SY 3677 | Enno Poppe - Salz (2005)

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Enno Poppe Salz für

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Ensemble

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2005

Sy. 3677/01 ISMN M-2042-3677-0

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Partitur

RICORDI

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Besetzung / Instrumentation

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Flöte, auch Piccolo, auch Bassflöte / flute, also piccolo, also bass flute Oboe, auch Englischhorn / oboe, also English horn Klarinette in B, auch Bassklarinette in B / clarinet in B flat, also bass clarinet in B flat Altsaxophon in Es, auch Sopransaxophon in B / alto saxophone in E flat, also soprano saxophone in B flat

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Drumset (1 Spieler) / Drum set (1 player): Kleine Trommel / snare drum 2 Bongos / 2 bongos 2 Tomtoms, das größere davon mit einem aufgelegten kleinen Becken / 2 tom toms, the larger of the two with a small cymbal on the drum Becken / cymbal Tempelblock / temple block 2 Metallblocks (Ambosse) / 2 metal blocks (anvils) Holztrommel (noch besser: sehr resonante Holzkiste) / wood drum (even better: a very resonant wood box) Hihat / hi-hat Bassdrum / bass drum

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Violine / violin Viola / alto Violoncello / violoncello

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Schlägel: Besen, Ruten, dünne Trommelstöcke, sehr dicke Trommelstöcke / mallets: brushes, twigs, thin drum sticks, very thick drum sticks

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Keyboard (1 Spieler) / (1 player): eine gewichtete Tastatur (7 Oktaven) / a weighted keyboard (7 octaves) eine Tastatur (5 Oktaven) / one keyboard (5 octaves) Sustainpedal, Volumepedal / sustain pedal, volume pedal Macintosh-Computer mit Bildschirm, die Computertastatur muss für den Spieler erreichbar, der Bildschirm sichtbar sein / Macintosh computer with screen, the computer keyboard must be accessible for the player, the screen must be visible Verstärkung lokal (2 Lautsprecher und Monitor) / local amplification (2 loudspeakers and monitor)

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Dauer / Duration: 15‘

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Uraufführung: Salzburg, 21.8.2005, Klangforum Wien, Ltg Stefan Asbury; Auftragswerk der SALZBURGER FESTSPIELE Premiere on August 21, 2005 in Salzburg, with Klangforum Wien, conducted by Stefan Asbury commissioned by the SALZBURGER FESTSPIELE

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Anmerkungen zur Ausführung Partitur in C.

2.

Das Stück ist stets sehr gut artikuliert zu spielen. Das gilt insbesondere auch dort, wo die Noten nicht bezeichnet sind.

3.

Generell ist non vibrato zu spielen. Es gibt zahlreiche Stellen, die im Kleinstich mit Glissando-Linien geschrieben sind. Diese sind als ausnotierte Vibrati aufzufassen, das heißt, dass die - normal notierten Anfangsnoten leicht betont sind. Jede einzelne, mit einem legato-Bogen zusammengefasste glissando-Stelle ist wie ein einzelner, in sich bewegter Ton zu artikulieren. Daneben sind einige einzelne Töne mit „vibr.“ bezeichnet. Dies sollte deutlich, aber keinesfalls parodistisch, als andere Farbe zu hören sein. „Vibr.“ gilt immer nur für den direkt bezeichneten Ton.

4.

Die traditionellen Vierteltonzeichen bezeichnen temperierte Vierteltöne. Die Vorzeichen mit Pfeil können Achteltöne oder Spektraltöne bezeichnen.

5.

Keyboard: Für das Stück wird das Programm Salzorgel zur Verfügung gestellt. Es wird auf einem Macintosh-Rechner, vorzugsweise G5 in schallisolierter Kiste, installiert. Dieses Programm weist den angeschlagenen Tasten die erklingenden Tonhöhe zu. Außerdem errechnet es zu allen Tonhöhen die Summations- und Differenztöne, sodass die Anzahl der erklingenden Töne immer das Quadrat der angeschlagenen Tasten beträgt.

