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LEWIS

The Reincarnation of Blind Tom

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Double concerto for symphonic orchestra, human performer, and artificially intelligent pianist

Full Score

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GEORGE LEWIS

The Reincarnation of Blind Tom

ISSUU Version For Perusal Only

Double concerto for symphonic orchestra, human performer, and artificially intelligent pianist

Full Score

Commissioned by Südwestrundfunk

LEIP ZI G · L ONDO N · NE W YOR K

Prefatory Note

The Reincarnation of Blind Tom is a work for symphonic orchestra and two improvising soloists: an artificially intelligent pianist and a human performer of any instrument or voice type. The music for the orchestra is precisely notated; the music for both soloists specifies entrance and exit points only. Suggested actions for dialogue with the written music include blending, opposition or contrast, and transformation. Direct imitation of melodic or harmonic passages is to be avoided; use of noise (whatever that means in this context) is encouraged.

The computer improvisor’s part is intended for an artificially intelligent computer soloist performing on an Yamaha DisklavierTM (a computer-controllable acoustic concert grand piano), running software that analyzes aspects of the real-time performances of the human performer and key instruments in the orchestra. The system would use that analysis to guide an automatic “improvisation” program that creates both complex responses to input and independent behavior that arises from its own internal processes. Any software program that can realize these functions and actions can perform this work.

Instrumentation

Human Improvising Soloist (any instrument or voice)

Computer Improvising Soloist (Yamaha DisklavierTM preferred)

3 Flutes in C (Flute I doubling Piccolo)

3 Oboes

3 Clarinets in B-Flat (Clarinet I doubling Bass Clarinet in B-Flat)

3 Bassoons (Bassoon I doubling Contrabassoon or Kontraforte)

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4 Horns in F (mutes: straight, Harmon, stopping)

3 Trumpets in C (mutes: straight, Harmon with stem, plunger)

3 Trombones (mutes: straight, Harmon with stem, plunger) Tuba (mutes: straight)

Timpani

Percussion I

Snare drum

High tom-tom

Small Triangle Lg. Sizzle cymbal Small Tam-tam Vibraphone Flexatone (with bow) Castanets

4 bossed gongs (C3, Db3, Gb3, A3)

Percussion II

Medium tom-tom High Bongo

Low Bongo

Medium Triangle Medium Tam-tam China cymbal Crash cymbal Glockenspiel Xylophone Flexatone (with bow) 4 bossed gongs (Db4, E4, G4, Bb4)

Percussion III

Low Tom-Tom

Floor tom Bass drum

Splash cymbal Lg. Ride cymbal Large Tam-tam Brake drum/anvil Large Triangle Flexatone (with bow) Crotales (2 octaves) 4 bossed gongs (Ab4, B4, D5, F5)

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

Viola

Cello

Contrabass

Harp Piano

Violin I

Violin II

Symbols

s.t.: sul tasto (arco)

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

c.l.b.: col legno battuto

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)

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

Clusters in indicated register

Specifies string desks to perform indicated passages or gestures

The notation “source:” shows a set of four short note gestures to be performed by players in the specified string desks. The four gestures are performed in any order or rhythmic placement for that measure and the next two that follow. Dynamics are performed as indicated.

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

highest note possible Bow

(relative):

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)

glissando down with vibrato glissando up with vibrato

These signs modify the pitch of a note. Where they are executed corresponds to where they are placed in a given measure.

General performance notes

slowly undulating pitch (all): Like vibrato in pitch range, but much slower. Do not synchronize with other players.

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

slap tongue, flap 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: Sharp, hissy breath textures are intended.

glissandi:

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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.

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 Kontraforte/Contrabassoon 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

Electronics: The Reincarnation of Blind Tom utilizes a Max patch designed and constructed by George Lewis and Damon Holzborn. The patch, called Voyager, is an artificially intelligent performer developed and updated from a 1987 design and construction by George Lewis. The version of Voyager in use for this piece performs on a computer-controlled Yamaha DisklavierTM, an acoustic concert grand piano. The patch runs on an Apple Mac computer (there is no Windows version) equipped with a multi-channel in/out USB audio/MIDI interface. The patch and instructions for its use are available upon request.

Key instruments in the orchestra as well as the human soloist, are outfitted with clip-on or contact microphones to pick up their sounds. For best results, these instruments should be VERY closely miked with clip-on mics or pickups. DO NOT USE conventional mics on stands unless there is no other possibility.

The output of the microphones is sent to an audio interface, and from there to the computer system, enabling it to track features of the performance such as pitch, volume, gestural type, behavioral stability, and many other derived parameters. Please note that this is an all-acoustic work; there are no electronic sounds of any kind, and the sounds from the instruments are not amplified, sonically transformed, or sent to loudspeakers or other sound-making transducers.

Each rehearsal number, i.e.,, is a cue that corresponds to a preset that instructs the computer pianist as to when it should be playing and what instruments it should be paying attention to. Other than that, the system is free to construct any relationship it likes to the current sonic environment. In performance, the orchestra proceeds sequentially through the cues, and a person following the score steps through the corresponding presets on the patch, using a mouse, trackpad, or USB or Bluetooth foot pedal.

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: 20 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.