Guðnadóttir UNDER TAKES OVER

Undir tekur yfir / Under Takes Over Hildur Guðnadóttir 2013

Undir tekur yfir / Under Takes Over -For a large symphony orchestra, black box and light conducting systemby Hildur Gu!nadóttir Preface In the summer of 2012 I lost consciousness. Upon regaining consciousness, I found the experience had made a big impact on me and as a result I found myself contemplating on ones reactions to outer circumstances in the waking state. I found that shifting focus in the waking state often brought heightened awareness and if the shift was big enough it could in fact completely change the way one listens and reacts. One night, shortly after these events, I had a dream about an image. The following morning I drew the image and it became the score for Under Takes Over. Thereby the piece became a conversation between different states of consciousness. I can´t say I recommend losing consciousness, nor would I expect that of musicians in a performance. But I felt for this piece it was important to shift the focus of the musicians to heighten or a least change, their listening experience. Being in total darkness in a situation where there is normally light, is one strong way of changing focus in a familiar situation. Therefore a large part of the piece is performed in pitch darkness. Normally the main focus point of an orchestra is the conductor, so the focus needs to be shifted off him. Therefore the piece is largely conducted by an out-of-sight conductor, controlling lights on the music stands. There are several improvisational elements determining the real-time creation of the piece, including the timings and dynamics of the parts conducted by the lights, as well as several individual music sections. To shift the focus of the audience, the principal conductor is placed in a large black box, thereby hidden from the audience. Under Takes Over was commissioned and premiered by the Icelandi Symphony Orchestra, at the Tectonics Festival 2013

Note about the score: At the premier Ilan Volkov was the principal conductor and Hildur Gu!nadóttir the out-of-sight conductor, therefore there is a reference to them in the score.

The piece is divided into 6 parts: Prelude 1. Kafli / 1. chapter Interlude I 2. Kafli / 2. chapter Interlude II 3. Kafli / 3. Chapter

Prelude

Hildur Gu!nadóttir

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1. Kafli / 1. Chapter We start out in the dark. The lights on the note stand will signal you to start playing. Try to follow the dynamics of the light, starting from nothing, making a crescendo as the light gets brighter, and a diminuendo as it gets dimmer, becoming silent in the dark. Although the dynamics are following the lights, they should be fairly quiet, not getting much louder than mp As you play a note, memorize the next note, so you are ready for the next fade in. For those instruments with the possibility of doing so: add multiphonics of your choice through out the chapter, relatively soft/medium sounding, with the notated note as a base note

Brass: The lights on the note stand will signal you to start playing. The length of one bar is a fade in and out of the lights, the space between the bars is darkness As you play a note, memorize the next note, so you are ready for the next fade in. Try to follow the dynamics of the light, starting from nothing, making a crescendo as the light gets brighter, and a diminuendo as it gets dimmer, becoming silent in the dark. Aim for the brightest light being a loud mf.

Interlude I

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