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Die obere Akkolade wird auf einem fünfoktavigen Keyboard gespielt. Mit diesem werden die Orgelfarben umgeschaltet. Daher spielen die Tondauern und die dynamische Empfindlichkeit keine Rolle. Die mittlere Akkolade wird auf einem siebenoktavigen Keyboard gespielt. Hier sind die Griffe notiert, die nicht mit den resultierenden Tonhöhen, auch nicht mit der Tonanzahl, übereinstimmen.

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Die untere Akkolade bezeichnet die resultierenden Tonhöhen. Dabei ist mehreres zu beachten: - Je dichter der Tonsatz, desto lückenhafter ist die Transkription im Klangsystem. - Die Orgel ist im 32tel-Ton-System programmiert, daher sind die Akkorde im Klangsystem stets (auf Achteltöne) gerundet. Die anderen Musiker können sich daher nicht darauf verlassen, dass die notierten Töne centgenau mit den klingenden Tönen übereinstimmen. - Durch die wechselnden Farben kann zudem bisweilen der Eindruck schwankender Intonation entstehen. Mit dem Sustain-Pedal werden 25 verschiedene Tastaturbelegungen umgeschaltet. Diese sind durch Zahlen im Kreis bezeichnet.

Drumset Hihat (offen) Tom 2 Hihat (geschlossen) Hihat (angeschlagen)

Holztrommel 2 Becken auf Tom 2 Tom 1

Tempelblock

Amboß 2

Bongo 2

Amboß 1

Bongo 1

Kl.Tr. Becken

Kl.Tr.(auf den Rand)

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Bassdrum

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Die Dynamik im Schlagzeug ist in jedem Fall Aktionsdynamik. Das f mit den Händen ist viel zarter als ein Trommelstock - f . Die Besen sollen eine Dynamikstufe leiser sein als die Ruten.

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Ein Volume-Pedal wird gute Dienste leisten. Dennoch sollte versucht werden, soviel Dynamik wie möglich ausschliesslich über die Anschlagsdynamik zu erzeugen. Das ist für den Musiker wesentlich leichter nachzuvollziehen. Im übrigen reichen die Dynamikunterschiede der Orgelfarben oft schon aus. Die notierte Dynamik entspricht daher häufiger der Dynamik, die durch das Umschalten der Farben ohnehin entsteht. Spieler und Dirigent haben auf eine ausgewogene Balance achtzugeben. Wichtig ist daher, dass der Spieler sich gut hört.

Sy. 3677/01

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Score in C.

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The score must always be played with very good articulation. This applies especially where the notes are not marked.

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Performance Notes

In general the piece is to be played non vibrato. There are numerous places where in small print glissando lines are notated. These are to be understood as notated vibrato, that is, the normally notated notes are to be slightly emphasized. Each individual glissando passage that is notated with a legato slur is to be articulated as an individual moving tone. Additionally there are a few individual tones, which are notated as “vibr.”. These should be clearly audible as a different timbre, but not in any way as if a parody. "Vibr." in this case always applies only to the tone directly indicated.

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3.

The traditional quartertone signs indicate tempered quartertones. The accidentals with an arrow can indicate eighth-tones or spectral tones.

5.

Keyboard: for this piece the program Salzorgel will be made available. It is to be installed an a Macintosh computer, preferably a G5 with sound isolation. This program directs the keys attacked to the tone, which is to be produced. In addition it calculates for all the tones the summation and difference tones, so that the tone, which is to sound, is always the square of the attacked key.

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The higher accolade is to be played on the five-octave keyboard. With this device, the timbres in the organ can be shifted. The duration of the tones or the dynamic sensitivity are thus of no consequence. The middle accolade is to be played on a seven-octave keyboard. Here the fingerings are notated, which do neither correspond with the resulting pitches nor with the number of pitches actually heard.

