Rolf Hind
On What Weft Are Woven The Waters
For Soprano and Fourteen Players (2017)
Score in C
CopyrightbyRicordiLondon/forperusalonly
On What Weft Are Woven The Waters was commissioned by hcmf// and the Nicholas Berwin Charitable Trust, with thanks also to Mahogany Opera Group, Ally Rosser, Guildhall School of Music and Drama and Helena Gaunt
First performed at Bates Mill Huddersfield 19th November 2017
Instrumentation
Clarinet in A
3 Percussion:
Bullroarer, Whirly Tubes on F#, G and Ab, 2 Talking Drums (matching), 2 Triangles (matching), Spring Coil, Spring Drum, Tin Can, Large
Bass Drum, Guiro, Sandblock, Anvil, High Gong laid flat (G), Shakers (plastic maracas), Temple Block
Cimbalom (played by Percussion 3)
2 Harps
Piano Duet (2 players at one piano)
4 Gamelan Players:
Saron Wayang Pelog
Saron Wayang Slendro
Gong Ageng Slendro
Bonang Barung Pelog
Bonang Parung Slendro
Gender Panerus Pelog
Gender Panerus Slendro
Gambang Pelog
Gambang Slendro
Soprano
Violin/Viola
Violoncello
Notes on Performance
Clarinet
The clarinet has nine multiphonics to play in the rst two movements. Suggested fingerings are as follows:
Other techniques are described in the score/part.
Viola and Violoncello
There are a number of different, not radical, scordature. These are shown in the score and where necessary, transposition given in the parts. In movements VI and XI, the retunings are built into the movement. If they don’t work on the instruments used, they can be bluffed here, and the actual retuning done at a discreet spot elsewhere, ad lib
Piano Duet
• The division of parts is a suggestion. Depending on the players, this may be reconfigured ad lib.
• The piano is prepared with a strip of blu-tac at the near end of the strings to dampen but not obscure the pitch. This covers the pitches from Bb1 to D#5. In the movements of the piece where harmonics are played on the piano the piece of Blu-Tack covering that string will need to be lifted off and fitted back on once the harmonic work is finished.
• The indication M in one of the duet parts show that one player is to mute the string another is striking on the keyboard. The same holds true with the touching of harmonics.
• In movement IV, try to observe the physical gestures as accurately as possible.
• In the last section of movement XI, ping-pong balls (4 or 5) are to be released on the uppermost strings for a delicate, tinkling effect.
• Other notations are explained in the score/part. Percussion:
• In movement II, percussion 1 and 2 are largely producing a slapping sound on the face (right hand on left cheek, with mouth open and changing shape to alter pitch.) This should aim to be on the pitches shown.
• In movement XII, one percussionist gently improvises with the spring of a spring drum, animating the corners and spaces of the room ad lib.
• The Cimbalom player (percussion 3) has the following de-tunings: F4 and F3 are a quarter-tone flat.
Harp 1
• Normal tuning.
• The indication at bar 91 in movement III etc. is for a forceful metallic sound created by a fast vertical stroke along the string marked.
Harp 2
The second harp is detuned with the following quarter-tones:
Both Harps
In movement III, the cluster symbols are of two types, both approximate in pitch: short durations indicate a chord struck with the palm and not allowed to resonate; l.v. lines indicate a resonant version of this.
In other places (movement VII for example) any further microtones should be hinted at by pressing the string at the top of its length to slightly sharpen the relevant pitch. This is at the player’s discretion.
Wingbeats (Movement XI)
In movement XI, as many of the players as possible who are not busy have bows for string instruments. In the silent-near silent sections of the movement they start to beat the air with the bows, increasing in density as indicated towards the final few bars.
On What Weft Is Woven The Water may be separated into movements/ movement groups. The following movements of the piece may be played in this form:
Contents
IAn Empty Clearing, A Stick Scratching Marks In The Earthpage 1
II21 Formulaspage 3
IIIThe Stolen Cows, The Lost Oceans, The Imprisoned Somapage 9
IVThe Unbridled Running Of The Horsepage 18
V The Paths Of The Knife page 28
VI A Frame Evokes A Centre page 30
VII Funeral Fire page 36
VIII The Island Of The Rose Apple page 50
IX You’re It page 80
X As If page 91
XI The Interruption Of A Sleep page 94
XII Syllabary page 111
XIII The Fullness That Lacks Nothing page 112
