An#UnawareCosmos# ·...
122
Joseph Klein An Unaware Cosmos (201217) modular cycle for mixed chamber ensembles Supported in part by a fellowship from the University of North Texas Institute for the Advancement of the Arts. duration: variable
Transcript of An#UnawareCosmos# ·...
Joseph Klein
An Unaware Cosmos (2012-‐17)
modular cycle for mixed chamber ensembles
Supported in part by a fellowship from the University of North Texas Institute for the Advancement of the Arts.
duration: variable
-‐ i -‐
Performance Notes
An Unaware Cosmos is a cycle of sixteen works, scored for a variety of small chamber ensembles that are to be combined in a modular fashion. A given performance of An Unaware Cosmos must include no fewer than three modules, which may be arranged in any number of ways according to the specific instructions accompanying each score. Once the work begins, however, the performance should be continuous—i.e., there should be no substantial breaks between the various modules.
STRUCTURE: At the outset, it will be necessary to clarify a few terms that are used in the performance instructions below, so as to distinguish the structural properties and hierarchies of this work:
• Module: This refers to any of the individual works in this collection; these might traditionally be referred toas “movements,” though because they are performed concurrently rather than consecutively—and because their arrangement is not fixed—the term “module” is used here instead.
• Episode: This refers to a self-‐contained section within a module, usually set off from one another byfermatas, caesuras, and/or double bars in the score (as in Transient Dominion, for example).
• Iteration: In discontinuous modules (usually those of a recurring nature), each occurrence is referred to as aniteration. Often there are specific instructions as to the interpretation of each iteration (as in Shadows on the Horizon, for example).
• Event: This typically refers to a musical unit that is smaller than either an episode or an iteration, and whichmay be part of a larger musical unit; thus, a given iteration of a module may consist of several events (as in Glorious Accidents, for example).
Because each module has a distinctive and often uniform character, a performance of An Unaware Cosmos is highly dependent on the relationships between the selected modules, perhaps more so than those within any given module. Consequently, these modules are not intended to be performed independently. In order to enhance the contrapuntal possibilities within a given performance of the work, it is important to consider the various relationships of the modules with regard to temporality and character, as indicated below:
TEMPORALITY: Modules may either be either Continuous or Discontinuous (the latter of which is divided into three categories):
• Continuous (C) — Once begun, these modules proceed through to the end without significant or sustainedbreaks in the continuity. Continuous modules may include looped or suspended sections, indicated by repeat brackets and fermatas, respectively.
• Discontinuous: Intermittent (I) — These modules may be broken up according to indications in the score,often into shorter units that are interjected into the other modules. Segments are separated by silent pauses (marked with caesuras and fermatas in the score) of varying lengths, to be determined by the performers/conductor.
• Discontinuous: Sectional (S): These modules consist of segments that are typically longer than theIntermittent modules, but may be broken or suspended at certain points as indicated in the score.
• Discontinuous: Recurring (R) — These modules are of a consistent character throughout, and may be brokeninto segments of varying lengths, usually at any place in the score as determined by the performers/conductor.
CHARACTER: Modules may be distinguished according to the following general characteristics:
• Assertive (A) — These modules are typically in the foreground, usually interrupting or overpoweringconcurrent modules.
• Passive (P) — These modules tend to be relegated to the background, as a result of lower dynamics, thinnertextures, and/or simpler rhythms, and are often obscured by concurrent modules.
• Neutral (N) — These modules may not be characterized as either assertive or passive, and are generallyconsistent in their character.
• Varied (V) — These modules have a variable character, and may range from passive to assertive.
-‐ ii -‐
Staging of the work is important, as the individual modules must be self-‐contained spatially as well as musically. A performance of An Unaware Cosmos should take advantage of the entire performance space, including stages and balconies, as appropriate. Coordination of modules may be achieved by the use of a web-‐based cuing system (available from the composer) or by one or more conductors, depending on which modules are performed and how they are arranged in relation to one another.
In realizations with four or more modules, it may be is desirable for some of the ensembles to tune a quarter-‐step below standard pitch (c. A=427), resulting in a rich microtonal spectrum between modules. Of course, this will not be possible with modules that include fixed-‐pitch instruments (e.g., piano, celesta, mallet percussion). In such cases, alternatively tuned ensembles should make up between a third and half the total number of modules included in a given realization. If this is not possible, then all ensembles should be tuned to standard pitch (A=440).
In realizations performed by smaller ensembles, it may be necessary for players to perform in more than one module; for example, a performance by a standard Pierrot ensemble may include Unweaving a Rainbow, Celestial Teapot, The Illusion of Permanence, On the Perimeter of Ignorance, and Que sçay-‐je?, which would require the violinist, percussionist, and pianist to perform in more than one module. In such instances, it may not be possible to spatially separate the various sub-‐ensembles, although the performers should be arranged in a way that allows the modules to be clearly differentiated.
Below is a list of modules that comprise An Unaware Cosmos: • Unweaving a Rainbow: viola (or violin), piano [C, N] • Transient Dominion: trumpet, bass trombone, percussion (one player: 3 cymbals, tam-‐tam, 4 tom-‐toms,
bass drum), piano [I, A] • The Indelible Stamp of Our Lowly Origin: 4 contrabasses [S, N] • Blind Watchmaker: contrabassoon, 2 percussion (4 woodblocks; 4 log drums) [S, A] • Celestial Teapot: percussion (one player: vibraphone, 3 crotales, 3 tam-‐tams), piano [R, P] • La Contagion sacrée: trumpet, horn, trombone (or 3 horns); percussion (optional, one player: afuche,
shaker, or sand blocks) [S, A] • The Illusion of Permanence: violin, violoncello [C, V] • Shadows on the Horizon: string quartet [R, A] • Die Tyrannei der Mehrheit: low brass (four parts, up to four players per part, drawn from bass trumpets,
euphoniums, tubas); percussion (2 to 4 players: chimes, tam-‐tams required; gongs, bell plates, and almglocken, ad libitum). [I, A]
• Pascal’s Fallacy: saxophone quartet (SATB, ATTB, AAAA) [R, A] • A Fleeting Symmetry: guitar, harp, harpsichord [R, N] • Glorious Accidents: 4 mixed double reeds and/or saxophones [R, P] • On the Perimeter of Ignorance: piccolo, celesta, flexatone [R, A] • A Splendid Torch: solo piccolo trumpet [I, A] • Que sçay-‐je?: solo E b clarinet [S, A] • A Delicate Geometry: voice (countertenor or mezzo-‐soprano), electric guitar, accordion (or harmonium, or
portative organ), [R, P] • …e pur si muove: solo violin [I, A]
This is a transposed score.
-‐ iii -‐
Program Note
The history of art, music, and literature through the ages is rife with works rooted in their respective cultural mythologies; in contrast, the influence of science and mathematics on the arts has been primarily theoretical in nature (e.g., the overtone series and musical temperament, the golden ratio in ancient Greek architecture, tessellations in Moorish tile work, or the introduction of perspective in Renaissance painting). Only during the past half-‐century or so have such paradigms—as manifestations of objective reality—served as a basis for artistic expression.
