september 2023
Fijnjekade 160, 2521 DS The Hague, The Netherlands www.deussmusic.com
preview
Fijnjekade 160, 2521 DS The Hague, The Netherlands www.rozaliehirs.nl www.deussmusic.com
dedicated to the memory of György Ligeti
written for the Netherlands Radio Philharmonic Orchestra commissioned by NTR Zaterdagmatinee & Stichting Vrienden van de Zaterdagmatinee
first performance
Concertgebouw, Amsterdam, The Netherlands, 16 December 2023 Elena Schwarz (conductor) and the Netherlands Radio Philharmonic Orchestra
Duration: ca. 12 min.
Copyright © 2023 by Rozalie Hirs and Albersen Verhuur b.v. Printed in The Netherlands
All rights reserved
No part of this publication may be reproduced in any form by any electronic or mechanical means (including photocopying, recording or information storage and retrieval) without permission in writing from the publisher: Deuss Music managed by Albersen verhuur b.v., Fijnjekade 160, 2521 DS, The Hague The Netherlands
www.rozaliehirs.nl www.deussmusic.com
score in C
instrumentation
4 flutes
4 oboes
4 clarinets in Bb (first clarinet also Eb clarinet, fourth clarinet also bass clarinet in Bb)
4 bassoons (fourth bassoon also contrabassoon)
5 French horns in F
3 trumpets in C
3 trombones
1 tuba
1 timpani player
3 percussionists
P1: crotales, large & medium gong, tamtam
P2: tubular bells
P3: vibraphone (bows, mallets), Thai gong, crotales
celesta
piano
2 harps
14 violins I (two parts: I-1, I-2)
14 violins II (two parts: II-1, II-2)
10 violas (two parts)
10 violoncellos (two parts)
8 double basses (two parts)
performance notes
1.) The score is in C.
2.) Accidentals are valid for the entire bar, at the given octave, unless otherwise specified.
3.) The harmonies are based on frequency calculations (for example transformations of harmonic spectra, or ring modulation). The resulting frequencies have been approximated to the nearest semitone. The different instrument groups may tune their harmonies through Just intonation in such a way that they resonate together in optimal fashion. Every harmony can be interpreted tonally, yet is sometimes based on two different fundamental pitches at once.
4.) The sound world is dreamy, mysterious, lush, atmospheric, yet bold.
5.) The musical movements resemble those within sounds observed in natural phenomena, such as ocean waves, or gusts of wind.
6.) The orchestra is "breathing" as one just like one large organism.
7.) The dynamic changes may be interpreted boldly. The low volumes may be very soft.
8.) The glissandos in the string section may be interpreted linearly (gradual), or exponentially (early or late), while taking into account the respective musical context at those instances. In dialogue with the composer and conductor, we will decide during the rehearsals which type of glissando is chosen. Open to suggestions!
9.) In dialogue with the composer and conductor, the brass section may experiment with different types of mutes between bars 91-146 (rehearsal markings from K to R). During the rehearsals, we will decide which mutes are used. Open to suggestions!
10.) Generally, the dynamics are notated equally for the entire orchestra. The brass can interpret their dynamic markings somewhat modestly, in accordance with the overall sound, especially between bars 91-146.
11.) I hope you enjoy the music!
Rozalie Hirs
Amsterdam, 27 September 2023