Simon Løffler D (2013) for violin, viola, cello, glockenspiel, and gran cassa Dur. 7′30″
Commissioned by PRO ARTE, St. Petersburg
SCORE
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Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond
Simon Løffler D (2013) for violin, viola, cello, glockenspiel, and gran cassa Dur. 7′30″
PERFORMANCE NOTES STAGING
Glockenspiel Vlc. Vla. Conductor (If needed. Preferably sitting.)
Vl.
Percussionist Gran Cassa
Audience
Strings
STRINGS
Strings Strings Strings
Tuning
Tuning
InTuning this piece the strings play only on open strings and a few natural harmonics. Tuning They are tuned as follows: In this piece the strings play only on open strings and a Tuning
few natural harmonics. They are tuned In this piece the strings play only on open strings and a few natural harmonics. In this piece theasstrings play only on open strings and a few natural harmonics. They are tuned follows: as follows: In this piece the strings play only on open strings and a few natural harmonics.
k B œœ Kœ Bœ kk œœ
They are tuned as follows: They are tuned as follows:
œ & kœ k œœ œœ
? k œœ œ K œ? k œ
& kœ ? kkœœœ B kKœœœ & kœ ? B Kœœœ one: K an accurate tuner such as this k œœ The& quartertones have to be exact. Use K K œ k œ http://www.seventhstring.com/tuner/tuner.html Kœ The quartertones have toœbe exact. Use an accurate tuner such as this one: k œœœ The quartertones have to be exact. Use an accurate tuner such as this one: http://www.seventhstring.com/tuner/tuner.html The quartertones have to be exact. Use an accurate tuner such as this one: http://www.seventhstring.com/tuner/tuner.html
The quartertones have shows to be exact. Use anharmonics accurate tuner such as this one: The following schematic which natural are used in the entire piece, http://www.seventhstring.com/tuner/tuner.html http://www.seventhstring.com/tuner/tuner.html and on which string they are played:
The following schematic shows which natural harmonics are used in the entire piece, and on The following shows which natural harmonics are used in the entire piece, which stringschematic they are played: The following schematic shows which natural harmonics are used in the entire piece, and on which string they are played: k O II. are used in theI. entire piece, The schematic which natural harmonics and following on which they shows are played: IV. string III. œ and on which string they are kplayed: O
& O Violin O œ
& O & O & OO B O Oœœ œ Viola œ B B B ?
Cello
? ? ?
IV. IV. IV. IV.
O O OO œ K œLœOO
IV. IV. IV. IV.
K œ
K LL OO KKL œO KK Oœ K œ
k O kœ
k kk OO k kK kKkOOOœ kœ K k œœ
kœ
III. III. III.
œ
III.
K KK OO OOœ O KKKKIII. O KK œœ œ O O OOO Oœœ œ
k O II. k O II. kkOœ II. kœ O k œ II.
III. III. III.
IV. III. IV. III. The parts are notated both in transposition and in C. IV. III. The score is in C.
m n ¥O nO nœ
II.
m n ¥O mnnn¥¥O m nnOœ nnOœ nœ
O O Oœœ œ
kœ II. II. II.
k k O¥ k œ
II. II. II.
The parts are notated both in transposition and in C. The both in transposition and in C. The parts score are is innotated C. The are notated both in transposition and in C. The parts score is in C. notated The parts are both in transposition and in C. The score is in C.
The score is in C.
I.
œ I. œ I.I. œ
kœ kœ kœ I. k kk OO¥ kkk O¥œ kk ¥œ k œ
I. I. I.
I. I. I.
Melodic Notation Throughout most of the piece, one melodic line divided between the strings. For instance bar 18:
Melodic Notation Melodic Notation
Œ of the piece,œ one k œo melodic ‰ Melodic Vl. & notation Throughout most line divided between the strings. For instance bar 18: III.
Throughout most of the piece, one melodic line divided between the strings. For instance bar 18: III. œ III. o œ‰k œo ‰ k œ n œo K œo Œ
Throughout most of the piece, one melodic line divided between the strings. For instance bar 18: III.