While my own work has regularly drawn upon models and metaphors from mathematics and the sciences as an expression of the natural world, I have become increasingly compelled in recent years—in part as a response to the preponderance of works that extol the pervasive mythologies of our present culture—to create a work that pays homage to those freethinkers who have devoted their lives to the pursuit of truth, many of whom suffered persecution and punishment by the authorities of their respective eras. In that spirit, An Unaware Cosmos was conceived as a celebration of humankind’s quest for knowledge through empiricism and critical inquiry, as well as a rebuke of the tribalism, superstition, and sophistry that continue to characterize much of our society well into the 21st century. Concepts relating to cosmology, evolutionary biology, and genetics—as well as aspects of materialism, existentialism, humanism, and other nontheistic philosophies—have informed this modular work for mixed chamber ensembles.
The entire cycle comprises sixteen individual modules for various combinations of instruments, the mutable arrangement of which is intended to explore a variety of relationships—timbral, spatial, conceptual, structural—both within and between modules. In performance, music from these distinct modules is fragmented, dislocated, suspended, disrupted, and penetrated, often in unpredictable ways. This approach to form suggests an Eternalist model of time, whereby all possible events theoretically exist, while our ability to experience them is restricted to the present moment; thus any given realization of An Unaware Cosmos is simply one of a potentially limitless number of ways the work may unfold. Applying this concept to the listening experience challenges our teleological assumptions regarding musical form, which are themselves the result of centuries-‐old cultural biases.
An Unaware Cosmos was supported in part by a fellowship from the Institute for the Advancement of the Arts at the University of North Texas.
Unweaving a Rainbow
To explain all nature is too difficult a task for any one man or even for any one age. 'Tis much better to do a little with certainty, and leave the rest for others that come after you,
than to explain all things by conjecture without making sure of any thing. — Isaac Newton, Opticks notes (1704)
There was an awful rainbow once in heaven: We know her woof, her texture; she is given In the dull catalogue of common things. Philosophy will clip an Angel’s wings, Conquer all mysteries by rule and line, Empty the haunted air, and gnomed mine— Unweave a rainbow, as it erewhile made The tender-‐person’d Lamia melt into a shade.
— John Keats, Lamia (1819)
-‐ 2 -‐
Performance Notes
Instrumentation: viola (or violin) and piano.
Properties: Continuous, neutral.
Interpretation: • Rather than considering this module as an accompanied viola (violin) solo, the performers should approach it as a duo with two equal but independent parts, each undergoing a series of unsynchronized rhythmic expansions and contractions as part of a larger cycle. In contrast to a typical accompanied solo—where the piano accompanist follows the lead of the solo part—in this case, the more freely-‐notated viola (violin) part should follow the metronomically-‐strict piano part, which may serve as a point of reference throughout. Because of their independent trajectories, precise alignment of the two parts is not as critical as the overall process itself. • The viola (violin) part is notated in proportional notation, and is thus much more rhythmically pliable than the piano part; the piano part is notated in strict time, and it is important that the metric relationships within this part are maintained throughout. The shorter durations in the piano are to be played as block chords, gradually becoming arpeggiated as the durations increase: these arpeggiations become slower and more deliberate as the note values continue to increase. This process then reverses, as the durations decrease in value, before repeating the entire cycle. It is important that the indicated durations are maintained during the more expansive sections even though the arpeggiations obscure the precise attack points. • Although intended as part of the larger cycle, this is one of the few modules in An Unaware Cosmos that may be performed as a stand-‐alone work. (If played as an independent work, the fermatas at the beginning and end may be held for 7-‐10 seconds; these fermatas may be substantially longer when performed with other modules.)
Set-‐up: Due to the relative weight of this module in comparison to the others in the cycle, it is best to have the performers set up in a prominent location on the stage for the performance.
Symbols:
Senza misura
Extended fermata
Accelerando/ritardando
Durational continuum within senza misura section; values arranged from shortest to longest (precise durations ad libitum)
Continuum of rests/breaks within senza misura sections; values arranged from shortest to longest (precise durations ad libitum)
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-‐ 3 -‐
Unweaving a RainbowJoseph Klein
© 2012/14 Joseph Klein. All rights reserved.
from An Unaware Cosmos2012/14
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-‐ 6 -‐
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Unweaving a Rainbow
-‐ 7 -‐
Transient Dominion
Look in the mirror, and don't be tempted to equate transient domination with either intrinsic superiority or prospects for extended survival.
— Stephen Jay Gould, Full House (1996)
Man is a marvelous curiosity … he thinks he is the Creator’s pet … he even believes the Creator loves him; has a passion for him; sits up nights to admire him; yes and watch over him and
keep him out of trouble. He prays to him and thinks He listens. Isn't it a quaint idea? — Mark Twain, Letters from the Earth (c.1909)
-‐ 10 -‐
Performance Notes
Instrumentation: C trumpet, bass trombone, percussion, piano. The percussion part requires three splash cymbals, a medium tam-‐tam, four tom-‐toms, and a bass drum, all to be played with snare drum sticks throughout. All tom-‐tom rolls should be performed as open rolls, and cymbals should be struck at the edges with the shaft of the stick. If possible, the bass drum should be struck with the butt of the stick.
Properties: Intermittent, assertive.
Interpretation: • This module may occur at any point throughout a given realization of An Unaware Cosmos, and is divided into seven episodes—indicated by rehearsal letters A through G, and separated by caesuras and fermatas in the score. • Players must begin with Episode A, after which the remaining episodes may be played in any order. • There is no maximum duration for pauses between episodes, but in no case should they be less than 30 seconds in duration. • Each of the episodes must be played once and only once in a given realization of An Unaware Cosmos. The fermatas on the final note of each episode should be held as long as the brass players can sustain them; percussion and piano should continue to resonate after the brass cut off.
Set-‐up: Performers should be set up as indicated at the right, with the trumpet and bass trombone flanking the piano (trumpet on the treble side, trombone on the bass side), preferably standing. The lid should be opened at full stick, or removed from the piano completely so as not to obstruct the view of the performers and to allow maximum volume from the instrument. Because the percussion is featured in this module, the battery should be set up in front of the accompanying instruments.
Symbols:
Accelerando/ritardando (within the duration indicated)
Short/longer break in sound (without disruption in tempo)
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Transient DominionJoseph Klein
© 2012/14 Joseph Klein. All rights reserved.
from An Unaware Cosmos
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Transient Dominion
-‐ 18 -‐
The Indelible Stamp of Our Lowly Origin
We must, however, acknowledge, as it seems to me, that man with all his noble qualities, with sympathy which feels for the most debased, with benevolence which extends not only to other men
but to the humblest living creature, with his god-‐like intellect which has penetrated into the movements and constitution of the solar system — with all these exalted powers—
Man still bears in his bodily frame the indelible stamp of his lowly origin. — Charles Darwin, The Descent of Man (1871)
We are just an advanced breed of monkeys on a minor planet of a very average star. But we can understand the Universe. That makes us something very special.
— Stephen Hawking (1988)
-‐ 20 -‐
Performance Notes
Instrumentation: 4 contrabasses
Properties: Sectional, neutral.