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The bottom accolade indicates the resulting pitches. Here there are a number of things to pay attention to: - The more dense the score is, the less comprehensive is the transcription in the musical system. - The organ is programmed in a system of 32nd-tones, the chords therefore are always rounded to eighth-tones. The other musicians can thus not rely upon the notated tones being precise to a cent with the actual sounding pitches. - The changing timbres can also at times lead to the impression of fluctuating intonation. With the sustain pedal, 25 different keyboard settings can be switched on or off. These are indicated with a number in a circle.

Drum set

wood drum cymbal on tom 2

tom 1

temple block anvil 2

bongo 2 anvil 1

bongo 1 cymbal

snare drum snare drum (on the edge)

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bass drum hi-hat (open) tom 2 hi-hat (closed) hi-hat (struck)

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A volume pedal will be very helpful. Still, as much as possible, the dynamics should be created through the attacks on the instruments. This is much easier for the musician to envision. Additionally, the dynamic differences in the organ are often sufficient. The notated dynamics are thus often the same as the dynamic, which is achieved anyway through the change in timbre. Performers and the conductor should always be aware of trying to achieve a good balance. It is therefore important that the musicians can hear themselves.

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The dynamics in the percussion are always action-based dynamics. The f with the hands is much more gentle than a f with a drumstick. The brushes should be a level softer in dynamics than with the twigs.

Sy. 3677/01

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         





mp

.R



 

3





 

   









 

        

     



mf

 











 

       

 

       

ly on







 



          

<>







mp

<>















   







 

f

    

 

  

 

      mf



 

4:3



  

mp



 3

6

  



3

mp

    

       











 





mp

    p







f

pp



  

 



f

f

mf

pp



     

 

mp

/F

mf

mp

G





   



p

 



 



C o.

     



3



3

3

    

con sord.



mp



ic or





          

 

   



ht b

kbd (griff)



4:3

mp





di







   



op

ctrl







5

    



p<>

&







pp

C

sz





 

mp

  

pp

mp vc





 vl  

ppp

p





va



 

al

pp



bkl

     



     

ru s





eh

asx



ig

 

yr

bfl

 

 

molto vibr.

pe

  

16

 

or

 

y

  

4

4





 p

         



3

mp

   

       

 

eh





5:3

mp



bkl

 



  

ppp

ff

  

 















klang

 



          

 

  

   

/F

& di

 

   p

  

ppp



         



     

ppp







p

ic or

f

 





.R





3

4:3

       

 

   poco 



p





   

       3      3 pp



G









f

ig

kbd (griff)

  

mf



ly 



p















    3











  

 

 

pp

  pp

   



   vibr.

pp













ppp

    

       

       4:3

   

p

pp



pp



   

flaut.





 pppp

   











   



ppp 4

        

pp

    pp

ppp

             

yr

ctrl

 

   

 

mf





4:3

   

op

sz





y

 

C

vc

      





f

mf





ht b



va











 



  5



ppp



        3 pp

mf



 vl 



C o.



pp



mp

asx



 

on



   

al

 

 

ru s

bfl

                

pe

 

5:4

or

   23

6





 

 pp

       

     

   











p





  

        























ppp

       

      





       

  

    





 









   

   

ly on

al

ru s     

3

  

pp

      

 

ppp

poco

pp

 

       3















 

 3         5

pp

ppp





pp

p

pp

p

   

     







3





 

       

 

 

 

 



ppp 3

p





    

pp

   

      

pp



 







4:3

mp





  

ppp



pppp



pp

   

3

pppp





  

ppp

ppp



 



ppp

 

    



pppp

pppp

ht b





           





ppp

ppp

pp

<>



3

  





    ord.     3   3

    

ig

klang

p



   

5



8:6

yr

kbd (griff)

     



5

pp



op

ctrl



3





C

sz







pp



poco pont.