Vl.
& &ΠVla. B Vl.
Œ ‰
IV.
IV. III. o III.o n o o B‰ m‰œon œ KIV.œ œ ŒK œ Œ II. IV. Vla. B o Vla. L œo ‰ ‰ n œ o ? Vlc. Kœ II. o IV. II. IV. II. m œ o II. IV.o m œ IV. ? o L œo ‰ n œ‰o n œ K œo Vlc. L œ ? ‰ ‰ Vlc. K œo IV. II.
Should be heard as one single legato line:
Should be heard as onensingle legato line: Should be heardbe asheard one single line: legato line: Should asœlegato one k œ single
&
mœ
œ Kœ
nœ Kœ n œ n œK œk œ k œ & m œ œ & mœ œ œKvibrare" œ n œ n œonKan The "lasciare notation end note means: Make a continuous transition to the following L œ Lentering. stringplayer Kœ œ Lœ
The "lasciare vibrare" notation on an end note means: Make a continuous transition to the following The “lasciare vibrare”onnotation onmeans: an end note means: transition to the following The "lasciare vibrare" notation an end note Make a continuous stringplayer entering. stringplayer entering.
ø ø &ø œ ..
Make a continuous transition to the following string player entering.
Ø This sign "close to nothing", like a faint always appears on 32nd notes such these:notes such as these: This signmeans means “close to nothing,” likewhisper. a faintItwhisper. It always appears on as 32nd
.. to nothing", œ .. like aœ ..faint whisper. It always appears on 32nd notes such as these: This sign means œ"close This sign means "close to nothing", like a faint whisper. It always appears on 32nd notes such as these: œ œ œ .. œ .. œ .. œ .. œ .. œ .. œ .. œ .. & œ& Mute œ œ œ œ œ œ œ
œ
œ
This piece is to be extremely soft. Each string should use a rubber mute in addition to 1 or 2 Mute (sordin)attached to the bridge. clothespins The strings are also amplified with contact microphones and the gran cassa is used as a speaker by This piece is to be extremely soft. Each string should use a rubber mute in addition to 1 or 2 clothespins attached to the bridge Mute (sordin) placing a transducer on the skin (see Amplification note). Mute.The (sordin) strings are also amplified with contact microphones and the gran cassa is used as a speaker by placing a tranducer the skin (see Amplification note). This piece is to be extremely soft. Each string should use a rubber mute in addition to 1 or 2 clothespins attached to the bridge This piece is to be extremely soft. Each string should use a rubber mute in addition to 1 or 2 clothespins attached to the bridge . . The strings are also amplified with contact microphones and the gran cassa is used as a speaker by placing a tranducer the skin The strings are also amplified (see Amplification note).with contact microphones and the gran cassa is used as a speaker by placing a tranducer the skin (see Amplification note).
GRAN CASSA The gran cassa is used both as an instrument and, on the side facing the audience, as a loudspeaker (see the Amplification note).
Gran Cassa
The percussionist is standing on the side of the gran cassa, facing the other instruments, with his back turned away from the audience. The gran cassa is used both as an instrument and, on the side facing the audience, as a loudspeaker (se the Amplification note).
3 pieces of soft material of varying thickness, such as cloth or foam, are placed on the back side of The is order standing the side of the granwhere, cassa, facing the other instruments, with his back and turned away the the percussionist gran cassain toonproduce 4 points in combination with playing louder softer, from the audience. pitch will vary. The thickest piece of material producing the lowest pitch and vice versa. 3 pieces of soft material of varying thickness, such as cloth or foam, are placed on the back side of the gran cassa in order to produce 4 points where, in combination with playing louder and softer, the pitch will vary. The thickest piece The notation is written on 4 pitch linesand with the highest line corresponding to the highest sounding pitch. of material producing the lowest vice versa.
When there is a continuous playing on the different places, combined with slight crescendo and
The notation is written on 4 lines with the highest line corresponding to the highest sounding pitch. diminuendo, melodic contour the audible. When there is aacontinuous playing onshould the different places, combined with slight crescendo and diminuendo, a melodic contour should the audible.
