Thorvaldsdottir UR_

Anna Thorvaldsdottir

UR_ chamber opera in one act & VII parts (2015)

Narrative by Anna Thorvaldsdottir Words and phonetic textures by Anna Thorvaldsdottir Title and additional text by Mette Karlsvik

Full score

Chester Music

Commissioned by Far North A Contemporary Theatre and Music Organization In cooperation with Theater Trier & Ultima Oslo Contemporary Music Festival

Premiere 11 September 2015 in Theater Trier, Germany Director: Þorleifur Örn Arnarsson Stage design: Anna Rún Tryggvadóttir Chamber ensemble: BIT20 Ensemble Conductor: Baldur Brönnimann Assistant conductor: Bjarni Frímann Bjarnason

Score and parts preparation partially funded by STEF

PREMISE UR_ combines two main narratives, told through an abstract metaphorical persona, the various aspects of which are portrayed by the different elements of the trilogy (voices/singers). The elements merge and divide throughout the work, but are fundamentally tied together through the presence of a central being (ambiguously portrayed by the actor). The grand piano is a separate character, representing the “Mother” – the protecting element.

One narrative looks backward, the other forward: The first narrative, which is the primary focus, is the story of the human being struggling to find a way back to the UR_ – the perspective of this narrative is primarily that of the trilogy; the other, the secondary focus (and perhaps more theatrically presented), is the story of how we got here, so far removed from the UR_.

The progression in the voices primarily represents the backward element – the UR_ in the human being waking from hibernation and finding themselves in an unfamiliar environment, struggling to find their voice and to be heard – this is the struggle of the human being rediscovering the UR_ in itself (in its several forms, which – although different – are part of the same), the abstract persona conflicted and confused by its seemingly unheard voice and presence. This struggle is characterized by the struggle of each to find its voice, their struggle to communicate with each other, and their struggle to communicate as a unity with the “other” side of the abstract persona, the one responsible for this alien state. This is all part of the struggle to find a way back to “nature”, which can have many meanings. Once found/heard, it is liberating and beautiful but also difficult in many ways. For all its presence and importance for the human being, however, this wondrous achievement all but disappears (becomes invisible?) as we become aware of the UR_ itself, its vast and massive expanse. The human being, despite its (perhaps inevitable) perception of the significance of its own values, its place in the world, and the impact it has had on it (for good and bad), may “disappear overnight”, its time here – whether close to UR_ or removed from it – “a blink in the eye of evolution”.

The forward element – how the UR_ in the human being was pushed into hibernation – is less represented in the music and more in the theatrical elements. This narrative contains elements of the trajectory of Western culture – this might be the Enlightenment, industrialization, capitalism, (colonialism?) – which got the (Western) human being to where it is, for good and bad. The perspective here can be critical, or it may be more neutral/descriptive. This current environment in which the UR_ elements find themselves, and find to be alien to them, is also represented primarily theatrically (if at all?) – it is the “other” side of the modern human being whose UR_ has now woken up, confused and desperate to find its way back/be heard. It may be an open question whether the part of us that got us here likes the environment it has created, but at least it somehow believes (must believe?) that it understands what it has created (and why). This may be represented in part by the clutter of voices, the rivers of speech (streams of human reason) within which the UR_ elements are trying to be heard.

The primary narrative – the search for a way back to the UR_, the struggle to be heard/included – is spoken through sequences of musical imagery and phonetic sound structures where language merges with music in sound and expression.

Phonetic patterns become an instrument where elements of various languages are dispersed and recombined, generating a strained and fragmented idiolect. Language – in its familiar form – in part represents the emphasis on human reason which partly underpins the ideology of Western culture that got us to where we are. Language facilitates an important kind of understanding, but there is also a certain kind of understanding that it can limit, be a barrier to. It can mean the difference between “us” and “them”. Being heard, understood, can change these boundaries, redraw the line – being truly heard means being genuinely included, and true inclusion is a kind of freedom/liberation, an elimination of hierarchy.

Communicating through expressive phonetic gestures is a mechanism that allows for important conversations that cannot be had in language, but can still be understood and appreciated – conversations that remain lost until the UR_ elements find a natural way to communicate and a natural voice to speak with.

