Sy. 5898 - Bernhard Lang - MAY Cheap Opera #3 (2021)

for 6 voices, Bass Clarinet, playback and live-loops

Text by May Koorman and Bernhard Lang 2021

Partitur

Sy. 5898/01 ISMN 979-0-2042-5898-7

Kompositionsauftrag des SÜDWESTRUNDFUNKS

UA: Donaueschinger Musiktage, 14.10.2022, Neue Vocalsolisten, Gareth Davis.

Sopran

Mezzosopran

Alt

Tenor

Bariton

Bass

Bassklarinette in B

Zuspielung/Playback

BESETZUNG / INSTRUMENTATION

Die Partitur ist in C notiert / Score in C

Dauer: ca. 50 Minuten / Duration: ca. 50 minutes

ZEICHENERKLÄRUNG / EXPLANATION OF SIGNS

Vorzeichen gelten, den traditionellen Gepflogenheiten entsprechend, jeweils für den ganzen Takt in der jeweiligen Oktave.

Diese Regel gilt auch für Mikrotöne. Warnvorzeichen werden durchweg gegeben und bedeuten keine Aufhebung dieser Regel.

Following common practice, accidentals apply for the whole measure in that particular octave. This rule applies also to microtones. Cautionary accidentals are given frequently and do not cancel this rule.

Grundsätzlich ist (wenn nicht anders angegeben) von einer non vibrato Spielweise auszugehen. Generally, non vibrato playing is assumed (except when instructed otherwise).

Stimme / Voice

Vierteltonvorzeichen (Tonhöhe um ca. 50 Cent erniedrigt/erhöht) quartertone accidentals (pitch ca. 50 cents lower/higher)

gesungen sung

falsetto

Sprechgesang (Tonhöhen erkennbar)

Sprechgesang (pitch recognisable)

geflüstert (Tonhöhe erkennbar) stage whisper (pitch recognisable)

geflüstert (Tonhöhe nicht erkennbar) stage whisper (pitch unrecognisable)

gesprochen, mit annäherndem Tonhöhenverlauf spoken, with approximate pitches

gesprochen (ohne bestimmten Tonhöhenverlauf) spoken (unpitched)

die Phoneme morphen morphing the phonemes continuously

die Form der Mund morphen, um den Klang zu verwandeln morphing the shape of the mouth to change the sound

Bassklarinette B

äolischer Klang mit bestimmter Tonhöhe aeolian with specific pitches

nur Luft / airstream without pitch

Subtone

Flatterzunge / flutter tongue

Slap tone

Multiphonic; wenn kein spezieller Griff angegeben, ein freier Überblasklang, von der angegebenen Tonhöhe ausgehend. Multiphonic; free, with audible fundamental (unless a specific fingering is given).

mit Stimme / with voice

ZUSPIELUNG/PLAYBACK

Es gibt für jede Sektion eine Mehrkanal-Zuspielung; diese wird am Beginn jeder Sektion von Klangerisseur:in aus einem Multitrack-Playback gestartet.

A multitrack playback is provided for each section; this will be started at the beginning of each section by the sound director.

Folgende Klänge und Patches sind auch erforderlich / The following sounds and patches are also required: Native Instruments FM8-sounds (.nfm8)

PD-Live Patch (Section IV): Dreammachine CO#3 May Version 012.pd Click Tracks

Elektronisches Material (IEM Material, Tonmaterial, Patches) ist bei Ricordi verfügbar. Es sollte nicht ohne vorherige Zustimmung ersetzt oder weggelassen werden.

Sound materials (IEM Material, Audio and patches) are available from Ricordi. It should not be substituted without consultation.

Cheap Opera #3

I. THE LETTER (Part 1)

Here we are together, to talk about music and Parkinson’s Disease. We are here in Vienna in order to discuss the opera we are hoping to make and your possible involvement as composer.

We have been working hard to make our question more specific. To define themes for a composer to work with.

What is the invisible?

We tried to find the essence but there is not ‘one’ essence

We are all human beings, have relationships, live through birth, disease, death;

why is my life with Parkinson’s Disease so different, different, different, different, what is there to tell? what is there to tell? what is there to tell?

Are my experiences not universal in the end?

Does not everyone feel lonely and lost at times?

We all bring in our own fears, convictions, tastes.

