Thorvaldsdottir METAXIS by ScoresOnDemand

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Anna Thorvaldsdottir

METAXIS

Orchestral music installation for deconstructed orchestra in an open space (2023)

Chester Music

Commissioned by Iceland Symphony Orchestra and National Arts Centre Orchestra, Ottawa. First performed by the Iceland Symphony Orchestra, conducted by Eva Ollikainen, on 1 June 2024 at the Harpa Concert Hall as part of the Reykjavik Arts Festival.

Duration: c. 27 minutes

Instrumentation

2 Flutes

Alto Flute

2 Oboes Cor Anglais

2 Clarinets in Bb Bass Clarinet in Bb

2 Bassoons

Contrabassoon

4 Horns in F

2 Trumpets in Bb

2 Trombones

Tuba Bass Tuba in F

Percussion (3 players):

1: Large Tam-tam

Large Bass Drum

2: Large Tam-tam

Large Bass Drum

3: Cymbal (muted with tape)

Large Tam-tam

Large Bass Drum

2 large Tom-toms

Strings: Suggested division:

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Violin I i: 4 desks; Violin I ii: 4 desks (min. 3)

Violin II i: 4 desks (min. 3); Violin II ii: 3 desks

Viola I: 3 desks; Viola II: 3 desks (min. 2)

Violoncello I: 3 desks (min. 2); Violoncello II: 2 desks

Double Bass I: 2 desks; Double Bass II: 2 desks (min. 1)

The score is in C. Bass Clarinet is written at pitch. Orchestral parts are available on hire from the publisher.

Information and setup

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METAXIS is an orchestral music installation for deconstructed orchestra to be presented in an open space where the audience can walk around the space in order to experience the piece from various perspectives. The piece is not intended to be performed in a concert hall or in a concert setting and is not intended to be recorded for audio release.

The music is in a unified score, written as other orchestral music would be, and is conducted throughout. The setting of the piece, placement of instruments, the open space, free movement of the audience and the overall layout of the piece is what makes it a music installation.

During the performance it is important that the performers are able to connect with each other and sound together as one in the open space in the spread-out setup. All performers need to be able to see the conductor — there is also an option to have one or more shadow conductors that echo the movements of the main conductor in order for all performers to clearly see a conductor throughout the performance.

The piece can be set up and performed in various different open spaces — it is asked that elements pertaining to the performance of the piece, the layout, distribution of performers and the overall setup of the piece be decided in collaboration with the composer, Anna Thorvaldsdottir, in order to collectively determine suitability of a potential venue, and to work on figuring out specific positions and layout of the performers in the open space.

Setup – Distribution of instruments

METAXIS is written to be performed by deconstructed – spread out – orchestra in an open space. Although the setup of performers is not traditional, the performers need to be able to connect with each other, to have a visual on the conductor, to hear each other, to play together and sound together in the open space.

The instruments should ideally – but not crucially – be distributed over 3 floors or so, such as in a foyer, where there is an open space between all the floors. See the proposed setup of instruments below.

It is asked that there is not too much space between performers (that are placed on the same floor/space) so that they are able to sound together as one in the open space.

Following is a demonstration of the set-up of instruments — here shown over three floors where the centre of the space is open all the way up between the three floors. Here the instruments are placed in linear way along the walkways in the open spaces on all floors and everyone perform together facing into the open centre space: fl II ob II vln Iib cl II vln Iiib

vln Iiia

I ob I

vln Iia cl I

perc II perc I

b.cl

bsn I a.fl vc Ia vla Ia

vln IIia

vln IIiia

bsn II c.ang vc Ib vla Ib vln IIib

tpt II

tpt I hns II IV hns I III vla IIb vla IIa perc III cbsn

vln IIiib

Performance Notes

My music is written as an ecosystem of materials that are carried from one performer – or group of 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 – performers – 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. *

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The material in Metaxis is driven by intensity and urgency which is in turn polarised by gentle stillness and calmness. Certain moments in the piece orbit louder dynamics which at other points are echoed by sections in lower dynamics and coloured by ethereal and textural dimensions of sound structures.