p



  



     



va

vc





              

pe







   3

or



 vl 

pp

 

/F



           

C o.







ppp

ppp asx



&

p

3

ic or

bkl

3

        

 

.R

eh

 

3

G

 

 

7

29

bfl

 

di

    

y

6

  



 

 vl  

va





  

   3

pp vc

sz







  



p

ppp

    

  

     



5





ppp

      





p

4:3

pp



pp

     

      

    











p

ppp







   







         





 



       



p

3

p









  

   













p

       3

 

  



p



3





     3

  

          

p

   



pp

p

 





 



pp









pp

           p

ppp

    

pp

 

pe

 

     







pp



ly

on

al

p

4:3

ppp





   



             

y







ig



   

pp

yr



  



3

ht b





op

klang



C

kbd (griff)



ppp

         

 

 



 4:3   



3



  

ppp ctrl



 

              3



vibr.

 

 

   

       p

   



   

    





pp

       

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

vibr.

      f mf 3

ff











  



ff

 

ly on

al

mf

    



       6

   

vibr.

 





vibr.



  

mp

    







    

  ff

                             ff f               

 

 

ff

          3

           





mf

f







3

4:3

 

mf

ff

 mf   

   

f

4:3

f

ff

      

 

 





    





f

 

       



 

fff 4:3

    fff

11



 



 

15

4:3

mf

f

mp

4:3

ff

f

ru s 

              mf f            

mp

            

4:3

            

4:3



 

3

   



mf

f

f

     

 

f

               

p

f

  



4:3

f

 



mp

    

   

f

 



di



     



3

vibr.

yr

ctrl



  

  





      4:3



mf

3

mp

4:3

ff

 

  



   



pe



op

sz



   mp

C

vc







ic or



 poco

mp va



f

.R

 vl 

 



  

G





                               5:3

or

 

mp

 

/F



 



ht b

bkl

ff





   

25

C o.

     



ob

asx

 

ig

bfl

       

24

&

 

93

y

  

23





(Natursepte zu G)

     

 











 







  

     



5

vibr.







 

pppp

 



  

III 7 ppp













ppp

      



 







pppp





    

 

ly on      

 

mp

p

mp

3



3

  













    

   

4:3

0

   

mp 3



pp



  p





    

<> 5

 





pppp

ppp

     









flaut.

  



 



  







    





ppp

   

 

27









   

p

 



         



.R







pp

G





y



 



ht b





con sord.



mit weichen Besen



pp

ic or



ig







pp

C o.

  

3

&



con sord.

yr

klang

  



op

kbd (griff)

 



p

C

ctrl

 

nimmt Klarinette

pp

ppp > ppp >

sz

 

pp



va

vc

 





bkl

vl





ob

asx



 

al



 

ru s



  

(Natursepte zu G)

di

fl

nimmt Flöte

  

pe

99

 

or

 

/F

  

26

16









  

ppp

    

     





         3

3





 

 

pp

pp



 











 

3

3

 

     







  

ppp

 

 

yr

ig

   



.R



 

 



G







y









   

pp

    





  







ly p

on p

    

 

 

 

pppp



 

3





pp

  3

3

 

 

       







  

 

 ppp

     



  

 

            3

3

3

3

p

5



3

        4:3

3  3        

pppp

ppp





3



    

 

17

pp



  

     

  

         

pppp















poco







poco

poco



pp

con sord.

pp

ht b



op

klang



 

pp

ppp

C

kbd (griff)



poco



pp



pp

3

ppp

ctrl





  

4:3

mp



vibr. dolce



       

 

pp

 

p

mf



  

al

3

 





ru s

3







di



    

mp

ppp

sz







   

p

 

pe

 

va

3



   

or





3

mp

 vl 

vc





kl

asx



 

/F



ob



  

C o.



