Emily Howard_Ada sketches_EP73330_Score_Extracts by ScoresOnDemand

Peters Contemporary Chamber Series

HOWARD Ada Sketches for Mezzo-soprano and Chamber Ensemble

Score and Parts

EP 73330

EMILY HOWARD

Ada Sketches A scena imagining the inner world of mathematician Ada Lovelace for Mezzo-soprano and Chamber Ensemble Text by Laura Tunbridge (2011) Score and Parts

EDITION PETERS L E I P Z I G · L O N D O N · NEW YORK

INSTRUMENTATION Mezzo-soprano Flute Clarinet in BPercussion (1 player): 2 Flower Pots (1 dampened), a quarter-tone apart 2 Tom-toms (1 dampened), a quarter-tone apart 2 Tins (1 dampened), a quarter-tone apart Temple Block, Wood Block, Suspended Cymbal Trashed Suspended Cymbal, Pedal Bass Drum, Tuning Fork

Tuning Fork (pitch A) (hit on knee)

Temple Block

/ ¿

œ R

Tins

¢/ ¿

B.D. Pots * R = Resonant D = Dampened

Suspended Cymbal

Wood Block

¿ Trashed** Syspended Cymbal

Tom-toms ** Broken or heavily worn

Score in C

Duration: c. 7’

First performed on 12 May 2011 as part of Soundings X, at the Austrian Cultural Forum, London (Loré Lixenberg – Mezzo-Soprano, Rowland Sutherland – Flute Tom Lessels – Clarinet, Adam Clifford – Percussion)

PERFORMANCE NOTES Quarter tones three-quarter tone flat quarter tone flat quarter tone sharp three-quarter tone sharp

PROGRAMME NOTE In this short dramatic scena, Lovelace explores a mathematical equation as solved by Charles Babbage’s hypothetical 1842 Analytical Engine, a prototype for the world’s first computer. As she works, a musical solution to the equation gains a life of its own, causing Lovelace to contemplate her own position in history. Scored for mezzo-soprano and chamber ensemble, Ada sketches lasts approximately 7 minutes. Acknowledgements: Thanks for so many helpful conversations with Alan Bamford, Adam Clifford, Gerald Davidson, John Lloyd Davies, Loré Lixenberg and Laura Tunbridge during the creation of this work.

TEXT Suppose that a equals three, b equals two and n equals thirty-six. We must now put into the engine the cards proper for directing the operations. Of course, we could divide three by two and multiply the answer by itself thirty-six times. But, the number of steps can be reduced. Three by two by itself to give three by two squared. Again by three by two to get three by two cubed. Three by two cubed by three by two squared gives three by two to the power of five. And so on, to the eight, thirteen, … Thirty four. The powers follow a fibonacci sequence suppose, just suppose instead of numbers there are notes. Fundamentally related, Harmonically concatenated. Then the engine, the engine might compose music. Elaborate music. Scientific music. Where will I fit in? When the engine composes its melodies, will the world remember my name? Will Ada resonate as if struck by a tuning fork? Calculated! Calibrated! Celebrated! Universally celebrated! I am music I am madness I am machine making the future. But, I’m getting ahead of myself. Multiply by a final three by two squared to get three by two to the thirty-six. In all, two divisions and eight multiplications to complete the whole process. We may represent them thus:© Laura Tunbridge Reprinted by permission

Senza Misura Ada contemplates the mathematics

U ∑

Mezzo-soprano

Flute

Clarinet

° &

Percussion

Suppose

that

equals

three,

U ∑

two

and

equals

thirty-six.

U ∑

¢/

equals

U ∑ U ∑

¢& °

spoken slowly, in a very serious manner pp

U ∑

= 3

U ∑

M-S.

to herself, formally p We

must

now

put

into

the

engine

the

cards

proper

for

directing

the

operations.

= 5

A c. q = 48 /

M-S.

° Perc. ¢ / ¿

U ∑

Of course, we could divide three by two and multiply the answer by itself thirty-six times.

Tuning Fork struck on knee and placed on bell of Cymbal 1

= 7 M-S.