Thisexample, example, which is only an illustration, usesofsocks ofthickness: varying thickness: This which is only an illustration, uses socks varying
! œœ®œœ ®œœ ®œœ ®œœ ®œœ®œœ ® ‰ .. œœœ ‰ .. œœ 3
The must not not become too drytoo however. If possible, use a system where nothingwhere is placed directlyisonplaced the skin. Thesound sound must become dry however. If possible, use a system nothing
directly the skin. The soundon should be as deep as possible. Its important to use a big Gran Cassa. Soft timpani mallets that are not too heavy might be best to avoid fatigue.
The sound should be as deep as possible. Its important to use a big Gran Cassa. Soft timpani mallets that are not too heavy might be best to avoid fatigue.
Glockenspiel Range
œ
Range &
œ
& Range
GLOCKENSPIEL
œ
œ
Glockenspiel Glockenspiel
œ
Range
Playing & technique
œ
The glockenspiel is played on with the fingernails (not the fingertips like when playing piano). The resulting sound is very soft. Playing technique Playing technique The glockenspiel is played on with the fingernails (not the fingertips like when playing piano). The glockenspiel is played on with the fingernails (not the fingertips like when playing piano). The resulting sound is very soft. The resulting sound is very soft. Playing technique
The glockenspiel is played on with the fingernails (not the fingertips like when playing piano). The resulting sound is very soft.
Mordenttrill trill Mordent
M j œ mœ œ nœ R = & j M j œ mœ œ mœ œ nœ R Mordent trill =the diatonic &right The mordenttrill trill while while the left hand hand plays plays the thecromatic chromatic The righthand hand always always plays plays the diatonic mordent the left grace note. grace note. j M j œ mœ œ mœ œ nœ R The right hand always plays the diatonic mordent trill while the left hand plays the cromatic grace note. = & œ m œ trill Mordent j
Amplification AMPLIFICATION The should be amplified using contact microphones, such as AKG C411aspp. Thestrings strings should be amplified using contact microphones, such AKG C411 PP. The amplification is sent out through the front of the gran cassa, which is facing the audience, by placing a tranducerisonsent the skin: The amplification out through the front of the gran cassa, which is facing the audience,
by placing a transducer on the skin:
The intended result is a music that is extremely vague and distant, as if heard through a wall. The intended result is a music that is extremely vague and distant, as if heard through a wall.
D q = 27,5-30, e = 55-60
œ & kœ k œœ
Scordatura
Violin
Viola
Cello
Glockenspiel
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kœ B œ Kœ œ
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Simon Løffler (2013)
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® k œ ..
®
!
Mœ M j M Mm œjMœ jM j m œ n œ M jM mœ œ. j j œ. jM M j m œ m œ œ m œj n œ jnœ M j œ j j m œ œ j j œ œ " mœ œ mœ mœ œ mœ œ mœ nœ œ mœ œmœ nœ œ M M M œœœœ M M # $ $ Ó
Ø
Ø
!
B
30
Vla.
œœœœœ
M M
j m œ œ n œjn œ m œj œ m œj j mœ
‰ ..
o 5
œ ‰ ..
œœœœ œ
œ
$
j mœ
œ ‰ ..
nMœ m œj nMœ .
œœœœœ
œ #
M
œ m œj œ .
œ ‰ ..
œœœœœ
" œ m œj n œ . M œœœœœ Ø
œ ‰ ..
œ
k œo
k œo
II.
". kœ œ
32
Vln.
Vla.
Vlc.
Glk.
& kœ
Ø
B
k œ ..
"
‰
Œ
k œo
‰
œ
Ø
k œo
I.
m œo
II.
‰
Ø
‰ ..
k œo
k œo
œ k œo Œ
‰
III.
#
Kœ L œo
IV.
n œo
Œ
n œo
II.
II.
® -o
?nœ
œ
II.
!