 

ic or

fl

      

&

   105

28





 

 

  pppp

     



asx

vl





mp







klang

  

ppp

pp



 

  



  





    

   

ppp









  

      



 





pp

 

   



mp

   

p

        3

p

3

p

  p

 

       

mp

 



 mp 





ly

on

 





 mp

     

mp





       

mf

mf

 

3

poco



poco

mf

p



 





  

 

mf

mp









 

3

      3



mp





 

 

   

al

      







.R



 

ht b

kbd (griff)



op



pp

 

 

G



 

3

y

3

 

C

ctrl



mp

    

ppp

      



ig





3

yr

sz









  

      mp

vibr. dolce

 

 

3

p

vc

 

  



mp



p





    



p



vibr.











p



  







3

p

 

30

ru s





va

6

mp

 

 

pe



kl

 



  

or



ob

 



     

/F



  

29

C o.

fl

 

     

&

112

 

di

  

ic or

18

mp



5



 







5

 

mf

3

           mf

         mp







mp  



3

 

 





p

pp

         p

  

 

 

pp

   



 p



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vl

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C o.

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

kl

asx

mp

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&

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ob

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ic or

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G

fl

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.R

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 

di

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    42

26

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

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  3

mp

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sz

ctrl

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klang

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mf

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       

  

mf

3

3

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mp

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f

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15

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3

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4:3

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3

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f

mf

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27

on

al      

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3

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mf

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5

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ht b

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3

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ff

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mf

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mf

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f

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         

46

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

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mf

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C o.

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f

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ig

asx

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yr

kl

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ob

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fl

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     170

44

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ctrl

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       

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3

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ff

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mp

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mp

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f

mf

f

 

f

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

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 

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



          

       

mf

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ru s  

pe 3

   

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f



3





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       

    4:3

nimmt Ruten















mf

   

 

f

f

f

mf

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ff 3



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f

ff

mf



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   

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or

f

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4:3

  

f

3

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ff   

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f

mf

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&

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5

f



 

di

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

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             7

     

ic or



  

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

48

f

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G

 

5

f

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yr

sz

mf

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C

asx

 

   



f



kl



nimmt Bassflöte

y



ob

  mf

 

47

ht b



 

.R

175

fl

    

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ig

28

  

 f

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 

 

mp



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mf



  

    



 4:3

  

mf

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3

     

 f

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mf

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

        

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vl

va

vc

sz

    

 f

  

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

5

   

    

mf

f

4:3







mf



f



 





 4:3

 

 

f

  



 



G



                 

y



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



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

ff

      













 ff





 



ff

 



on al ru s 







 





    



 

pp 16









       





mit Ruten



3



3



    







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 



 

29



3

ht b



 



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

ig

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      

ff

ff

yr

klang

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

op

kbd (griff)



C

ctrl

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ff

f

 











6:5

ff

               

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4:3

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4:3

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f

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ff

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or

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3

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asx

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f

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

molto vibr.

C o.

kl

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di

ob

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bfl

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51

&

180

ly

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ic or

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49

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sz

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

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             

3

3

      

p

p

3

3

       

pp

ctrl

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kbd (griff)

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p

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3

3

p

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3

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p

             p

ly

on

 

     

<>

 

p

mf

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3

        

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          

4:3

4:3

 

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

3

                 p pp 

 



&     3

G



pp

p

pp

y

kbd (griff)



  

mp



       

           3

3

 

 

klang



6

      



       

di

187

ctrl





ic or

52

ht b

sz

  

ig

asx

 



4:3



yr

bfl



op



 



C

klang

mp

 5

8:6

al

pp

5

      



 

                    

5

ru s

asx

           3

3

 

pe

bfl

3

or

               p 3 3 mp 3

3

/F

   183

C o.