Perc.

U ∑

° ¢/

U ∑

B c. q = 48

Y 3

U ∑ Y

sung, thoughtfully ppp

& ˙

U ˙

U ∑

4 4

U Ó

U ∑

4 4

But,

C A tempo (q=48) 4 ∑ &4

11 M-S.

Perc.

° 4 ¢/ 4 ¿

spoken but towards singing, detached, trance-like ppp 3

#¿

the

num - ber

µ¿

˜¿

steps

can

#¿

re -

˜Y

duced.

U Ó

= 16 M-S.

& Ó

˜¿

3 4

Three

¿™

° Perc. ¢ / ¿ J

(sung) pp

˜¿

3 Y 4

° Perc. ¢ /

ppp

<˜> ¿

self

give

¢&

#¿

Y™

¿™

slow realisation p

‰ ‰ nœ-j 44

¿ #œ ˜œ µœ three

Y™

˜¿ #¿ gain

µ¿

three

¿™

j nœ-

two

4 Y 4

two

¿ 3

Y™

squared.

‰

˜¿ # œ # œ n œ ˜ œ ˜¿ get

three

two

cubed

by three by two

squared

∑

≈ nœ œ >

cubed.

gives

∑

‰

∑

B ˙- b -œ

˙ µ -œ ˙

œ™

¿ J

˜Y

E A tempo (q=120)

nœj ‰ Œ <˜> ¿ #œ #œ nœ œ #œ œ ™ #œ œ œ œ #˙

∑

µ¿

#¿

happily, routinely, knowingly mf

∑

° ¢/

˜¿

™

accel.

° Fl. &

Perc.

Y™

Three by two

Cl.

two

M-S.

D A tempo (q=60)

21 M-S.

Tuning Fork placed on bell of Cymbal 2

∑ Y

∑ ¿ J ‰ Œ

¿™

Ó ¿ ¿

#˙

˙™

ppp

œ R ‰™ o ¿ J ‰ Œ

poco rall.

Fl.

b˙ ™

two

& Ó

U Ó

° <µ> œJ ‰ Œ ¢&

U Ó

∑

U Ó

∑

30 M-S.

Meno mosso (q=60)

formally pp

<n>˙

three

ppp

° Ó Perc. ¢ /

œ ™™

≈

∑ ∑ Œ

F A tempo (q=120)

accel.

& Ó

° Fl. &

œ b˙ bœ œ

the power of

œ J ‰ Œ

five.

∑

B -˙

j œ ‰ Œ

° Y ¢/

˙™

∑

µ -œ ˙

#˙

∑ b -œ

Cl. ¢& ‰ <n>œ ™ o

Perc.

bœ

excitedly

35 M-S.

œ J ‰ Œ

ppp

œ R ‰™ o

ppp

¿ J ‰ Œ

∑

U ∑

° Fl. &

U ∑

40 M-S.

Cl.

¢&

more reserved p

<n>˙

And

∑

œ b˙

ppp

j œ‰ Œ

∑

B -˙

b -œ ˙ µ -œ ˙

∑

œ J ‰ Œ Ó

∑

on,

∑

U ∑

∑

Œ ‰<n>œj ˙ o

ppp

#˙ pp

˙™

ppp

œ R ‰™ o

∑

M-S.

becoming trance-like, towards speech pp

& <n>˙

° Fl. &

µ˙

œ B˙ ˙

∑

the

ppp

j œ‰ Œ

eight,

∑

B -œ œ b -œ œ J Œ

∑

Cl. ¢& Ó <n>˙ o

ppp

#˙ ™

∑

Œ B¿

3 j ¿ ¿ µ¿ Y

thir

œ µ -œ œ œ ™ J 3

spoken ppp

‰

∑

teen,

∑

ppp

œ R ‰™ Œ o

<n>w

∑

ppp

= o j ¿‰Œ

& <µ>Y

∑

- ° Ó B˙ bœ ˙ µœ ˙ Fl. &

œ J‰Œ Ó

M-S.