Interpretation: • The work is in three sections—labeled A, B, and C in the score—which must be played in sequence. • The three sections may be played continuously without breaks; alternatively, this module may be broken into independent episodes by interpolating pauses between any or all of these sections. Thus, the following realizations are possible:
• A+B+C (continuous, no pause) • A [pause]; B+C • A+B [pause]; C • A+B [pause]; B+C • A [pause]; B [pause]; C • A [pause]; B [pause]; B+C • A+B [pause]; B [pause]; C • A+B [pause]; B [pause]; B+C
• There is no maximum duration for pauses between episodes, but in no case should they be less than 60 seconds. • In those instances where section B is played together with either A or C in a given iteration, repeats in that section are optional; where B is played as an independent episode, it should be repeated at least three times. • The fermatas at the end of m.35 and m.41 are optional, and are to be used only at the beginning or end of a given iteration (in cases where pauses are interpolated between sections), and never in the middle of an iteration. • In non-‐continuous realizations of this module, the beginning and ending of each iteration may be interpreted in any of the following ways:
• Ending section A: sustain and fade out over 10 to 20 seconds during fermata in m. 35. • Ending section B: repeat ad libitum; fade out over 10 to 20 seconds during one of these repeats. • Ending section B: repeat ad libitum; sustain and fade out over 10 to 20 seconds during fermata in m. 41. • Beginning section B: fade in over 10 to 20 at fermata in m. 35 before resuming play; repeat ad libitum. • Beginning section B: players enter at arrows (staggered entrances) in m. 36; repeat ad libitum. • Beginning section C: fade in over 10 to 20 at fermata in m. 41 before resuming play. • Beginning section C: players enter at arrows (staggered entrances) in m. 42.
Tuning: The ensemble may be tuned to A=427 (optional; see general prefatory notes for details).
Set-‐up: The four bassists should be arranged in a slightly curved row (so as to see each other while playing), about 2 to 3 feet apart, preferably along a wall (either on stage or elsewhere in the hall).
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-‐ 21 -‐
The Indelible Stamp of Our Lowly Origin
Joseph Klein
© 2012/14 Joseph Klein. All rights reserved.
2012/14
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-‐ 22 -‐
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-‐ 23 -‐
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The Indelible Stamp of Our Lowly Origin
-‐ 26 -‐
Blind Watchmaker
All appearances to the contrary, the only watchmaker in nature is the blind forces of physics…. A true watchmaker has foresight: he designs his cogs and springs, and plans their interconnections,
with a future purpose in his mind's eye. Natural selection, the blind, unconscious, automatic process which Darwin discovered… has no purpose in mind… If it can be said to play the
role of watchmaker in nature, it is the blind watchmaker. — Richard Dawkins, The Blind Watchmaker (1986)
The universe is the way it is, whether we like it or not. The existence or nonexistence of a creator is independent of our desires. A world without God or purpose may seem harsh or pointless,
but that alone doesn’t require God to actually exist. — Lawrence M. Krauss, A Universe from Nothing (2012)
-‐ 28 -‐
Performance Notes
Instrumentation: contrabassoon, 2 percussion (4 woodblocks; log drum(s) with 4 pitches). The percussionists use two mallets in each hand throughout: forzandi/accented notes are to be played with hard mallets (plastic, hard rubber); all other notes to be played with medium yarn mallets.
Properties: Continuous or recurring, assertive.
Interpretation: • This module is to proceed generally unaffected by disruptions from the other modules; however, the duration of the repeating percussion mobiles between each contrabassoon phrase may be adjusted according to the placement of any concurrent module(s). • Each system of music beginning in m.6 is approximately 15 seconds in duration, notwithstanding the long fermatas at the end of each contrabassoon phrase. During these fermatas, the percussionists repeat as indicated until the contrabassoonist resumes playing, cuing the percussionists to resume. • This module may be played continuously, or may be divided into two separate iterations; in the latter case, the break may occur wherever there is a caesura and a double bar. When resuming play following a break, players may begin either with the repeated percussion mobiles or at the contrabassoon entrance following the caesura. • While the percussionists should maintain their individual tempi as accurately as possible, it is not necessary (nor even possible, following the repeated measures) for their parts to align with one another as indicated in the score, nor with the contrabassoon part, for that matter. • The final percussion mobile may continue for up to two minutes beyond the end of the final contrabassoon phrase, as necessitated by the interaction of any concurrent module(s).
Tuning: The ensemble may be tuned to A=427 (optional; see general prefatory notes for details).
Set-‐up: Players should set up with the percussionists standing directly behind the seated contrabassoonist (who is the featured performer in this module), as indicated in the diagram at the right.
Symbols:
Timbral modulation, ad lib. (use alternate fingerings and/or embouchure changes)
Senza misura
Extended fermata (timing indicated as necessary)
Accelerando/ritardando
Durational continuum within senza misura section; values arranged from shortest to longest (precise durations ad libitum)
Continuum of rests/breaks within senza misura sections; values arranged from shortest to longest (precise durations ad libitum
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-‐ 29 -‐
Blind Watchmaker
Joseph Klein
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from An Unaware Cosmos
© 2012/15 Joseph Klein. All rights reserved.
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Blind Watchmaker
-‐ 31 -‐
Celestial Teapot
If I were to suggest that between the Earth and Mars there is a china teapot revolving about the sun in an elliptical orbit, nobody would be able to disprove my assertion.... But if I were to go on to say that, since my assertion cannot be disproved, it is intolerable presumption on the
part of human reason to doubt it, I should rightly be thought to be talking nonsense. — Bertrand Russell, “Is There a God?” (1952)
In our reasonings concerning matter of fact, there are all imaginable degrees of assurance, from the highest certainty to the lowest species of moral evidence. A wise man, therefore, proportions his belief to the evidence.
— David Hume, An Enquiry Concerning Human Understanding (1748)
-‐ 34 -‐
Performance Notes
Instrumentation: percussion (vibraphone; 3 crotales: G6, D7, B b7; 3 tam-‐tams) and piano
Properties: Recurring, passive.
Interpretation: • The six episodes of this module—indicated by rehearsal letters A through F, and separated by caesuras and long fermatas—should be played in sequence (either forward or backward) whenever possible. It is possible to reverse directions at any point in the sequence during longer realizations of the work. • At times, it may be necessary to disrupt the sequential order of the episodes in order to better accommodate the other modules. • These episodes may enter at any time throughout a given realization of An Unaware Cosmos, separated by no less than 20 seconds between iterations. • Each episode must be played at least once: while episodes B through E may be played more than once, episodes A and F may be played no more than once each. • Tempo must be even throughout and the sound should be resonant, continuous, and evenly balanced between the instruments; the short fermatas that occur in mm. 14, 31, and 39 should be interpreted as slight hesitations in the otherwise regular flow of the music in this module. • The percussionist must depress the vibraphone pedal throughout; the pianist must depress both the sustain and una corda pedals throughout. Performers may wish to use weights to keep the respective pedals depressed.
Set-‐up: The performers should be set up in such a way as to clearly define their physical space among the other ensembles in a given performance.
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(sempre)
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P
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(sempre)Percussion
Piano
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CROTALES
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-‐ 35 -‐
Celes0al Teapot
Joseph Kleinfrom An Unaware Cosmos
2012/15
© 2012/15 Joseph Klein. All rights reserved.