Without these, they are truly voiceless.

Anna Thorvaldsdottir Premise summarized by Anna Thorvaldsdottir & Hrafn Asgeirsson

STARTING POINT The moment is a new beginning The event where a beginning comes into being in a recognizable form. Other beginnings had to exist in order for the new one to become. Every previous experience – everything that happened before – now becomes a faint memory, a shadow, in the form of subtle awareness of what has already happened.

The work is carried by that which is about to become – that which is, and can be sensed and felt. Behind it lies everything that cannot be sensed – the beginning is only the starting point of where you are now.

You cannot see the roots, but you feel their presence – you know they are there Perception The environment instantly becomes alien, even though you have sensed it before in a different way, the perception has drastically changed. You no longer feel the seeds that made you. Previous experiences are disregarded but faintly remain in the form of subtle awareness – a shadow.

Frozen tranquility in the turmoil of everything that created the moment – of everything that had to happen in order for the moment to become exatly what it became

CHARACTERS Character: Trilogy I–X

(Feminine)

Mezzo-soprano

I – XXX

(In-between or Both)

Vocalist

I – XX

(Masculine)

Baritone *

Character: O-X-O O-X-O

(Central Being / Other & Same)

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* Character: X X

(Mother / Earth)

Instrumental ensemble represents the mental colors of the Trilogy

* Performer on the grand piano can be a pianist or a percussionist.

Grand piano, incl. performer*

INSTRUMENTAL ENSEMBLE Bass Flute Clarinet in B Bass Clarinet B Horn in F Trombone Percussion I Percussion II Violin I Violin II Viola Cello Double Bass

SCORE IN

C

Bass Clarinet is written in sounding octave.

Double bass needs to have extension down to C and sounds octave lower than written.

CONTENTS

I – DAWN . . . . . . . . . . . . . . . . . .

SILENCE . . . . . . . . . . . . . . . . . . . 1 II – INCEPTION . . . . . . . . . . . . . . . 1 SILENCE . . . . . . . . . . . . . . . . . . . 7 III – SEARCH . . . . . . . . . . . . . . . . 8 IV – EGO . . . . . . . . . . . . . . . . . . 9 SILENCE . . . . . . . . . . . . . . . . . . 1 V – CONTACT . . . . . . . . . . . . . . . 12 VI – EMERGENCE . . . . . . . . . . . . . . 13 VII – ECO . . . . . . . . . . . . . . . . . 15

STAGE

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PERFORMANCE NOTES When you see a long sustained pitch, think of it as a fragile flower that you need to carry in your hands and walk the distance on a thin rope without dropping it or falling. It is a way of measuring time and noticing the tiny changes that happen as you walk further along the same thin rope. Absolute tranquility with the necessary amount of concentration needed to perform the task * As a composer I have a tendency to write music in low dynamics. The lower levels of dynamics (in the p area) indicate a wish for an approach to pitches and sound materials with a sense of calm and carefulness rather than merely indicating an audio level. I do not intend for the music to be too quiet – but rather projecting a sense of serenity. I would kindly ask that the dynamics be subtly dramatized, as appropriate in the progression of the music and with regards to the venue and staging. * At the beginning of part V everyone, including instrumental performers – except for X (grand piano) – cite a text as an ocean of unheard messages; see text at beginning of part V. The text is individually repeated as necessary until respective pitches start: * The voices might need to be amplified for some parts of the work. *

TECHNIQUES : All glissandos should be played throughout the duration of the note value it is written by. For example : slow glissando that starts at the beginning of the note and glissandos throughout the four beats of the note value. Similar with

: faster glissando (depending on the destination of the following pitch).

Above a note indicates the notes duration (applied for quarter note and a half note with stems only). : Three tremolo lines refer to playing quick tremolo notes rather than rhythmic 32nd notes.

Accidentals apply to one measure at a time.

Symbol is used in various settings, such as in text i.e. referring to technique and dynamics, as well as in notation. It represents ‘gradually becomes’, such as the previous sound (technique, note, effect etc.) gradually becomes the following sound.