Cl.

¢& ˙

˙™

#˙

° Perc. ¢ /

∑

∑ ∑

∑

B œ- ™ b -œ œ™ µ -œ ˙ J J

œ J‰Œ Ó

ppp

∑

Œ <n>œ w ∑

soft sticks

M-S..

Senza misura* c. q = 120 whispered, concentrating ppp

¿™

Thir -

° Fl. &

∑

¢&

∑

Cl.

° Perc. ¢ /

∑

U Œ

∑ ∑ ∑

Y™

∑ ∑

∑ Œ ‰<n>œj ˙ ppp

∑

∑ w ™ ¿ ¿ ¿l.v. – ¿ ‰ æ æ ææ Œ æ æ 3 o pp

œ R ‰™ o

l.v. ¿ ¿– æ JŒ Ó æ

Y æ æ o

∑

ppp

sung, trance-like, computer-like cold, expressionless ppp

U ∑

four.

∑

˙™

#˙

ppp

= H A tempo (q = 120) 66

ppp

œ R ‰™ o

notate 21 on board

B -œ œ œ b -œ œ œ œ µ -œ ˙ ™ ‰ J p

j µœ ™ œ

∑

* In the senza misura passage, the mezzo should try to keep roughly in time with the ensemble. The rhythmic groupings of the words should be adhered to but there can be some freedom with the length of the rests.

œ ™™

The

ppp

o ∑

≈Ó

Emily Howard

Emily Howard (b. 1979) first won critical acclaim with the orchestral work Magnetite, commissioned by Liverpool European Capital of Culture for the Royal Liverpool Philharmonic Orchestra. Her music has been commissioned, performed and broadcast internationally by festivals and ensembles including the BBC Proms, London Symphony Orchestra, New Scientist Live, Wien Modern and Bamberg Symphony. Known for her music’s connection with science, Howard studied Mathematics and Computer Science at Oxford University and holds a Doctorate in Composition from the University of Manchester. Howard is currently Professor of Composition at the Royal Northern College of Music and Director of PRiSM (the RNCM Centre for Practice & Research in Science & Music). Emily Howard (*1979) wurde zunächst durch ihr Orchesterwerk Magnetite bekannt, das anlässlich der Ernennung Liverpools zur Europäischen Kulturhauptstadt für das Royal Liverpool Philharmonic Orchestra entstand. Zu den Interpreten und Auftraggebern ihres Schaffens zählen Festivals und Ensembles in aller Welt, darunter die BBC Proms, das London Symphony Orchestra, New Scientist Live, Wien Modern und die Bamberger Symphoniker. Howard, die in ihrem Schaffen Verbindungen zur Naturwissenschaft herstellt, studierte Mathematik und Informatik an der Universität Oxford und wurde an der Universität Manchester im Fach Komposition promoviert. Gegenwärtig ist sie Professorin für Komposition am Royal Northern College of Music in Manchester und Leiterin von PRiSM, dem hochschuleigenen Zentrum für Praxis und Forschung in Naturwissenschaft und Musik.

T h e Pe te r s C o n te m p o r a r y C h a m b e r S e r i e s of fe r s t h e o p p o r tu n i t y to d i s c ove r n e w wo r ks to p ro g r a m m e, stu d y a n d p l ay. R e p r e s e n t i n g t h e f u l l b r e a d t h o f o u r l i b r a r y o f m o d e r n c h a m b e r m u s i c, t h i s c u r a te d s e r i e s o f p e r f o r m a n c e m ate r i a l s r a ng e s f ro m e sta b l i s h e d r e p e r to i r e to p i e c e s r e c e nt l y p r e m i e r e d. Mit einer sorgfältigen Auswahl aus unserem breitgefächerten Katalog moderner Kammermusik lädt die Peters Contemporary Chamber Series dazu ein, neues Reper toire zu entdecken, zu erkunden und zu Gehör zu bringen. In Form von Auf führungsmaterialien umfasst sie etablier te Werke ebenso wie erst kür zlich uraufgeführ te Kompositionen.

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