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CelesZal Teapot
-‐ 36 -‐
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11/18/17
CelesZal Teapot
-‐ 37 -‐
CelesZal Teapot
-‐ 38 -‐
La Contagion sacrée
How could the human mind progress, while tormented with frightful phantoms, and guided by men, interested in perpetuating its ignorance and fears? Man has been forced to vegetate in his primitive stupidity: he has been taught stories about invisible powers upon whom his happiness was supposed to depend. Occupied solely by his fears, and by unintelligible reveries, he has always been at the mercy of priests, who have reserved to themselves the right of thinking for him, and of directing his actions.
— Baron d’Holbach, Good Sense (1753)
How long, O how long will mankind worship a book? How long will they grovel in the dust before the ignorant legends of the barbaric past? How long, O how long will they pursue phantoms in a darkness deeper than death?
— Robert Ingersoll, Heretics and Heresies (1874)
-‐ 40 -‐
Performance Notes
Instrumentation: trumpet, horn, trombone (or 3 horns); percussion (optional, one player: afuche, shaker, or sand blocks, ad libitum)
Properties: Sectional, assertive.
Interpretation: • This module is divided into five sections—indicated by rehearsal letters A through E, and separated by caesuras and long fermatas—which must be played in the sequence presented. • Durations of the extended fermatas are dependent on the relationship to any concurrent module(s), but must not exceed the limits specified in the score; the entire module should occur within a five-‐minute period. • The third and most substantial of the five sections (C) is considered the main body of this module: the senza misura passage within section C (mm.40a-‐40c) is to be prominently featured; therefore, no active or assertive music from another module should occur during this section.
Tuning: The ensemble may be tuned to A=427 (optional; see general prefatory notes for details).
Set-‐up: Performers are to stand side-‐by-‐side; if on the main stage, performers should be located upstage and angled toward center stage; depending on the other ensembles involved in a given realization, it may be necessary for the performers to stand on risers.
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C Trumpet
F Horn
Trombone
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TP
HN
TN
PR
8
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TP
HN
TN
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16
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œ œn œ œb
œ œbœ œn
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-‐ 41 -‐
La Contagion sacréeJoseph Klein
© 2012/15 Joseph Klein. All rights reserved.
2012/15
@
from An Unaware Cosmos
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HN
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HN
TN
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HN
TN
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La Contagion sacrée
-‐ 42 -‐
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45
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TP
HN
TN
PR
53
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165
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163
165
167
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HN
TN
PR
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11/15/16
La Contagion sacrée
-‐ 43 -‐
The Illusion of Permanence
I beg you, reject antiquity, tradition, faith, and authority! Let us begin anew by doubting everything we assume has been proven!
—Giordano Bruno (c.1585)
Tradition is the illusion of permanence. — Woody Allen, Deconstructing Harry (1997)
-‐ 46 -‐
Performance Notes
Instrumentation: violin, violoncello
Properties: Continuous, varied.
Interpretation: • This module should proceed unaffected by disruptions from any concurrent modules. • The music in each instrumental part is parsed into four distinct and overlapping musical characters, marked “Agitated,” “Ethereal,” “Desultory,” and “Vertiginous.” These should be clearly distinguishable from one another, not just in the content of the contrasting musical materials, but even in the physical attitudes and gestures of the performers themselves. • The “Agitated” sections should be played very aggressively, preferably at the frog and with excessive bow pressure (almost to the point of obscuring/distorting the pitch). The “Vertiginous” sections should seem to be in continuous flux; performers should use full bow strokes whenever possible. The “Desultory” sections are to be played with rhythmic precision in order to achieve the proper effect. The “Ethereal” sections should be delicate in comparison to the other sections; however, it may be necessary for the performers to play above the dynamic levels indicated in order to adequately project. • Placement of the natural harmonic fingerings in the “Ethereal” sections are left to the discretion of the performers.
Tuning: The ensemble may be tuned to A=427 (optional; see general prefatory notes for details).
Set-‐up: The violinist should stand to the left of the ‘cellist, both of whom are to be angled inward toward one another. This setup should be downstage, though precise placement will be dependent on the other ensembles involved in a given realization of An Unaware Cosmos.
Symbols:
Snap pizzicato
Very brief break in sound (no suspension of tempo)
Accelerando (within the duration indicated)
Glissando
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&
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43
45
42
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œœb vœœv
œœv≈ œœb >
≥ jœœ œœb >œœb >
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v v v
≥ ≥ ≥œœ œœ œœ
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q = 60 (sempre)
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f
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tallone
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-‐ 47 -‐
The Illusion of Permanence
Joseph Klein
from An Unaware Cosmos
2012/15
© 2012/15 Joseph Klein. All rights reserved.
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The Illusion of Permanence
-‐ 48 -‐
&
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The Illusion of Permanence
-‐ 49 -‐
&
&
44
42
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(ord.)
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11/18/17
The Illusion of Permanence
-‐ 50 -‐
Shadows on the Horizon
When men yield up the privilege of thinking, the last shadow of liberty quits the horizon. — Thomas Paine, Reflections on Titles (1775)
Fix reason firmly in her seat, and call to her tribunal every fact, every opinion. Question with boldness even the existence of a God; because, if there be one, he must
more approve of the homage of reason, than that of blindfolded fear. — Thomas Jefferson, Letter to Peter Carr (1787)
-‐ 52 -‐
Performance Notes
Instrumentation: 2 violins, viola, violoncello
Properties: Recurring, assertive.
Interpretation: • This module may be played any number of times during a given realization of An Unaware Cosmos: the initial iteration must begin in either measure 1 or measure 49, and may conclude at any point in the score; subsequent iterations are to begin at the point where the previous iteration left off. • A performance of this module must include at least one complete pass through the score; the da capo repeat at the end of the score may occur as many times as necessary. • No iteration should be less than 20 seconds in duration; the maximum duration of any given iteration should be no more than one complete cycle of the score. • Players must stagger all entrance and release points at the beginning and end of each iteration of this module: every iteration must begin with the up-‐bowed/crescendo part; players with a down-‐bowed/diminuendo part do not play until their first up-‐bowed/crescendo entrance that follows the initial entrance. Conversely, each iteration must end with the completion of a down-‐bowed/diminuendo (al niente) part. For example. an iteration starting in measure 13 and ending in measure 36 would begin and end as follows:
@
• Tempo may fluctuate throughout the movement (between MM 45 and 90), though any tempo changes must always be smooth, never abrupt. The numbers in the middle of each system indicate the number of beats in each measure. • The continuous swells in each part will differ in duration, but all should “crest” in an equally aggressive manner, with heavy bow pressure and sul ponticello bow placement to the point of breaking the sound. Players should always exaggerate the glissando and crescendo into the down-‐bowed dyad and must strive for a consistent sound (particularly concerning the overpressure down bows) between the four parts.
Tuning: The ensemble may be tuned to A=427 (optional; see general prefatory notes for details).
Set-‐up: Players should be set up in the standard string quartet formation, though spread out more than usual (approximately 6 to 8 feet between performers).
Symbols:
Glissando
! ! ! Change from one mode of play to another
&
&
B
?
˙b,
˙b≤
˙##>≥
Fluid, surging (MM 45-‐90, ad libitum)
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π
! ! !(ord.)
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Violin II
Violoncello
5 2
ord.
F( ) n
˙n >≥
˙≤
π
! ! !
ƒ
pont.! ! !
5
˙bb
≤
˙,
˙# >
≥
ƒ
pont. ! ! ! ord.