There is not one truth about Parkinson’s Disease, it is my perception next to yours.

II. THE BURGLARS / THE FOX

This week burglars tried to break into our house. I was at home alone, working in my studio on the first floor. Still the men tried to force their way in.

Standing eye to eye with these guys I screamed as loudly as I could. as loudly as I could. as loudly as I could. Not out of fear but it was the same kind of scream I produced many times before,

to scare away the fox who kept coming back to kill one by one our rabbits we kept in our garden. I didn’t scream out of fear I screamed out of indignation, disgust, frustration, like I did at the fox: like I did at the fox: like I did at the fox: just keep your fucking hands off my daughter’s rabbits! keep your fucking hands off my daughter’s rabbits! keep your fucking hands off my daughter’s rabbits! keep your fucking hands off my daughter’s rabbits!

So let me introduce myself this is the person I am bringing into scene today a woman who yells at the threat angrily FUCK OFF!

this is how I dealt with the fox this is how I dealt with the burglars this is how I have been dealing with P D this is how I have been dealing with people around me

this is who I am this is who I have been this is who I am this is who I have been saying many times FUCK OFF!

III. KATZENSPRUNG

Japan

two-thousand and eleven Fukushima –

But our vacation is in two-thousand twelve, as is my diagnosis, in October two-thousand twelve –A nice hike is only eighty kilometers, a Katzensprung away –H says look how beautiful Let’s go here A wooded area Green on the map It reads Fukushima

March 12 two-thousand eleven Explosion of power plant Devastation wasteland eighty kilometers is a long way but to me a Katzensprung Why worry?

Why taking that risk? Why am I discussing this?

away eighty nothing Katzensprung

IV. DOPAMINE

Dope Dope Dope Dope Dopamine

Dihydroxyphenyl ethylamine

Dopamine

Parkinson’s disease, a degenerative condition causing tremor and motor impairment, is caused by a loss of dopamine Dope Dope Dope Dope Dopamine

the first symptoms are noticeable only when you have already lost ninety percent of your Dopamine producing cells gone forever

resulting in Depression a general feeling of not well being and the first physical symptoms it creeps into your life invisibly

Dope Dope Dope Dope Dopamine

all addictive Drugs all addictive Drugs effect Dopamine Dope Dope Dope Dope Dopamine Transmission increasing drug-wanting Dopamine Transmission

Cocaine Amphetamine Adderall Ecstasy Ritamin Dopamine

Dopamine is often seen as the Chemical of pleasure Chemical of pleasure

Dopamine has everything to do with fear people with P D feel often fearful Dopamine can be found in the peel and fruit pulp of bananas

V. I SEE NOW WHAT I DIDN’T SEE A YEAR AGO

I see now Now I see

deterioration starts really early and intense and it goes slowly no medicine has been found yet to stop it you will die with it not from it what I did not see stiffness slowness shuffling tremors

the feeling of being buried alive chronic exhaustion surges of creativity cut the crap a sense of urgency no time to waste

VI KORINTH / ABSINTH

the words come in pairs Korinthiers en Absinthiers generated by my brain deep brain surgery

Korinth Absinth a Dream deep brain surgery left side Korinth

reason Korinth Absinth right side Artemis Brauron yellow sun flower light halos Thujone

Why me? Bad Luck Absinth Korinth

VII. MASKS

Feeling locked up

wanting to break out wanting to break out

I am a mirror of human imperfection fear of being not seen fear of being forgotten

a mask for showing a different face a mask for keeping the world away Mask

Face an expressionless face

I am angry yes!

H said “I can’t tell any more whether you are happy or angry with me”.

this feeling of being locked up you cannot express yourself

I’m scared as hell to be buried alive

VIII. MY LEFT HAND

my left hand

I keep feeling my left hand it is a tingling feeling, ‘fluttering’, every now and then a small movement, twitching muscles.

My right side is most problematic, but left is starting to cause problems too.

My left hand feeling my left hand. things keep falling out of my hands, not having control is it your left hand? do you write with that hand?

of course not, I am right-handed.

but I told you how sorry I am.

IX. DIE NEUE VERWANDLUNG (OCT 15 2012)

October fifteenth I get the diagnosis of Parkinson’s Disease. The neurologist – his name, Doctor Engelsman? – was flanked by two co-assistants, doctors ‘to be’, interns.