œœ œœ œœ ®œ œ ®‰ œ œ œ " œ œ ®œ œ ® œ œ ® œ œ ® ® ® œ œ ®
œœ ‰ .. Ø
III.
n œo
K œ n œo "o ® ‰. œ
#
Œ
œ bœ
œ k œo ‰
® ‰ ‰ œ # II. II. I. -o I. -o " n œ ‰ k œo " "? n œ ‰ k œo " ‰ . & &
Œ
‰
œ ‰
III. II.
n œo
IV.
& " œ m œj œ . œœ " m œj œ m œj n œ M œœœ M M m œj œ m œ n œ Ø Ø morendo M
Gr. C.
œ
II.
III.
II.
®k œ ..
? Œ
III.
‰.
3
‰.
œ œ ®Œ
Ø
œœ®
II.
34
Vln.
Vla.
Vlc.
Glk.
Gr. C.
&
B " ? Œ
" k œo " ‰ .
k œo ‰
III.
n œo
II.
k œo " Œ
III.
n œo K œo n œo " " " Œ II.
III.
&
n œo K œo
II.
n œo " ‰ II.
II. III.
o n œo k œ " n œo ‰ II.
k œo " ‰
III.
I.
II.
"
K œo
II.
n œo -
Ó
Œ
‰
II.
‰ "
!
&
n œo
III.
œœ®"
II.
" n œo "
K œo
" II.
n œo -
n œo II.
" n œo "
‰.
œœ® ‰ .
n œo K œo
II.
"
‰.
‰
III.
III.
Œ
6
k œo " ‰
Œ
III.
k œo
III.
"
II. III.
" II.
n œo œ o
ΠII.
I.
" n œo k œo ‰.
œœ® ‰ .
II.
n œo œ
‰. ‰.
‰ II.
n œo œ
œœ œœ® ® œœ ® œœ ® œœ®
D
k œo " ‰
& ‰
Vln.
Vla.
Glk.
K œo
III.
B ‰. k œo o & nœ ‰ I.
Vlc.
k œo " Ó
III.
36
II.
K œo
III.
‰. k œo n œo ‰ I.
II.
Glk.
Gr. C.
Ó
!
Ø
Ø
Ø
Ø
& Ó
Œ
38
Vlc.
!
M
j jM œ mœ nœ j M M Mm œ jœ j jœ j jœ j jœ j j œ œj œ j œ œ œm œj œ j n œ mœ mœ œ mœ mœ nœ mœ mœ nœmœ mœ nœmœ mœ mœ
M M M M M MM M
Ø
#
Ø
#
‰.
k œo Œ
M M M
œœ®œœ®œœ®œœ® œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ® œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®
Gr. C.
Vla.
Ó
jM jM jM m œ n œ M j M M M m œ œ M jM M M M m œ œ jM jM jM jœœ œ jœ j j œ œ œ jœ j œ " œ œ œ j mœ mœ mœ mœ nœ mœ m œ m œ n œm œ n œ & mœ
Ø
Vln.
!
III.
B
!
&
!
‰.
k œo
III.
o
K œo
III.
o
"
K œo
III.
" n œo ‰ II.
o
M M jM M M M M j M jM M M Mj j & œ œm œj œm œj n œ m œj œ œ œ m œj œm œj n œ œ œ m œj œ m œj œ œ œm œj œ m œj œ m œj œ m œj œ œ œ M M M M p $
œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®
7
j mœ
k œo " k œo " Œ
III.
" "
III.
K œo
III.
"
K œo
III.
III.
K œo
III.
‰.
n œo " n œo " " n œo ‰ II.
II.
II.
"
K œo
œo k œo
III.
IV.
n œo " ‰ II.
Mœ jMœ jMœ jMœ jMœ jMœ jMœ jMœ jMœ jMœ jMœ jMœ jMœ jMœ ‰ mœ mœ mœ mœ mœ mœ mœ mœ mœ mœ mœ mœ mœ o
œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ® œœ®œœ®
Vln.
Vla.
kœ
B ‰ II.
Vlc.
o kœ " kœ " ‰
III.
‰ & k œo " " . $ œ
40
$
& " n œo "
III.
"
K œo
" ". II.
III.
" n œo "
n œo $ -
®
III.