π
3
! ! !
n
ord.
˙nb>≥
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˙# ≤
π
n! ! !
ƒ
1
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˙,
˙≤,
˙##>≥
ƒ
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(sim.)
n
5
˙≤
˙#>
≥
˙,
π
ƒ
n
ord.
&
&
B
?
7
˙#>≥
˙,
˙b ≤n
π
ƒ
@
2 2
(sim.)
(sim.)
VN I
VN II
VA
VC
˙,
˙b≤
˙n >≥
n
π
ƒ
5
˙n >
≥
˙bb≤
ƒ
π
1
˙b≤
˙bn>
≥
p
ƒ
3
˙n>≥
˙≤
˙ ,
ƒ
π
n
5
˙#≤
˙,
˙# >≥
n
ƒ
π
&
&
B
?
13˙##>≥
˙bb≤
˙ ,
n
π
ƒ
@
2 3
VN I
VN II
VA
VC
˙,
˙bn >
≥
˙
ƒ
π
n
1
˙b≤
˙,
˙# >
ƒ
p
2n
˙n>
≥
˙≤
˙ ,
n
ƒ
π
1
˙bb
˙# >≥
p
ƒ
3
˙nb >
≥
˙≤
ƒ
p
2
˙ ,
˙#
˙#>≥
B
n
ƒ
π
3
˙## >
≥
˙ ,
˙≤
ƒ
n
π
-‐ 53 -‐
Shadows on the HorizonJoseph Kleinfrom An Unaware Cosmos
2014
© 2012/14 Joseph Klein. All rights reserved.
&
&
B
B
21
˙,
˙b ≤
˙#>
≥
n
ƒ
p
@
1 1
VN I
VN II
VA
VC
˙≤
˙n >≥
˙ ,ƒ
n
p
3
˙# >≥
˙ ,
˙bb≤
ƒ
n
π
2
˙ ,
˙b≤
˙nb>≥
n
π
ƒ
3
˙n>
≥
˙bb≤
ƒ
π
1
˙bb≤
˙bn>
≥
p
ƒ
2
˙nb>≥
˙≤
˙ ,
ƒ
π
n
2
˙≤
˙ ,
˙#>
≥
n
π
ƒ
1
˙# >≥
˙bb≤
˙ ,
ƒ
n
p
&
&
B
B
30 ˙ ,
˙bn>
≥
˙b ≤
ƒ
n
π
2 1
VN I
VC
VA
VN II
˙bb≤
˙ ,
&
˙n >≥
p
n
ƒ
1
˙bn>
≥
˙≤
˙ ,
ƒ
n
p
2
˙bb≤
˙# >≥
p
ƒ
1
˙nb>≥
˙b≤
ƒ
p
2
˙ ,
˙
˙n >
≥
&
n
π
ƒ
2
˙# >≥
˙
˙≤
ƒ
n
π
1
˙ ,
˙b ≤,
˙# >≥
n
ƒ
p
3
˙b≤
˙n >≥
˙,
π
ƒ
n
2
˙n>
≥
˙ ,
˙bb≤
ƒ
n
π
&
&
&
&
40 ˙ ,
˙bb≤
˙nb>≥
n
π
ƒ
@
3 1
VN I
VN II
VA
VC
˙bn>≥
˙#n≤
ƒ
p
1
˙bb≤
˙##>
≥
p
ƒ
3
˙nb>≥
˙b≤
˙ ,
ƒ
π
n
2
˙b ≤
˙ ,
˙n>
≥
n
π
ƒ
3
˙n >≥
˙#n≤
˙ ,
π
ƒ
n
1
˙ ,
˙##>
≥
˙b ≤
ƒ
n
p
2
˙bb≤
˙ ,
˙n >≥
n
ƒ
π
1
˙bn>
≥
˙b ≤
˙ ,
ƒ
n
p
Shadows on the Horizon
-‐ 54 -‐
&
&
&
&
49˙b ≤
˙n >≥
π
ƒ
3 2
VN I
VN II
VA
VC
˙n >≥
˙≤
π
ƒ
5
˙ ,
˙bb≤
˙#>
≥
n
π
ƒ
3
˙nb>≥
˙
˙≤
π
n
ƒ1
˙ ,
˙#≤,
˙#>
≥
n
ƒ
p
5
˙≤
˙##>≥
˙ ,
π
ƒ
n
2
˙#>
≥
˙ ,
˙≤n
π
ƒ
&
&
&
&
56˙ ,
˙≤
˙# >≥
n
π
ƒ
@
2 5
VN I
VN II
VA
VC
˙# >≥
˙bb≤
ƒ n
π
1
˙b ≤,
˙bn>
≥
p
ƒ
3
˙n >≥
˙≤
˙ ,
ƒ
π
n
5
˙≤
˙ ,
˙#>
≥
n
ƒ
π
2
˙# >≥
˙b≤
˙ ,
B
n
π
ƒ
&
&
&
B
62 ˙ ,
˙n>
≥
˙b ≤
ƒ
π
n
@
3 1
VN I
VN II
VA
VC
˙# ≤
˙ ,
˙n >≥
ƒ
p
n
2
˙## >
≥
˙≤
˙ ,
n
ƒ
π
1
˙b ≤
˙# >≥
ƒ
p
3
˙n >≥
˙# ≤
ƒ
p
2
˙ ,
˙b ≤
˙##>
≥
n
π
ƒ
3
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˙
˙≤
ƒ
π
n
1
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˙#≤,
˙#>
≥
n
ƒ
p
1
˙bb≤
˙##>≥
˙ ,,ƒ
n
p
Shadows on the Horizon
-‐ 55 -‐
&
&
&
B
71 ˙bn >
≥
˙ ,
˙≤
ƒ
n
π
3
@
2
VN I
VN II
VA
VC
˙ ,
˙# ≤
˙# >≥?
n
π
ƒ
2
˙##>
≥
˙b≤
ƒ n
π
1
˙b ≤,
B
˙n>
≥
p
ƒ
3
˙n>≥
˙≤
˙ ,
ƒ
π
n
1
˙#≤
˙,
˙#>
≥n
ƒ
p
2
˙##>≥
˙≤
˙ ,
π
ƒ
n
2
˙ ,
˙# >≥
˙b ≤
ƒ
n
π
1
˙bb≤
˙,
˙n >≥
p
n
ƒ
&
&
B
?
80 ˙bn >≥
˙#≤
˙ ,
ƒ
n
π
3 2
VN I
VN II
VA
VC
˙≤
˙##≥>
π
ƒ
1
˙# >≥
˙bb≤
ƒ
p
2
˙ ,
˙b ≤
˙bn>
≥
n
π
ƒ
2
˙n >≥
˙
˙bb≤
ƒ
π
n
1
˙,
˙bb≤,
˙bn>
≥
n
ƒ
p
3
˙bb≤
˙nb>≥
˙ ,
π
ƒ
n
2
˙bn >≥
˙ ,
˙#≤
ƒ
n
π
&
&
B
?
..
..
..
..
..
..