The year before the symptoms had increased so much that I had to beg my GP to be able to return to the neurologist. “Why?” my GP said, “there is nothing the matter, you know that, they told you so last year…”

But he lets me go anyway. “You’ll see there is nothing amiss...”

The intern neurologist sees me first. The intern looks at me, does some tests and says: “…but they told you last time, a year ago that nothing’s the matter!”

I said: “But I have these headaches all the time…”

Assistant: “Everyone has headaches every now and then…”

But the neurologist looks at me and says: “Yes I see now what I didn’t see last year: Hardly any movement in your body, face, you don’t swing your arm when you walk.”

“Watch carefully, ladies, this is what Parkinson’s looks like!”

The intern walks me to the door as I leave. She timidly opens the door for me and says: “Well… eh. . well, good luck … all the best!”

Look, this is what Parkinson’s Disease looks like!

X. THE LETTER (Part 2): THE BEGINNING

the invisible the visible theatre of the mind nation and dream

I hope to have given you an introduction to the images and the work I have here with me. These are drawings describing my life with Parkinson’s Disease and the transitions, the old and new connections it has created so far. There are different ways to describe it, personal events and scenes, or more ‘abstract’ events, (the dream about Korinth and Absynth) but it all comes down to the same themes. Connection between things and people in time and space, in a space that is growing stronger through the years, separating itself from the body. A house for refuge and growth made up from hallucination and dream, all part of the brain activity but physically not existent within the body.

Bernhard Lang MAY

Cheap Opera #3

6 voices, Bass Clarinet, playback and live-loops (2021) Text by May Koorman and Bernhard Lang

I. The Letter (Part 1)

RULE SET

Round 1: Stopwatch 00:00. Tenor starts at 00:00, recites the first part of the letter, till about 01:40; as indicated he cues Bass Clarinet for chorus doubling; the other singers enter at scheduled times, picking one of the models A-D, after repeating it n times, jump to the next till all are done. Avoid alphabetical order.

Round 2: all singers and Bass Clarinet start at 02:07, pick one of the models A-D, repeat it n times, till all are done. Avoid alphabetical order.

aloud:

ROUND 1 | TIME: 00:00 to 02:07 Parkinson’sDisease.WearehereinVi

ROUND 1 | TIME: 00:00 to 02:07 = 60

Starttime: 00:06

Asynchronie

ROUND 1 | TIME: 00:00 to 02:07

Starttime: 00:29 Asynchronie

Starttime: 00:15 ROUND 1 | TIME: 00:00 to 02:07 Asynchronie

Starttime: 00:37

Asynchronie

1 | TIME: 00:00 to 02:07

Asynchronie Starttime: 00:31

Mezzosopran

2 | TIME: 02:07 to 04:00

= 60

II. The Burglars / The Fox

Synchronous with Playback

indignation,disgust,

keepyourfuckinghandsoffmydaughter’srabbits!

improvise, OUT, notation only as

02_May_Ambient_Drums.nfm8

thisiswhoIamthisiswhoIhavebeen

III. Katzensprung

Synchronous with Playback

RULE SET

Letter B cues voices entrace: each singer picks one of the Models A-D, repeats it n times, jumps to the next model, till all 4 are done; avoid alphabetical order. At 10:58 all singers attack Round 2. Same rules apply.

Section ends at 12:34.