œ III.
n œo -
"
K œo
III.
kœ
"
œ
"
n œo "
‰
III.
III.
II.
n œo -
" " k œo
III. IV. K œo œo
III.
Œ
k œ k œo " k œ ‰ K œo
‰
" ‰
III.
® Œ œ
I.
II.
n œo k œ " o
III.
n œo -
k œo ® Œ
IV. K œo œo
III.
"
III.
‰
" kœ ‰
k œo
IV.
II.
L œo -
?
n œo .
III.
I.
n œo " ‰ .
‰
œ
"
œ O
œœ®œœ®œœ ®œœ®œœ ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ ®œœ®œœ ® œœ ®œœ ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ ®œœ®œœ® œœ®œœ®œœ ®® œœ
Gr. C.
$
E 42
Vln.
&
Vla.
B
Vlc.
Glk.
®
k œœ .... $ œ .. $
? ‰ .. & Œ
®
III.
n œo
$
®
œœ ....
®
œ .. ‰ .. ‰ .. o
I.
k œo œ
®
œœ ....
®
œ .. ‰ ..
III.
n œo œ
‰ ..
®
œœ ....
®
œ .. I.
‰ ..
®
œ ..
k œo
‰ ..
œ
‰ ..
®
k œœ ....
"
œœœœ œ >
III.
j mœ
œ
$
œ
M M
"œœ®œœ®®œœ "œœ®œœ®®œœ "œœ®œœ®®œœ "œœ®œœ®®œœ ‰ ..
Gr. C.
j mœ
n œo
®
œœ ....
®
œ .. ‰ ..
"
k œo
I.
j m œ œ m œj
œ
œœœœ M M œ >
œœ ‰ ..
p
®
œœ ....
®
œ ..
œ P o III. n œ IV.
‰ .. "
œ P
j mœ
œ m œj n œ
K œo P
œœœœœ M M p
œœ ‰ ..
j mœ
"
œœ Œ
œ m œj n œ m œj n œ .
M M M œœœœœ $
F 44
Vln.
&
Vla.
B
Vlc.
Glk.
œ .. œ ..
? œo ..
® ®
I. k œo
‰ ..
k œ ‰ .. $
kœ
œ ®" ‰
".
kœ œ. ® Œ
". kœ œ
k œ .. ‰
k œ .. ‰
kœ
œ® " ‰
".
kœ œ. ® Œ
".
®" ‰
".
®Œ
".
Œ ‰ .. ‰o ..
p
I. k œo
‰o ..
$ I. k œo
k œo
‰ ..
œo
#
#
k œo œo .
kœ œ k œo œo
$ p # p M M b >œœ m œj M b >œœ m œj M b œœ m œj Mœ m œj n œ j nMœ j j œ m œj n œ œj œ m œj œ m œj n œ m œj n œ . b œœ m œj œ m œj n œ . b œœ m œj œ j œ . œ n n b œœ jœ j . mœ mœ mœ nœ mœ mœ nœ mœ œ. " " " " " " & M M M M œœœœœ > M M œœœœœ > M M œœœœœ œ M M œœœœœ > œ M M œœœœœ > > > > > > P P F f F 8
Vln.
&
Œ
‰
Vla.
B
Œ
‰
?
Œ
‰
M
nMœ jMœ m œj n œ
46
Vlc.
Glk.
&
j j mœ œ mœ
F
48
Vln.
Vla.
Vlc.
Glk.
& B ? &
œ
œ
œ " ‰
kœ
œ
k œo
œo
" kœ œ
" ‰
"
" ‰
"
kœ œ
œ
k œo œo
œo
Vla.
Vlc.
Glk.
Gr. C.
&
œ
œ.
"
˙
œ
œ.
"
˙o
œo
œo .
˙˙ ..
o B n˙. K˙. ? &
˙. j œ
"
‰
‰ ..