88˙
,
˙bb≤
˙##>≥
n
π
ƒ
@
3 1
VN I
VN II
VA
VC
˙bn >
≥
˙b≤
ƒ1
p
˙≤
˙n>
≥
p
ƒ
3
˙#>≥
˙bb≤
˙ ,
ƒ
π
n
2
˙bb≤
˙,
˙bn >
≥
n
π
ƒ
3
˙nb>≥
˙≤
˙,
π
ƒ
n
1
˙,
˙# >
≥
˙≤
ƒ
n
2
p
˙bb≤
˙,
˙#>
≥
n
ƒ
π
1
˙bn >
≥
˙#≤
˙ ,
ƒ
n
p
D.C. sempre
06/04/16
Shadows on the Horizon
-‐ 56 -‐
Die Tyrannei der Mehrheit
Where there have been powerful governments, societies, religions, public opinions—in short, wherever there has been tyranny—there the solitary philosopher has been hated; for philosophy offers an
asylum to a man into which no tyranny can force its way, the inward cave, the labyrinth of the heart — Friedrich Nietzsche, Untimely Meditations (1876)
That only a few, under any circumstances, protest against the injustice of long-‐established laws and customs, does not disprove the fact of the oppressions, while the satisfaction of the many,
if real only proves their apathy and deeper degradation. — Elizabeth Cady Stanton (late-‐19th c.)
-‐ 58 -‐
Performance Notes
Instrumentation: low brass (four parts, up to three players per part, drawn from bass trumpets, euphoniums, and tubas, ad libitum); percussion (2 to 4 players: chimes, tam-‐tams required; gongs, bell plates, and almglocken, ad libitum). Multiple percussionists may divide the parts between these instruments as desired.
Properties: Intermittent, assertive.
Interpretation: • This is perhaps the most disruptive module in the entire cycle, and should be deployed deliberately and somewhat sparingly during a performance. Pauses between iterations of this module should be no shorter than five minutes, and preferably longer than ten minutes. • There are six separate episodes within this module—indicated by rehearsal letters A through F, and separated by caesuras and long fermatas—which may be presented in any order. • A given realization of An Unaware Cosmos may include as few as three of the six episodes, depending on the overall duration and the number of modules included in the performance. • The temporal relationships between brass attacks are indicated with broken lines; these attacks should be rhythmically irregular throughout. The final pitches in each brass part should fade into the percussion resonance. • Following the initial attack in chimes and tam-‐tams, the percussionists alternate attacks on the miscellaneous metallic instruments (gongs, bell plates, almglocken) in a composite ritardando. • Each of the six individual episodes in this module should last approximately 10-‐15 seconds (not including residual resonance from the percussion instruments, which may be considerable).
Tuning: The ensemble may be tuned to A=427 (optional; see general prefatory notes for details).
Set-‐up: Players should be set up in a rather tight row, similar to a military phalanx; it is important that the physical presentation of this module is correspondingly imposing. Within this formation, the arrangement of percussionists and brass players must be symmetrical, with exact set-‐up dependent upon the number of performers involved. Below are two possible arrangements of the ensemble for this module:
This ensemble should be set up at the front of the performance space, in a prominent position but not blocking any of the other ensembles (e.g., on risers at the back of the main stage, or on a choral terrace behind the main stage).
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GONGS, etc. (ad lib.) poco dim.
1
2
3
4
5
6
7
LB
PR
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U
˙,
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>
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molto
molto
molto
molto
f
8
9
10
11
12
13
14
~~~~
~~~~~
-‐ 59 -‐
Die Tyrannei der Mehrheit
Joseph Kleinfrom An Unaware Cosmos
2015
© 2015 Joseph Klein. All rights reserved.
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1
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3
4
5
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8
9
10
11
12
13
14
~~~~~~~~~
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LH
RH
TAM-‐TAMS
CHIMES
GONGS, etc. (ad lib.)
poco dim.
1 2
3
4
5
6
7
LB
PR
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˙,
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,
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molto
molto
molto
molto
f
8
9
10
11
12
13
14
~~~~~~~~~
Die Tyrannie der Mehrheit
-‐ 60 -‐
?
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&
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LH
RH
TAM-‐TAMS
CHIMES
GONGS, etc. (ad lib.) poco dim.
1 2
3
4
5
6
7
PR
LB
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"
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8
9
10
11
12
13
14
~~~~~~~~~
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LH
RH
TAM-‐TAMS
CHIMES
GONGS, etc. (ad lib.) poco dim.
1
2
3
4
5
6
7
PR
LB
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f
8
9
10
11
12
13
14
~~~~~~~~~
05/27/17
Die Tyrannie der Mehrheit
-‐ 61 -‐
Pascal’s Fallacy
It seems to me that the idea of a personal God is an anthropological concept, which I cannot take seriously. I also cannot imagine some will or goal outside the human sphere.... A man's ethical behavior should be based effectually on sympathy, education, and social ties; no
religious basis is necessary. Man would indeed be in a poor way if he had to be restrained by fear of punishment and hope of reward after death.
— Albert Einstein, “Religion and Science” (1930)
[Mankind] is not likely to salvage civilization unless he can evolve a system of good and evil which is independent of heaven and hell.
— George Orwell, “As I Please” (1944)
-‐ 64 -‐
Performance Notes
Instrumentation: saxophone quartet (soprano/alto, 2 alto/tenor, tenor/baritone)
Properties: Recurring, assertive.
Interpretation: • This module occurs three times, each with a different quartet permutation, interpretation of the score, and placement of instruments in the performance space (see set-‐up diagram below). Pauses between the three iterations must be between one and two minutes in duration. • There are two parts indicated in the score: players 1 and 2 play the top staff and players 3 and 4 play the bottom staff, as written (i.e., transposed), throughout the three iterations:
• Iteration A — SATB quartet: all players begin together in measure 1 and play in rhythmic unison throughout. • Iteration B — two separated duos (AT/TB), played in canon: players 3-‐4 (TB) begin in measure 1; players 1-‐2 (AT) begin in measure 4 (as indicated by the green triangles in the score). • Iteration C — four separated soloists (AAAA), played in canon: player 1 begins in measure 4; player 2 begins in measure 2; player 3 begins in measure 3; player 4 begins in measure 1 (as indicated by the red triangles in the score).
• Each iteration must be at least as long as a single pass through the score, and no longer than three complete passes (i.e., two repeats following the initial pass). • It is not necessary for the two duos in Iteration B (or the four soloists in Iteration C) to strictly maintain the temporal relationships between them, though players should attempt to keep the tempo as consistent as possible throughout. • Players must always begin and end together: each iteration must conclude on one of the sustained notes (at the end of a scalar gesture), which is to be held for at least five seconds without diminuendo, then abruptly cut off together.
Tuning: The ensemble may be tuned to A=427 (optional; see general prefatory notes for details).
Set-‐up: Players are to be set up in a tight formation for Iteration A, preferably in a central position at the rear of the performance space; Iteration B is to be arranged as two antiphonal duos, preferably at the left and right rear of the performance space; players are to be widely dispersed in Iteration C, preferably in the four corners of the performance space:
[STAGE]
[AUDIENCE]
&
&1611
163
165
167
165
Saxophones 1-‐2
Saxophones 3-‐4
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,
,
-‐ 65 -‐
Pascal's FallacyJoseph Klein
© 2015 Joseph Klein. All rights reserved.