I would kindly ask that throughout the performance the dynamic markings, specifically in pitched materials, harmonies and lyrical materials be dramatically overemphasised, as appropriate in the progression of the music, so that the pitches and harmonies are always carried with a very strong sense of fundament, depth and projection.

Metaxis needs to fill a very large open space in a deconstructed setup, so please bare this in mind as you play this piece. Your voice needs to reach through a large space and blend organically with everyone else. It is therefore asked that the dynamic markings for harmonies and sustained pitches be lifted substantially and approached with this in mind. *

The piece is in one movement with atmospheric sub-sections listed in the score for inspiration. These indications are not intended to be subtitles or meant to be communicated to the audience or in a programme text, these are inspirations for the performers only.

The first 57 bars of the piece serve as an ‘introduction’ to the piece, an opener that is intended to be performed as the audience enter the open space and get a sense for the installation aspect of the work. In certain settings and circumstances it might be applicable and relevant to consider starting the performance at bar 58, where the piece “commences” and opens up. It is asked that any considerations to the duration in this regard be decided in collaboration with the composer, Anna Thorvaldsdottir.

Notation

General

All glissandos should be played throughout the duration of the note value they are written by. For example, w , slow glissando that starts at the beginning of the note and glissandos throughout the four beats of the note value. Similar with i , faster glissando (depending on the destination of the following pitch).

Accidentals apply to one measure at a time and are on occasion reapplied within a measure for convenience.

Three tremolo lines refer to playing quick tremolo notes rather than rhythmic 32nd notes. When playing on tremolo (or flutter tongue) there should not be an accent on the beats where the pitches change or position of hands change or between measures –the tremolo should be even throughout the passages and move seamlessly between pitches and measures.

((h) Above a note indicates the note’s duration (applied for quarter note and a half note with stems only).

Woodwind

When notes are slurred throughout an extended period of time and during long phrases without rest, breathe where necessary – not synchronised between performers.

When indicated to glissando between tones, bend the pitch as indicated.

Flutes and Clarinets

Diamond notehead on the centre line of the staff indicates an air sound with no pitches sounding.

When indicated to “perform on air with no pitch – with subtle ‘s’ sound formation for a subtly distorted sound on air” this should produce a subtle ‘white noise’ sound. In these textures, as always, breathe where necessary – not synchronized.

Dynamics on airy notes are relative to the sound of the effect, so they should be aimed at projecting relative to the nuance of the sound rather than in the same dynamic as a pitch with the same dynamics would. It is asked that the ethereal airy textural effects should not be overemphasised or overdramatised – the airy sounds are intended to be a textural dimension to the overall sound texture – that at times gets overshadowed by other textures – rather than to be an overly prominent feature.

Flutes

Tremolo lines indicate flutter tongue.

Key clicks and tongue ram, for percussive effect. The upper notehead (x) indicates the key click, the lower note is the sounding pitch/color effect. Abbreviated k.cl.t.r.

Clarinets

Key clicks and slap tongue, for percussive effect. The upper notehead (x) indicates the key click, the lower note indicates the low percussive slap effect. Abbreviated k.cl.sl.t.

Brass

When notes are slurred throughout an extended period of time and during long phrases without rest, breathe where necessary – not synchronised between performers.

Diamond noteheads indicate air sounds with no pitches sounding – airy noteheads are placed on the centre line of the staff, but should not produce any pitch.

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When indicated to “perform on air with no pitch – with subtle ‘s’ sound formation for a subtly distorted sound on air” this should produce a subtle ‘white noise’ sound. Brass performers might prefer to remove the mouthpiece and perform this effect straight into the instrument where possible – explore for the best way to perform the sound for a subtle white noise and synchronize in technique between performers. In these textures, as always, breathe where necessary – not synchronized.

Tongue flicks on air, written in rhythmic patterns (as a controlled flutter).

Percussion

All Bass Drums need to be placed horizontally in order to be able to perform with objects on the skin. Allow resonance of instruments to continue and do not stop or dampen unless otherwise indicated. Please coordinate so that all percussionists have the same size of large bass drums and tam tams, as well as the same mallets for unity and the same quality of sound and balance.