Back and forth between written technique/effect etc. *

X – GRAND PIANO The Grand piano is a “role” in the work. The music material is almost entirely performed on the inside of the instrument and could be performed by a percussionist as well as a pianist.

In addition to the linearly written material in the score that is aligned with the ensemble, there are 3 cycles, or “time capsules”, of materials that are placed at intervals in the piece in collaboration with the composer and director.

These time capsules should be performed inconspicuously with a subtle sense of brokenness. The following symbol represents the insertion of a cycle.

Performer needs to be able to move around the piano during performance. The lid needs to be removed for performance.

The piano needs to be amplified for performance.

The pedal should be held pressed throughout the work.

STAFF TYPES

Multiple staff lines: Material written on the designated multiple line staff should be performed on the inside of the instrument. The multiple lines roughly represent the area of the strings inside the instrument. Top lines indicate highest register – middle lines indicate mid range – lower lines indicate lowest register. It is however clear that the number of staff lines are not equal to the number of strings inside the instrument, so the exact register is somewhat arbitrary when not indicated with a specific pitch.

Ordinary staff – keyboard: Material written on the ordinary staff lines indicates specific pitches that should be played inside the instrument, and when material should be performed on the keyboard.

MALLETS AND OBJECTS Superball mallet. Suberball mallet should be dragged in sustained strokes over the strings as indicated.

Two soft yarn mallets (or other soft mallets) – for soft tremolo on strings.

A few thimbals Fishing lines or bow hairs – to thread in-between the strings for sustaining on the strings Fingernails on strings – or use guitar pick if preferred – f.n. refers to fingernails.

Fingertips on strings – f.t. refers to fingertips.

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NOTATION AND NOTE HEADS

Crackling sound. Mute strings with hand and pluck with fingernail or pick on the surface of the string in very short movements – this results in a crackling sound.

When specific rhythms are not indicated, make the same sounds in arrhythmic patterns.

These crackling sounds are always played on muted strings.

Glissando over strings as indicated without plucking.

Play the lowest note (written) on the keyboard and gently press on the harmonic of the octave on the string inside the piano. The resulting pitch is indicated with the diamond note head in the bracket.

As grand pianos vary in sizes and types: if it is not possible to play the written harmonic on the written pitch, please find another position on another key to perform the written harmonic.

The upper note head should be plucked inside the piano – the pitch is indicated in the keyboard staff, as a small note head in a bracket.

Pitches in brackets (small note heads) written on keyboard merely indicate the pitches that should be performed on the inside of the piano, but are not meant to be performed on the keyboard.

Pizz. on the inside of the piano is always performed with fingertips.

The diamond note head indicates harmonic. Play the lower note on the keyboard and gently press on the harmonic on the string inside the piano. The resulting pitch is indicated with the diamond note in the bracket.

Boxed note heads in brackets indicate ranges.

When indicated to arrhythmically tap with fingertips on the strings inside the piano between tuning pins and hammers. Slowly move fingers back and forth over register. This results in a rumbling drone.

Arrhythmically glissando with fingertips over strings in indicated register.

*

TRILOGY – VOCAL PARTS The three vocal performers together portray a single role – the Trilogy. They are one – breathe as one, move as one, talk, see and act as one.

The work takes the trilogy through an exploration of identity and a unified being as one, and as individual identities within the one. Therefore the work demands a quite a lot of inner exploration from the performers through their sounds and being, as well as a strong connection to the other vocal entities.

* In addition to the linearly written material in the score that is aligned with the ensemble, there are cycles, or “time capsules”, of materials that are placed at intervals in the piece in collaboration with the composer and director.

These time capsules should be performed inconspicuously with a subtle sense of brokenness. The following symbol represents the insertion of a cycle.

* Do not synchronize breathing – except where breath marks are written, each singer breathes where necessary.

The material – sounds, pitches, rhythms – should be performed in flowing sequences with a subtle level of intensity.

Sustained pitches have an inner tension that is projected through the singers inner expression rather than to merely represent a sound or a pitch.