2014-‐15
@
from An Unaware Cosmos
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06/04/16
Pascal's Fallacy
-‐ 66 -‐
@
A Fleeting Symmetry
What is this world? A complex whole, subject to endless revolutions. All these revolutions show a continual tendency to destruction; a swift succession of beings who follow one another,
press forward, and vanish; a fleeting symmetry; the order of a moment. — Denis Diderot, Lettre sur les aveugles (1749)
Once we overcome our fear of being tiny, we find ourselves on the threshold
of a vast and awesome Universe that utterly dwarfs—in time, in space, and in potential— the tidy anthropocentric proscenium of our ancestors.
— Carl Sagan, Pale Blue Dot (1997)
-‐ 68 -‐
Performance Notes
Instrumentation: guitar, harp, harpsichord
Properties: Recurring, neutral.
Interpretation: • The overall effect of this module is that of a series of expanding and contracting composite gestures in the three instruments: sections of contracting rhythm and expanding register (A sections) alternate with those of expanding rhythm and contracting register (B sections) throughout. • Performers may begin with any A or B section, and proceed as indicated in the score. • Each section is led by a different performer in the ensemble, who cues each gestural grouping; these are beamed between the three performers, and consist of a generating pitch (indicated with an open notehead) with ornamental elaborations (beamed grace-‐note figures). • Transitions: the repeated passage at the end of each A section should be relatively short (no longer than five seconds or so) and somewhat frenetic, before players proceed without pause to the next B section; the repeated gesture at the end of each B section should imply a continued dissipation of the gestures before proceeding to the next A section. • Each A/B pairing functions as an independent, self-‐contained unit, and no fewer than three complete A/B pairings are to be included in a given realization of An Unaware Cosmos. • Sections may be played no more than one time each in a given realization. • While performers may begin with either an A or B section, this module must always conclude with a B section, thus allowing the music to dissolve into the composite texture of the work. • The harpist is to play prés de la table and the guitarist is to play sul ponticello throughout, thus resulting in a brighter timbre that better matches the sound of the harpsichord; likewise, the harpsichordist should sustain notes as much as possible in order to better match the natural resonance of the harp and guitar.
Tuning: The ensemble may be tuned to A=427 (optional; see general prefatory notes for details).
Set-‐up: Players should be arranged in a rather tight formation, with the harp and guitar in front of the harpsichord, as indicated in the diagram at the right. Players should be able to see each other clearly in order to facilitate visual cues.
Symbols:
(a) (b) Repeat material in brackets: (a) repeat as written; (b) repeat freely (i.e., ordering of grouped elements may be changed)
Break in sound (release/dampen resonance of instruments)
Slight accelerando/ritardando in grace note groupings
Fermata continuum (arranged from shortest to longest)
V
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C #
-‐ 69 -‐
A Flee)ng Symmetry
Joseph Kleinfrom An Unaware Cosmos
2015
© 2012/15 Joseph Klein. All rights reserved.
To:
B-‐1or B-‐3
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A FleeSng Symmetry
-‐ 70 -‐
To:
A-‐1or A-‐5
To:
B-‐1or B-‐6
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-‐ 72 -‐
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A FleeSng Symmetry
-‐ 76 -‐
To:
A-‐4or A-‐6
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B-‐3or B-‐5
Glorious Accidents
We are glorious accidents of an unpredictable process with no drive to complexity, not the expected results of evolutionary principles that yearn to produce a creature
capable of understanding the mode of its own necessary construction. — Stephen Jay Gould, Full House (1996)
A universe without purpose should neither depress us nor suggest that our lives are purposeless. Through an awe-‐inspiring cosmic history we find ourselves on this remote planet in a remote corner
of the universe, endowed with intelligence and self-‐awareness. We should not despair, but should humbly rejoice in making the most of these gifts, and celebrate our brief moment in the sun.
— Lawrence M. Krauss (2012)
-‐ 78 -‐
Performance Notes
Instrumentation: 4 mixed double reeds and/or saxophones; the quartet must include at least three different instruments (e.g., 2 oboes, English horn, bassoon; oboe, bassoon, alto and tenor saxophones; SATB saxophone quartet).
Properties: Recurring, passive.
Interpretation: • This module, which consists entirely of multiphonics, may be played two or three times in a given realization of An Unaware Cosmos, with each iteration lasting 2 to 5 minutes in duration. There are no restrictions on the placement of or time between iterations, though it is preferable for each entrance of this module to be unnoticeable (i.e., occurring concurrently with one or more of the more assertive modules). • Each performer is to select three or four distinct multiphonics and a related multiphonic for each (i.e., similar fingering, with perhaps the addition/release of one or two keys/holes; indicated in the score by accidentals), for a total of six or eight multiphonics in each instrument. It is preferable if the related multiphonics are also sonically similar, though this is not absolutely necessary (and may not be possible) in all cases. If two of the same instrument are included in the ensemble, selected multiphonics for those instruments should be mutually exclusive. • Performers are to select multiphonics that would be characterized as “rough” rather than pure—i.e., those with a high noise content. All mutiphonics should be easily controlled and playable at relatively soft dynamic levels, and should be usable with all of the events indicated in the score. In spite of the raucous character of the multiphonic sounds, the overall character of this module should be rather introspective, subdued, and static throughout. • The ensemble should function as a single unit throughout, blending to create a dense composite sound, with no single instrument standing out. To that end, performers should play tutti almost exclusively, and must carefully stagger breathing throughout in order to achieve this effect; at no point should fewer than three instruments be sounding at a given time. • Performers should attempt to explore all possible multiphonic combinations by following the suggestions in the open modular score, which is to be interpreted as follows:
• Each iteration of this module begins with Event A, which is the only event that must be coordinated between the four players. Players begin together, each starting on a different measure (as indicated by the inverted triangular cues), and repeating the material two complete times; during the third repeat, players proceed immediately to the next event (B) in succession, once each reaches the end of the event. In subsequent iterations of this module, players are to select different multiphonics for use in Event A; suggestions include: (a) all instruments play relatively high multiphonics; (b) all instruments play relatively low multiphonics; (c) high instruments play low multiphonics, low instruments play high multiphonics; (d) multiphonics distributed over several registers. • Event B is the “default” position: performers may move freely and continuously between the remaining events (C through G), always returning to B in between. Open-‐ended ties imply that a given multiphonic continues between events; changes should occur only where clear breaks are indicated (i.e., Events C, D, and F). • Players should always consider their contribution to the composite sound when selecting events, and interact with one another accordingly. While it is perhaps preferable to select unique events as much as possible, it is unavoidable that players will occasionally converge on the same event, which will allow them to explore some interesting interactive possibilities. • Attacks and releases should be subtle for the most part, allowing the multiphonics to emerge and submerge into the prevailing texture; however, Events C and D consist of alternate attack/release gestures, respectively, which will be inherently more obtrusive to the overall texture. • In Events C, D, and F, players may choose between the gestures on either side of the broken line. • One player in the ensemble should be selected ahead of time to give the cue to terminate each iteration of this module, upon which all players are to return to Event B, sustain momentarily, then release together.
Set-‐up: Players should be seated in a very tight circular formation, facing each other and reading from two music stands (see diagram at right). The ensemble’s placement in the performance space should be unobtrusive. Similar instruments should be placed non-‐adjacently (e.g., 1-‐3 or 2-‐4).
A
© 2015-‐16 Joseph Klein. All rights reserved.