TIME: 07:40 to 12:34

03_May_Fukushima.nfm8

03_May_Bass_Groover_01.nfm8

Katzensprungawaya

Katzensprungawaya c Katzensprungawaya

Katzensprungaway

Katzensprungawaya

Katzensprungaway

Katzensprungawaya

Katzensprungawaya Katzensprungawaya

Katzensprungaway Katzensprungaway

Devastation

Devastation wasteland

Devastation

Devastation wasteland

eightykilometerseightykilometers

buttomeaKatzensprung

c buttomeaKatzensprung

buttomeaKatzensprung

buttomeaKatzensprung c

buttomeaKatzensprung

c buttomeaKatzensprung

buttomeaKatzensprung

ROUND 1 | TIME: 09:34 to 10:58

Starttime: 09:52

Sopran c b away = 82 Asynchronie 2x A

ROUND 1 | TIME: 09:34 to 10:58

Starttime: 09:48

Mezzosopran c c away = 82 Asynchronie 2x A

ROUND 1 | TIME: 09:34 to 10:58 Starttime: 09:45

b c away = 82 Asynchronie 2x A

ROUND 1 | TIME: 09:34 to 10:58 Starttime: 09:41

Tenor c b away = 82 Asynchronie 2x A

ROUND 1 | TIME: 09:34 to 10:58 Starttime: 09:49

Bariton

b c away = 82 Asynchronie 2x A

ROUND 1 | TIME: 09:34 to 10:58 Starttime: 09:34

= 82 Asynchronie 2x A

ROUND 1 | TIME: 09:34 to 10:58 Starttime: 09:48

b cc b = 82 Asynchronie 2x A play 1-2 notes (simultaneously) from the notated cluster

-

ROUND 2 | TIME: 10:58 to 12:34 = 82 Asynchronie

ROUND 2 | TIME: 10:58 to 12:34 Asynchronie

A = 82 ROUND 2 | TIME: 10:58 to 12:34

= 82 ROUND 2 | TIME: 10:58 to 12:34 Asynchronie

| TIME: 10:58 to 12:34

ROUND 2 | TIME: 10:58 to 12:34

Bassklarinette in B c a ab Asynchronie 2x A play 1-2 notes (simultaneously) from the notated cluster = 82

IV. Dopamine

Synchronous with Playback

Dopamineproducingcells

Amphetamine AdderallEcstasyRitamin

CocaineAmphetamineAdderallEcstasyRitaminDopamine

CocaineAmphetamineAdderallEcstasyRitamin

Dopaminecanbefoundinthepeelandfruitpulpofbananas

V. I see now what I didn’t see a year ago

RULE SET

Round 1: players start at designated time codes, repeating their model n-times, then switching to Round 2; Round 2, 4: players select a model A-D in any non-alphabetical order, repeat it, till all 4 models are done. Round 3, 5: determinate sections.

ROUND 1 | TIME: 16:14 to 17:23

= 76

Starttime: 16:14

Asynchronie

Sopran a a Iseenow

ROUND 1 | TIME: 16:14 to 17:23

= 76

Starttime: 16:22

Asynchronie

Mezzosopran a a Iseenow

ROUND 1 | TIME: 16:14 to 17:23

= 76

Starttime: 16:24

Asynchronie

a a Iseenow

ROUND 1 | TIME: 16:14 to 17:23

= 76

Starttime: 16:46

Asynchronie

Tenor a Iseenow

ROUND 1 | TIME: 16:14 to 17:23

= 76

Asynchronie Starttime: 16:43

a Iseenow

ROUND 1 | TIME: 16:14 to 17:23

= 76

Asynchronie Starttime: 16:50

in B a

Bariton

Bassklarinette

Mezzosopran

Tenor

Bassklarinette in B

ROUND 4 | TIME: 18:53 to 20:21 = 76

ROUND 4 | TIME: 18:53 to 20:21 = 76 Starttime: 18:53

ROUND 4 | TIME: 18:53 to 20:21 = 76

ROUND 4 | TIME: 18:53 to 20:21 = 76 Starttime: 19:25

ROUND 4 | TIME: 18:53 to 20:21 Starttime: 19:27

ROUND 4 | TIME: 18:53 to 20:21

Bariton

Bassklarinette in B

Sopran

Mezzosopran Alt

Tenor

Bariton

Bass

Bassklarinette in B

VI. Korinth / Absinth

RULE SET

Player picks one of the models A-D at designated time, repeats it, till all models have been played in any non-alphabetical order, then switch to next round at indicated time.

Cue list for individual Rounds: 20:32, 21:49, 23:06, 24:23, 25:40, 26:57, 28:14, 29:31.

PD Patch Dreammachine.