Parts of the vocal material needs to be amplified. * The Main Theme of the work unfolds in mm. 504-556. The theme should present “the truth” and ultimate meaning of the entire work. The text is nonsensical, but should be sung as if it were the truth with a deep meaning. The sung material within the Trilogy is fragmented and different for each voice but the three entities of the Trilogy should strive to be as unified as possible during the Main Theme.

PHONETIC SOUNDS, TEXTURES & VOWELS Vowels and sounds are used throughout the score as phonetic sources Think of each vowel and its sound as being its own word with its own meaning Where there are no actual words written, the sounds are written according to the IPA (International Phonetic Alphabet).

Following are links with references and sound samples: http://www.internationalphoneticalphabet.org/ipa-sounds/ipa-chart-with-sounds/ http://www.internationalphoneticalphabet.org/ipa-charts/ipa-symbols-chart-complete/

NOTE HEADS & EXPRESSIONS The vocal parts incorporate quite a lot of sounds and textures of materials that are not traditionally sung. Below are descriptions for note heads for specific sounds and effects, but it would be advised to consult, and collaborate, with the composer on the sounds and expressions for these sounds and/or listen to previous performances of the work to get a sense for the nuances of the sounds and textures written herein.

Specific indications for sounds and techniques apply to the notes and/or sequences they are written above.

: Subtly search for pitch or pitches in ensemble to emphasize and articulate – on indicated technique.

: x note heads are written along with written indications for the subtlety of nuances. The general sound for x note heads is a whispered voice or spoken voice with pitch colors. The different pitches of the note head indicate the approximate pitches that should resonate through the speech or other effects.

: stems only notes indicates spoken on non pitch but on indicated rhythm in a natural voice. When text is indicated to be spoken on non-specific rhythm patterns (no rhythm or pitch indicated) then speak text “ordinarily” according to the written indications.

: Vocalization on air. When written on the central line of the staff it is non-pitch specific. When written on specific pitches then let subtle pitches resonate through the breath.

: vocalize in high register

: vocalize in low register

: Gasping or quickly (sharply) exhaling – indicated with in or ex (for inhale or exhale)

: Low sounding thumping sound at the back of the throat

: Airy squeaky sound inhaled through narrowly pressed lips – position of lips similar to whistling. Results in arrhythmic squeaky sounds.

: Exhalation through somewhat rough throat sound, similar to the sound of throat singing.

: Dramatically wide vibrato.

Tremolo in the vocal parts indicate flowing pulsating textures rather than a strict metronomic pulse.

THROAT & MOUTH POSITIONS Indications for throat positions (how closed or open the throat is) – serves to change the color of pitch/whispering/breathing sounds. This is indicated above the staff and only applies to the single note or sequenze it is written above. If there is no indication for throat position, then keep in normal position.

“Half open/closed throat” indicates to place tongue half way at the back of the mouth to half close the throat, this should not feel uncomfortable or unnatural. Produces a hollow sound.

“Closed throat” indicates to place tongue at back of throat, this should not feel uncomfortable or unnatural

“Broken throat” indicates to vocalize on a somewhat scratched broken sound back in the throat, this should not feel uncomfortable or unnatural. The result is a sound that is naturally produced in the throat e.g. when pausing/sustaining the sound at the end of “I”.

There are recurring rhythmic patterns and articulations that occur in the work. Following are a few of these patterns: Indicates the below rhythmic pattern and is vocalized on half closed throat on a rather nasal sound – tongue is placed at top of mouth and back towards throat:

Non-concentrated pitches, airy flickering and subtly pulsating sounds – each pitch not to be articulated and rhythm in a free natural flow:

The note heads for the above technique determines the nature of the sounds, pitches, on air etc.

Indicates half closed throat sustained sound

Indicates broken throat sounds

Abbreviations: In – inhalation Ex – exhalation Br.thr. – broken throat : One sound gradually becomes the next. : Alternate, go back and forth, between pitches/technique/rhythm/patterns etc. as indicated *

O-X-O – ACTOR The story that 2 ; 2 WHOOV RU SURMHFWV, starting in mm. 446, should ideally be about some sort of mythical creature.

In addition to the linearly written material in the score that is aligned with the ensemble, there are 3 cycles, or “time capsules”, of materials that are placed at intervals in the piece in collaboration with the composer and director.