Percussion I & II

Large Tam-tam

Large Bass Drum

Percussion III

Cymbal

Large Tam-tam

Large Bass Drum

2 large Tom-toms

The cymbal needs to be prepared with tape or similar on the edge for muted effect. Û indicates for the muted cymbal to be performed on the edge (where the cymbal has been muted).

Objects needed for each percussionist

Small metal chains to place on skin of bass drum and place over tam-tam for subtle distortion sounds (two each)

Thick-haired wire scrubbing-brush (one each)

^ Large soft mallet (two each)

‹ Hard yarn mallet (two each)

@ Medium soft bass drum mallet (two each)

! Big soft tam-tam mallet (two each)

® Superball mallet (one each)

Ð– Double Bass Bow (one each)

Techniques

Performed with the wire scrubbing brush: use the thick-haired scrubbing brush to sustain over surface of tam-tam or skin of bass drum (as indicated) in one quick stroke. There should not be an attack on the beat but rather the sound should be sustained by the stroke of the brush against the surface.

At certain moments the percussion parts are driven by a very rhythmic texture while at other times the percussion parts are more textural in quality. For the rhythmic parts (such as from bar 13) it is asked to please carry the drive of these sections with a steady rhythmic quality.

Strings

Double basses need to reach down to low B. In case some basses might not have extension to B, it is asked that the lowest string is tuned down to B.

Divisi

Divsi in violins, violas and cellos are to be divided between voices a and b - a in upper voices and b in lower voices. For double basses, divisi is to be divided within the voices as ordinarily.

Bow Strokes

When notes are tied through an extended period of time – change bow where necessary. During long sustained notes please change bow as often as necessary, not synchronised, it is not intended for bow strokes to be too slow but rather of the required speed each time for the tone to be fully carried with depth and fundament.

Vibrato

Expressive vibrato is desired — collectively apply vibrato as desired. During glissandos and harmonics please play senza vibrato.

Special noteheads and effects

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(example from the viola part, quarter note and eighth note shown) for airy effect – place left hand/fingers (not only one finger) lightly to cover the indicated string, around the given pitch area, not on harmonic. Fingers are not to be placed on exact pitches. This produces an unpitched airy sound. The upper notehead indicates the airy technique, the small notehead below indicates the open string where the technique is to be played.

(example from the cello part, quarter notes and half note shown): When the airy note head is written with a glissando, slide the hand up and down the string as indicated. This will produce slight harmonic colours in the airy sound as the hand glissandos over the string(s), but the aim is for the sound to be as pitchless as possible.

Much bow pressure performed on muted string, not on a pitch (as indicated by the notehead). When written on a short note value (sixteenth note) this should produce a non-pitched percussive attack to the muted string. The short notes on much bow pressure work best when performed close to the frog.

When indicated to play with ‘much bow pressure’ on a longer sustained note – apply a bit more (than ordinary) bow pressure to the string for a subtle atmospheric sustained distortion sound 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 sustained sounds, similar to white noise.

When indicated to perform airy noteheads in arpeggio patterns between strings “with subtle airy pitch colours”, keep fingers/hand on strings and articulate “on air” – subtle pitch colours will naturally appear through the airy sound.

When airy/muted noteheads are indicated with ord., it refers to playing normally on the written effect and merely serves to take back indication of otherwise performing such as with sul pont., much bow pressure etc. When performing on air with ordinary bow pressure it should result in an airy sound.

There are two versions of accelerando on airy textures:

Bow strokes back and forth as indicated in an accelerating motion.

Hitting the string with bow hairs and having the bow bounce on the string in an accelerating motion.

Abbreviations

m.b.pr. – much bow pressure

sust. – sustained

ord. – ordinary, takes back all effects previously applied, including (but not limited to) sul pont.

b.str. – bow stroke

str. – stroke

ord.b.pr. – ordinary bow pressure

w. – with

c.l. – col legno

s.p. – sul pont.

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