in 6 short movements that are performed in a seamless flow from one movement to the next. Atmospheric indications are written in bold italic letters at the start of each movement. * My music is written as an ecosystem of materials that are carried from one performer – or performers – to the next throughout the process of the work. As you play a phrase, harmony, texture or a lyrical line it is being delivered to you, passed on from another performer for you to carry on until it is delivered to another. All materials continuously grow in and out of each other, growing and transforming throughout the process. *

Performance Notes Abbreviations m.b.pr. much bow pressure – apply a bit more bow pressure than ordinary to the string for a subtle atmospheric sustained distortion through continued movement of the bow. Not so much bow pressure that the flow of the bow is disturbed or that the sound becomes too aggressive or too scratchy, but rather subtly distorted. s.p. sul ponticello ord. takes back all special effects/performing techniques applied harm. harmonic pos. position General When pitches are sustained/slurred through an extended period of time, bow as necessary, not synchronised.

B I D

Quarter tone flat Quarter tone flat below Quarter tone sharp Quarter tone sharp above E Former effect/sound/technique/indication gradually becomes the following one.

All glissandos should be played/sung throughout the duration of the note value it is written by.

Vibrato is indicated for parts of the work where it would be desirable to apply lyrical vibrato. For ordinary pitches in other parts of the work – that do not have the indication of senza vib. – apply subtle vibrato as desired. * I would encourage the search for a synchronized sound and dynamic levels for the various techniques in the work to best generate a global sound structure between the three instruments. This applies to (but is not limited to) the following techniques: playing on air, tremolos, much bow pressure, and ghostly harmonic glissandos.

Noteheads Place left hand (not only one finger) lightly on indicated string, around given pitch area, not on harmonic. Fingers are not to be placed on exact pitches. This produces an un-pitched airy sound. The lower small note head indicates the open string to be performed on, the upper note head indicates the approximate position of the hand.

When indicated with glissando and rhythm, move fingers and hand up and down the string as indicated, and articulate with fingers ‘on air’ (this will produce color to the airy sound).

Glissando on harmonics from one pitch to the next. When indicated to ‘hold pos. of hand’, glissando over harmonics on the indicated string while holding the position of the hand. This results in a ghostly effect of various harmonics as the fingers slide down the string.

Natural harmonics played at the position indicated by the diamond note head on the string indicated. The small note head above indicates the sounding pitch.

Spectra I

q = 50

4 4

Violin

Anna Thorvaldsdottir

with curiosity

p

4 4

Viola

with curiosity p

with curiosity

sul pont.

4 4

Violoncello

ord. (senza s.p.)

p

mf

p

mf

4 p

ord. (senza s.p.)

s.p.

p

8

5

mf

p

p

5

gliss. mp 5

mp

5

5

mf

p

mp

mp

mf

5

mp

11

mp

p

pizz.

s.p. mp

mf

mf

7

p

© 2017 Chester Music Ltd.

mp

mp

mf

p

mf

p mf

p

mf

p

5

III 45 Violin

s.p. tip

with determination

4 4

gliss.

mp

4 4

Viola

s.p. tip

with determination

gl.

mp

mf

with determination tip

4 4

Violoncello

mp

50

ord. (senza s.p.)

s.p.

ord.

mp

mf

s.p.

gl. mp

center of bow, senza tip gl.

mf

mp center of bow (senza tip)

ord. (senza s.p.) gl.

p

mp center of bow, senza tip

ord. (senza s.p.) gl.

gliss.

mf

55

2 4

s.p.

4 4

2 4

4 4

gl.

4 4

5 4

gliss.

mf

60

5 4 5 4

5 4

mp

ord. (senza s.p.)

2 4

ord. (senza s.p.)

s.p.

mf

gl.

mp

ord. (senza s.p.)

gliss.

4 4

gliss.

4 4

gliss.

mp

5 4

mp 7

4 4 mf

5 4

mp

mf

s.p.

mp

mp

mp

9

83 Violin

4 4

mp

Viola

4 4

3

with expressive lyrisism and calm

p

Violoncello

4 4

V

with expressive lyrisism and calm semi s.p. senza vibrato

mf

mp

p

with calm

semi s.p.

ord. (senza s.p.)

86

vib.

gliss. p

mp

pizz.

arco hold pos. of hand on C string

sim. on G string gliss.

gliss. mp ord. (senza s.p.)

89

mf

5

3 4

gl.

p

3

pizz.

ord. arco vib.

mp

mp

3

3 4 3 4

92

3 4

semi s.p. senza vib. on G string gliss.

vib. ord. (senza s.p.)

4 4

mp

mf arco sim. on G string

3 4

pizz.

4 4

mp

3 4

3 4

5

3

gliss.

mf

4 4

semi s.p.

on C string

pizz.

3 4

gliss.

mp

ord. (senza s.p.)

3 4