These time capsules should be performed inconspicuously with a subtle sense of brokenness. The following symbol represents the insertion of a cycle.

*

WOODWINDS When notes are slurred throughout an extended period of time, breathe where necessary, not synchronized NOTE HEADS Air sounds, no pitch – written on the middle line of the staff for no specific pitch.

Airy pitches – this should mostly contain the air sound, with a subtle color of the pitches.

Flute:

Overtones – the lower note head indicates the fundamental pitch, the upper note head indicates the sounding pitch.

When indicated to alternate freely between overtones/whistle tones, naturally move between overtones from the fundamental pitch (the lowest note). The written harmonics, the diamond note heads in brackets or merely presented as stem lines, serve as indications of harmonics but do not necessarily indicate exact pitches that should be played. The exact resulting pitches are up to the choice of the performer.

Key clicks and slap tongue/tongue ram, for percussive effect. If slap tongue/tongue ram is not possible, click tongue inside the mouth in rhythm with key clicks. The upper note head (x) indicates the key click, the lower note is the sounding pitch/color effect. Similar effect can be gained by gently hitting with a pencil on the mouth piece.

Key clicks.

Clarinets: Key clicks and slap tongue, for percussive effect. The upper note head (x) indicates the key click (pitch), the lower note indicates the percussive tongue slap effect.

Bass Clarinet is written in sounding register in the score – Bass Flute sounds an octave lower than written *

BRASS When notes are slurred throughout an extended period of time, breathe where necessary, not synchronized NOTE HEADS Air sounds – no pitch sounding.

Rhythmic tongue flutter, also appears on air

Flutter tongue On air, written in rhythmic patterns – (as a controlled flutter).

*

STRINGS When notes are slurred through an extended period of time – change bow where necessary Double bass needs to have extension down to C NOTE HEADS & EFFECTS

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. This note head is written with a small note head below that indicates the open string that it should be played on. When this note head is indicated with a , move hand up or down the string as indicated (this will produce various harmonic colors to the airy sound as hand glissandos over the string/s).

An example of this might g g look something like this: When these note heads 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.

Three tremolo lines refer to playing quick tremolo notes but not to rhythmic 32nd notes.

[notes without note heads] Indicate a continuation of performing on previous technique. E.g. continue playing “on air”, with left hand covering strings without pitch (as indicated with the initial note head of the phrase), moving the hand (and bow) as indicated by the written rhythmic patterns.

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

m. b. pr. Performed on muted string, not on a pitch, (as indicated by the note head). Results in a subtle percussive attack. The short notes on much bow pressure should ideally be performed close to the frog for a percussive effect.

When m.b.pr. is applied to a note head of longer duration, then draw the bow very slowly over the string with much bow pressure.

With indication to “mute & pizz with fingernail”: mute string with finger/hand and sharply pizz. with fingernail or a guitar pick in a quick sharp movement very close to the muted point, for a rhythmic – un-pitched – crackling sound. This should result in low resonance rhythmic attacks.

x note heads are written with instructions above such as, but not limited to, saltando or col legno.

Former effect/sound/technique/indication gradually becomes the following one.

All glissandos should be played throughout the duration of the note value it is written by. For example slow glissando that starts at the beginning of the note and glissandos throughout the four beats of the note value. Similar with

, indicates faster glissando (depending on the destination of the following pitch).

Glissando on harmonics: The left hand position should be held fixed during the gliss. to produce a fluctuating sound.

Light bow pressure – abbreviated l.b.pr. – apply light bow pressure to the string for an airy effect.

Much bow pressure – abbreviated m.b.pr. – apply an attack of much bow pressure to produce a scratching sound.

Sul pont. – abbreviated s.p.

Molto sul pont. – abbreviated m.s.p.

Ordinary – abbreviated ord. – takes back all special effects applied, including (but not limited to) sul pont., light bow pressure, much bow pressure etc.

Sustained – abbreviated sust.

Bow stroke – abbreviated b.str.