30

 



p



4:3

   mf







asx

sz



mp

 

ctrl



kbd (griff)



         

 



     







pp



   

3

        

p





3





3







  

pp









ctrl



kbd (griff)



klang

 

f

 

3

    

 p

   

 



mp





 



mf



&

 

G

             mp p 5



mp









  mf

     







 

3



6:5



mf

  

mf





3

3

    



mp

ly      

3

3

mp



3

3



 3

   

   











3

3

        



mp

     

4:3

p



     

31

mp

f





  

 

        

di



mf

3

3

 

p

C o. mf



ic or





    3

f

4:3





vibr.

mf

3



            

.R

mf

5

 

y



f



ht b

sz



 

ig

asx

       

        

vibr.

yr

bfl

          198

55

op



     

C

klang

3

 



p

p

 

 



 3



     

5

mp

p

 



          

on



        

3

al

 

3



                   

5

ru s

 

3

pe

bfl

vibr.

54

or

192

/F

  

53

 

mf

 







    

3

molto vibr.

  

 p

 3

    

3

      

f







3

    

pp







56





    p

    









  3





bkl

asx

vl







 

3

p



4:3

p

4:3



 

  



pp

ctrl



kbd (griff)



17

3

3

3

3





   

C

op

yr

ig

   

3

  

4:3

       

p











on

ly

3

(pp)













 



 



 



3

pp



pp

 

     4:3              

poco



      



6

  

 

         3

3

pp

di 

   

 

4:3

 





           3 mp

           

5:3



4:3

pp



 



    

    

.R

3

p

klang

 

             3

G

p

3

y



    mp

ic or



pp





   



4:3





mp

 



     

mp

ht b

sz





 

  pp



    mp



pp

vc

3

    



 



mp

mp



va

3



       

al

3

pp



3

 

ru s

ob

 

  

57

pe

 

   

 

or

bfl

3

                

/F

204

            

C o.

  

&

32

ppp



   

pp

   

3



3

3

   

ppp

pp



3





 pp

 

    



asx

vl

va

     p   

 

 

 



  



          p

         

      

   

p

    







p





        

ig

 







 

pp

yr

klang







pp

op

kbd (griff)



   





pp

3

poco

C

ctrl

   mp









     

3

p



pp

3



 



mp



ht b



     





                  vc   

sz





3

3

p

3

           p

    mp

 



 

p

  

     

3











   

 





  

 



  

 

 









p

 mp



       





  

    



    

       

4:3

mf

    



  

vibr.

mf

4:3

3

 

 









3





     

3



 

  

   

mf

p



5:3

mf

   

 

  

mf

 



 

4:3

mf

p

3

p

  

p

mp

     

ly 



      



on



mp

pp







33



mf



        

6

3



   



mp

al



mp

  

5



       



                      3 5 3 3

ru s

3



3

 

  

pe



3

mp

 

/F

p



pp

  

C o.

        

p

           

&

p

 

  

di

     



 

 

ic or

p

       

.R

bkl





        8:6

G

ob

 

 

vibr.

y

bfl

 

59

or

     211

58

            3

mp













va







mp

















mp











 

            

mp



   

         







 



 

ff



   mf





 



 

 3





3

             

p

ly

on

al ru s





mp

  

      





     

            mf               

mf







 

 



mf

       mf

       

p

mf

4:3

       

     

mp 18

3

mf



  

3

3

3

      

p





mf

  

 



            f

p

y









        

f

 



 

5:3

ht b

  



3

mp

3

3





4:3

f

3



 





  

  

ig

klang



yr

kbd (griff)



op

ctrl



f

mp



       f

f





5

f

C

sz





f



mp

vc

   

3

4:3

pe



mf

or

mf



 

                

/F

 

     

3

3

C o.

vl



ff

f



  

     

                  



&

asx

   



 

di



bkl

mf

3

.R



ob



          4:3

G

 bfl   217

61

ic or

60

34



3

    p



 



 

   

 

      



   poco

mp







 

 

mf

3

5

mf

mp





 











 

mp





p

 





va





   

 

 





pp

<>





 3

  mp  

sz











mp

 











klang

G 

y