ROUNDS 1-7 | TIME: 20:32 to 29:31 q = 60

06_May_Absinth_Korinth_Deep_Bass_01.nfm8

ROUND 1 | TIME: 20:32 to 21:49

=

| TIME: 20:32 to 21:49

20:32 to 21:49

ROUND 1 | TIME: 20:32 to 21:49

ROUND 2 | TIME: 21:49 to 23:06

ROUND 2 | TIME: 21:49 to 23:06 Asynchronie Endtime: 23:03

A = 60

2 | TIME: 21:49 to 23:06

A = 60

ROUND 2 | TIME: 21:49 to 23:06 Asynchronie Endtime: 22:58

ROUND 2 | TIME: 21:49 to 23:06 Asynchronie Endtime: 23:01

Bariton c reason 2x A = 60

ROUND 2 | TIME: 21:49 to 23:06 Asynchronie Endtime: 22:54

A = 60

ROUND 2 | TIME: 21:49 to 23:06 Asynchronie Endtime: 23:04

Bassklarinette in

ROUND 3 | TIME: 23:06 to 24:23 Starttime: 23:20 Asynchronie

ROUND 3 | TIME: 23:06 to 24:23

Starttime: 23:16 Asynchronie

ROUND 3 | TIME: 23:06 to 24:23 Starttime: 23:13 Asynchronie

ROUND 3 | TIME: 23:06 to 24:23 Starttime: 23:09

ROUND 3 | TIME: 23:06 to 24:23 Starttime: 23:06

Bariton b a Absinth = 60

-

ROUND 3 | TIME: 23:06 to 24:23 Starttime: 23:14

a Absinth = 60

Bassklarinette

ROUND 4 | TIME: 24:23 to 25:40 = 60 Asynchronie

Starttime: 24:23

ROUND 4 | TIME: 24:23 to 25:40 = 60 Asynchronie

24:28

ROUND 4 | TIME: 24:23 to 25:40 = 60 Asynchronie

Starttime: 24:24

ROUND 4 | TIME: 24:23 to 25:40 = 60 Asynchronie

Starttime: 24:30

Starttime: 24:27

ROUND 4 | TIME: 24:23 to 25:40 = 60 Asynchronie

24:23

Bassklarinette in

ROUND 5 | TIME: 25:40 to 26:57 = 60 Asynchronie Starttime: 25:40

ROUND 5 | TIME: 25:40 to 26:57 = 60 Asynchronie Starttime: 25:42

ROUND 5 | TIME: 25:40 to 26:57 = 60 Asynchronie Starttime: 25:49

ROUND 5 | TIME: 25:40 to 26:57 = 60 Asynchronie Starttime: 25:41

ROUND 5 | TIME: 25:40 to 26:57 = 60 Asynchronie Starttime: 25:45

ROUND 5 | TIME: 25:40 to 26:57 = 60 Asynchronie Starttime: 25:41

ROUND 5 | TIME: 25:40 to 26:57 Starttime: 25:47

A = 60

ROUND 6 | TIME: 26:57 to 28:14

Starttime: 26:57 Asynchronie

ROUND 6 | TIME: 26:57 to 28:14

Starttime: 26:57 Asynchronie

ROUND 6 | TIME: 26:57 to 28:14 Starttime: 26:59 Asynchronie

ROUND 6 | TIME: 26:57 to 28:14 Starttime: 27:17 Asynchronie

ROUND 6 | TIME: 26:57 to 28:14 Starttime: 27:04

Bariton

Bassklarinette

Bkl.

ROUND 7 | TIME: 28:14 to 29:31 Asynchronie

A = 60

ROUND 7 | TIME: 28:14 to 29:31 Asynchronie

A = 60

Bassklarinette in B = 60

ROUND 7 | TIME: 28:14 to 29:31 Asynchronie possibile

VII. Masks

Synchronous with Playback

TIME: 29:31 to 33:45

with closed mouth, humming (rebreath imperceptibly) with closed mouth, humming (rebreath imperceptibly) with closed mouth, humming (rebreath imperceptibly) with closed mouth, humming (rebreath imperceptibly) with closed mouth, humming (rebreath imperceptibly) with closed mouth, humming (rebreath imperceptibly)

07_May_Quartertone_Organ.nfm8

quartertone tuning

07_May_Mask_01.nfm8

Sopran Mezzosopran

Tenor

Bariton

Bassklarinette

& ? & ? ?

Feelinglockedup

& ? & ? ?

& t & ? & ?

VIII. My left hand Synchronous with Playback

Interlude I

[w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w]

c [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w]

c [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] c [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w]

c [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w]

[w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w]

bisbigliando, alternate fingerings c [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w]

[w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w]

c [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w]

c [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w] [w]

[wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ]

[wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ] [wɛ]