With – abbreviated w. *

PERCUSSION The following instruments, objects and mallets are needed for performance: 2 large bass drums, of the same size and with real skin - (1 per percussionist), laid flat 2 large tam tams, of the same size - (1 per percussionist) 2 brake drums, with subtly different sounds – 13 to 14 inch wide, 3 to 4 inches high - (1 per percussionist) 2 cymbals (1 per percussionist) 2 ceramic cups or similar objects (1 per percussionist) 6 to 8 crotales, non pitch specific - (per percussionist) 8 wood objects, such as in dimensions of two-by-four - (4 per percussionist) 4 double bass bows - (2 per percussionist) STAFF TYPES Percussion – four line staff Crotales & Ceramic cups (written above staff) Cymbal Metal Tam tam Bass Drum

The above applies except when performed on wood object/two-by-fours on bass drum – then each line represents a designated wood object: Wood object I Wood object II Wood object III Wood object IV

MALLETS

Drum sticks

Metal sticks

Soft yarn mallets

Bows

Hands

Superball

Big bass drum/tam tam mallets

Fingertips – abbreviated f.t.

Bows against skin of bass drum: Press tip of one bow into skin, draw bow hairs of other bow against the bow hairs on the bow that is touching skin, and move subtly over skin – produces a deep droning sound

x note heads indicate attacks

ord. note heads indicate sustain

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Cycle I

? O™

636 Airy growling sounds

I - XX

Œ

‰

‚

ɦɛ

640

I - XX

? Œ

Œ

‰™

‚

na

‚

ma

O

a

‚™

-

‚

ni

-

b‚

ah

‚™

m

-

-

‚

c.b.c - lyrically & introvertically

I - XX

a

hi

-

œ

Œ

b˙

b˙

˙

U̇ a

Cycle III 647 Breathing pitches

I - XX

? bO

O

I

a

Cycle IV ? Œ ‚™

g

O

g

™™

-

‚

‚

in

ɦɛ

‚

hi

655

I - XX

?

≈ b¿

¿

ma

na

-

-

‚

ni

-

b‚

ah

-

‚™

m

-

‚ a

-

hi

Œ

¿

‰

8 ‚¿

na

OY ™™

a

¿

ka

Œ

3 N 3 . .

3 .

3 œ œ œ œ œ œ œ œ. œ œ œ. œ. œ œ œ. œ.

ŋ

ŋ

ŋa

‚™

‚

ex

in

ŋa

ŋ

-

ŋ

ŋa

8 OY

g

ex

A

‚

¿

svu - k

Œ

b‚

ŋa

ŋ

4

in

ɛ

652

I - XX

¿

na

‚

Cycle II ? Ó

3

on airy pitches

hi

643

4

Ó

ɛ

-

8

in

‚

na

b‚

ŋ

ŋa

Cycle V Select a short fragment from your aria, sung inconspicuously as if searching for the sounds - introvertically.

‚

ŋ

ŋ

ŋa

√ ~

bO ™

c.b.c

ɛ

Œ

ŋa

O™

‚

ŋa

™™

168

O-X-O

Cycle I 656 A silent act of caretaking - protecting element - bring X boxes with objects

&

O-X-O

Cycle II When O-X-O is an installation it is suggested that Cycle II is a fragment from a recording played through vibration speakers from X’s aria When O-X-O is an actor, Cycle II is the following

N

659

& Ó

O-X-O

a

3

ŋ

-

ŋ

.

.

ŋa

ŋa

3

ŋ

ŋ

.

.

ŋa

ŋa

3

ŋ

ŋ

.

.

ŋa

ŋa

3

ŋ

ŋ

.

.

ŋa

ŋa

Cycle III 661

&

O-X-O

A silent act of caretaking - protecting element - bring Trilogy boxes & letters/words

X

Cycle I 664 Prepare X with found objects

X

{

667

X

Pno.

{

Cycle II ™ ™

® ® on strings and wood

? ™™ Ó %

™ ™ bE

e %

Cycle III 669

X

‰™

be

™™

Œ

e

Repeat 3 to 5 times - as feels natural

® ® sust. on wood/frame ™ ™

‰

≈

attacks

‰

‰™

3

Œ

3

3

‰™

Œ

™ ™