"
‰
‰ ..
kœ ˙
Ø
kœ ˙
Ø
k œo ˙o
Ø
G
k ww
Øp
n wo Kw
IV. III.
Øp
"
w
Øp
b >œœ M M bœ "œ " m œj œ j " jœ j œ j œ jnœ j œ j j mœ œ m œ m œ n œ j œ œjn œ M j . œ œ j nœ j . œ œ œ œ Mœ M M Mm œ Mm œ Mm œ m œ n œ œ n œ œm œj œ . œœœœœ > œ œ mœ n œ œ m œ m œ n œ œ Mm œj œ m œj n œ M M M M> M mœ M> M M> M M $ # j mœ
œ m œjn œ m œj
Œ
‰ ..
œœ œœ œœ œœ œœ ®œœ® œœ® œ œ " ® ® œœ®œœ®œœ® " œœ " ®œœ" œ œ "
Ø
50
Vln.
‰ ..
M j nMœ j M M bœ bœ j b œ j n œ m œj œ m œj n œ j m œj œ j n œ j j œ . b >œœ m œjM œ m œj n œ œjM œ m œ m œ n œ m œj n œ œ . "n œ m œj œ . "n œ m œ n œ m œj œ . "n œ m œ mœ œ mœ nœ mœ " œ œ œ œ M M œœœœ > M œœœœ > M M œœœœ > M œ M M M M M M M œœœœ > > > p F> $ P
˙
Ó
‰
œ "
j mœ œ
jM j M j M M j œ m œ œ m œ œm œ n œœj n œ œ
Gr. C.
kœ
®
œœ ....
o .. œ œ ..
$
k ˙˙ ..
œœ ....
o .. œ œ ..
o ® n˙. K˙.
IV. III.
k œo
I.
œ ..
œ m œj œ m œj œm œj œ œjn œm œjn œ m œjœm œj n œ m œj œ m œj œ œj n œ œj œ œj œm œj n œ m œj œ m œj œ M M M M M MM M M M MMM M M M
Ø
® ®
k œo
I.
˙. "
j mœ
œ ..
œ œj œ m œj œ m œjMœ m œj œ œjn œ m œj œ œj œm œj n œ m œj œm œj n œ m œjMœ œjn œ m œj œm œj n œ M M M M M MM M M M MM M
morendo
œœ œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ® " œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ®œœ® œœ ®œœ®œœ®œœ®®
Ø
9
H 52
Vln.
&
k ˙˙ ..
œœ ....
o .. œ œ ..
oIII.. n ˙ B K˙. IV.
Vla.
Vlc.
?
® Œ
k œo
I.
œ ..
n œo
‰ ..
n œo ‰ .. IV.
K œo ‰ .. III.
n œo
IV.
III.
‰ ..
Œ
Ó
œ œ œœ œœ œœ œœ œœ œœ œœ " ® ®œœ ® ®œœ ®œœ ®œœ ®œœ ® œœ®œ œ ®œœ ®œœ ® œœ ®œœ®® " ® ®œœ ®œœ ® ®œœ ®œœ ®œœ ®œœ ®œœ ®œœ ® œœ ®œœ ®œœ®®
Gr. C.
B ‰ ..
54
Vla.
˙.
!
®
k œ .. ‰
n œo ‰ .. IV.
K œo ‰ ..
œ ‰ ..
III.
K œo ‰ .. III.
n œo ‰ .. IV.
K œo ‰ .. III.
œ
morendo
œœ œœ œœ œœ œœ œœ œœ œœ œœ " ® ®œœ ® ®œœ ®œœ ®œœ ®œœ®œœ ®œœ ®œœ ®œœ ®œœ®œœ®® " ® ® ® œœ ® ® ®œœ ®œœ ®œœ®œœ ®œœ® œœ ®œœ ®œœ ®œœ®
Gr. C.
œœ® œœ® œœ® œœ® œœ® œœ® "
56
Gr. C.
œœ
®
œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® "
57
Gr. C.
œœ
œœ œœ œœ œœ œœ ® œœ® ® ® œœ® ® ® ®
œ œ ® œ œ ® œ œ ® œœ® œ œ ® œ œ ® œ œ ®
œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ®
58
Gr. C.
œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® œœ® o
59
Gr. C.
10