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LEWIS

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Disputatio for Chamber Ensemble

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GEORGE LEWIS

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Disputatio

for Chamber Ensemble

Kompositionsauftrag des Westdeutschen Rundfunks

EDITION PETERS

Instrumentation

Flute and Piccolo in C

Oboe

Clarinet and Bass Clarinet in B-Flat

Alto Saxophone in E-Flat

Bassoon/Kontraforte

Horn in F

Trumpet in C (mutes: straight, harmon with stem, plunger)

Trombone (mutes: straight, harmon with stem, plunger)

Piano

Percussion I

Large Cymbal

Brake Drum

Medium Cymbal

Snare Drum

Medium Tam-tam

Medium Tom-tom

Concert Bass Drum (28”) 4 Bossed Gongs (A4, C5, Eb5, G5) Xylophone

Percussion II

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Large Sizzle Cymbal

Large Tam-tam Brake Drum

High and Low Bongos High Tom-tom Floor Tom Castanets (hand) 4 Bossed Gongs (Ab4, Bb4, Db5, Gb5) Vibraphone Crotales (two octaves, C6-C8)

General: Bow, sticks, mallets, brushes, Superball beaters, chopsticks, etc.

Percussion I

Violin I

Violin II

Viola

Cello

Contrabass

Symbols

s.t.: sul tasto (arco)

s.p.: sul ponticello (arco), normal pressure

c.l.b.: col legno battuto

Percussion II

m.s.t., a.s.t.: molto sul tasto (arco)

m.s.p., a.s.p.: molto sul ponticello (arco)

m.p.: moderate bow pressure (some pitch)

h.p.: heavy bow pressure (some pitch) bisb.: bisbigliando (in winds, timbre trill)

+ = closed plunger or harmon mute

o = open plunger or harmon mute

m.v., m.m.v.: molto (molto) vibrato (normal speed, widest pitch range possible)

square or open noteheads: indicates air sound, growls, or other production of indefinite pitch

h.p.: heavy pressure (with some pitch, using approximate indicated pitches)

h.p. (no pitch): heaviest, pure noise (staff position not indicative of pitch level)

, multi, multiph: stable, dissonant multiphonic sound on given note

Clusters in indicated register

Indefinite pitches in indicated register (at #27, play as fast as possible and do not synchronize with other players)

Box notation: V = create Versions of immediately preceding passage

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Bow pressure specification (relative): high

low

harm. arp.: Harmonic arpeggio. Rhythm and movement trajectories of the left hand are suggested by the indeterminate notation.

Vibrato: Should match the duration of the first note to which they are attached. Speed is similar to normal vibrato, but pitch range is much wider, similar to Korean nonghyeon

very wide narrow accented fading growing “jeonseong” (grace note-like rise and fall in pitch)

General performance notes

voice grunt (winds): Use rough-textured voice and play at the same time.

glissando down with vibrato glissando up with vibrato accented vibrato

slap tongue: Produce percussive sounds with some pitch content, which may be indeterminate in pitch In brass, the technique is analogous to the flutist’s tongue ram.

air sound (winds): Sharp, hissy breath textures are intended.

glissandi:

Short, leading toward an attack: Treated like sliding grace notes. Short, trailing a note: Analogous to a short verbal shout. Long, trailing a note: Should not exceed the total duration of the note. Follow approximate pitch curve. Between notes: Follow approximate pitch curve.

irregular speed: Used with trills, bisbigliando and vibrato to produce non-uniform textures.

The score is transposed, in the customary way:

Piccolo sounds an octave higher than written

B-Flat Clarinet sounds a major 2nd lower than written

B-Flat Bass Clarinet sounds a major 9th lower than written

Alto Saxophone sounds a major 6th lower than written

Kontraforte sounds one octave lower than written

Horn sounds a perfect 5th lower than written

Crotales sound two octaves higher than written

Contrabass sounds an octave lower than written

Specifications as to instruments, bowings, mutes, articulations, etc., are maintained until superseded by a subsequent specification, or by the “ord.” instruction. Accidentals carry through the measure. Trills are always half-step, and are executed with irregular speed, as with tremolos. Specified vibrato is always irregular, unstable, and non-synchronized.

Duration: 17 minutes

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George Lewis

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George Lewis (b. 1952) is Professor of American Music at Columbia University and Area Chair in Composition. He is a Fellow of the American Academy of Arts and Sciences and the American Academy of Arts and Letters, and a Corresponding Fellow of the British Academy. His other honors include a MacArthur Fellowship (2002) and a Guggenheim Fellowship (2015). A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis’s work has been documented in more than 150 recordings and has been presented by the BBC Scottish Symphony Orchestra, Ensemble Dal Niente, the London Philharmonia Orchestra, International Contemporary Ensemble, Ensemble Musikfabrik, Mivos Quartet, Spektral Quartet, London Sinfonietta, and others. Lewis holds honorary degrees from the University of Edinburgh, New College of Florida, and Harvard University.

George Lewis (*1952) ist Professor für amerikanische Musik an der Columbia University and Leiter des Fachbereichs Komposition. Er ist Mitglied der American Academy of Arts and Sciences und der American Academy of Arts and Letters sowie korrespondierendes Mitglied der British Academy. Zu weiteren Auszeichnungen zählen ein MacArthur-Stipendium (2002) sowie ein Guggenheim-Stipendium (2015). Seit 1971 ist er Mitglied der Association for the Advancement of Creative Musicians (AACM). Lewis’ Musik ist in über 150 Aufnahmen dokumentiert und wurde u. a. vom BBC Scottish Symphony Orchestra, Ensemble Dal Niente, London Philharmonia Orchestra, International Contemporary Ensemble, Ensemble Musikfabrik, Mivos Quartet, Spektral Quartet und von der London Sinfonietta aufgeführt. Er ist Ehrendoktor der University of Edinburgh, des New College of Florida und der Harvard University.