-‐ 79 -‐
Glorious Accidents from An Unaware Cosmos
Joseph Klein 2015
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12/16/16
On the Perimeter of Ignorance
Does it mean—if you don’t understand something, and the community of physicists don’t understand it—that God did it? … If that’s how you want to invoke your evidence for God, then God is an ever-‐
receding pocket of scientific ignorance that’s getting smaller and smaller and smaller as time moves on. — Neil deGrasse Tyson (2011)
… I can live with doubt, and uncertainty, and not knowing. I think it’s much more interesting to live not knowing than to have answers, which might be wrong. I have approximate answers and possible
beliefs and different degrees of certainty about different things. But I’m not absolutely sure of anything... I don't feel frightened by not knowing things, by being lost in the mysterious universe without
having any purpose — which is the way it really is, as far as I can tell. — Richard Feynman (1981)
-‐ 82 -‐
Performance Notes
Instrumentation: piccolo, celesta, flexatone; the flexatone may need to be modified with moleskin wrapped around the wooden balls in order to achieve a proper balance within the ensemble.
Properties: Intermittent, active.
Interpretation: • This module consists of four individual episodes, labeled A through D. Each episode must be played once and only once in a given realization of An Unaware Cosmos. • Players may begin with any episode and proceed either forward or backward through the sequence (e.g., BCDA, CBAD, etc.), playing all four episodes to complete a single cycle. • Starting points are labeled A1, A2; B1, B2, B3, B4; C1; D1, D2, D3. In those episodes with multiple starting points (all but episode C), players may determine where to start based on the relationship to the other modules and the desired duration. • This module may be played at any point during the performance, though it may not occur more than once during any one continuous module. • Each system of music is approximately 8 seconds in duration; a range of target durations are indicated at the end of each episode, based on the various starting points. • The piccolo player acts as the leader throughout, though none of the three instruments should attempt to play precisely together: the celesta should always lag slightly behind the piccolo, like an echo, while the flexatone should create a kind of “blur” between the other two instruments. The piccolo must always wait until the other two instruments arrive at the sustained note at the end of each figure before (immediately) proceeding to the next figure; this will result in brief, collective hesitations in the otherwise continuous activity throughout. • As pitches are removed from the figuration in the course of each episode, the relationship between the three instruments should become increasingly erratic (although the dynamic level should be maintained throughout); the overall effect is that these gestures eventually break down and are subsumed by the silences. It is important that the piccolo and celesta avoid any rhythmic alignment of their parts, particularly as the gestures become increasingly sparse approaching the end of each episode.
Set-‐up: Players should set up with the celesta and percussionist (seated) positioned directly behind the seated piccolo player (who is the featured performer in this module), as indicated in the diagram at the right.
Symbols:
Rest continuum: relative durations arranged from shortest to longest
Senza misura
Extended fermata (break between episodes)
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-‐ 83 -‐
On the Perimeter of IgnoranceJoseph Klein
© 2016 Joseph Klein. All rights reserved.
from An Unaware Cosmos
2016
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On the Perimeter of Ignorance
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On the Perimeter of Ignorance
-‐ 94 -‐
A Splendid Torch
I am of the opinion that my life belongs to the whole community, and as long as I live it is my privilege to do for it whatever I can. I want to be thoroughly used up when I die, for the harder I work
the more I live. I rejoice in life for its own sake. Life is no “brief candle” for me. It is a sort of splendid torch which I have got hold of for the moment, and I want to make it burn as
brightly as possible before handing it on to future generations. — George Bernard Shaw (1907)
If there is a sin against life, it consists perhaps not so much in despairing of life as in hoping for another life and in eluding the implacable grandeur of this life.
— Albert Camus, “Summer in Algiers” (1936)
-‐ 96 -‐
Performance Notes
Instrumentation: solo piccolo trumpet in A
Properties: Intermittent, assertive
Interpretation: • This module consists of sixteen single-‐line melodic passages, which the performer may combine in various ways according to the following guidelines. The character of these passages includes contrasting material that alternates between lyrical and emphatic characters. • A performance of this module consists of multiple iterations, each separated by a pause of 10 to 30 seconds. These iterations are comprised of one to three of the sixteen melodic passages, each of which must be played once and only once in a given performance. • Within any given iteration, the performer is to alternate between melodic passages in Group A and those in Group B; these passages may be combined in a number of ways, according to the guidelines indicated in the score, though no more than two statements from a either group may be played consecutively. For example, an iteration including three passages may consist of any of the sequences ABA, BAB, AAB, or ABB; iterations with two passages may consist of any of the sequences AB, BA, AA, or BB. • Iterations should be sufficiently varied so as to avoid any sense of predictability or regularity with regard to the number and arrangement of the selected passages. • Iterations must alternate between open and muted: the first and all subsequent odd-‐numbered iterations are to be played open; the second and all subsequent even-‐numbered iterations are to be played with straight mute. • The number of passages included within a given iteration, as well as the duration of the pauses between them, should be determined in part by the context of this module within the performance of An Unaware Cosmos: for example, longer iterations may be played during passive and/or static modules, resulting in a more prominent, soloistic treatment of the material; when played during the more assertive and/or active modules, shorter iterations may be chosen, resulting in a more intrusive/disruptive treatment of the material. • In addition to the pauses specified in the score, brief pauses (≤2 seconds) may be freely interpolated at any point marked by a broken barline; pauses of up to 5 seconds may be interpolated at the double bars between discrete passages (though typically, successive passages would be played without a break). It is left to the performer’s discretion whether and where these optional breaks are to be interpolated, which may be in part contextually determined. • The final note of each passage may be sustained, truncated, or elided into the succeeding passage at the player’s discretion; additional dynamic changes may also be interpolated into the part in order to facilitate the transition between consecutive passages.
Tuning: The performer may tune to A=427 (optional; see general prefatory notes for details).
Set-‐up: The performer should be standing in a prominent location at house left or right—either at the floor level or (preferably) on a balcony—so as to be visible to the audience. If this module is included in a performance with one or both of the other solo modules (Que sçay-‐je? for solo Eb clarinet and/or …e pur si muove for solo violin), the solo performers must be stationed as far apart in the performance space as is practical.
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jœ> œ#U
> œ# >œ>
>To 3a, 8a,or any B
† jœb >œ>
f(8a) œ>
œ> ˙b > œbU(accel.)
Pœ jœb œ#
(rit.)
œU
F˙
P
jœ#> œ>f sub.
œ> œ
>
œ#U
>j
œ# >>
To 3a, 4a, 6a, 7a, or any B
-‐ 97 -‐
A Splendid TorchJoseph Klein
© 2016 Joseph Klein. All rights reserved.
from An Unaware Cosmos
2016
Solo piccolo trumpet in A
Group A:
† ˙#p
(1b)
Freely (15-‐18" per line)
œ jœ# jœ# œF
œ-œU
poco
œ>œ> œb>
f sub.
jœ> ˙# >œ#
Pœ œb
U jœb jœb˙
p
To any A or B
† -p
(2b) jœb œ œ# jœ#F
œb œbU
œ>
œ> œb>f sub.
jœ>
> œ#P
jœjœ# œ
Fœb
U ˙
p
To any A or Bexcept 3a, 6b
† œbU
F(3b) ˙
jœbP
jœb œ#œ
U
-Fpoco
œ>œ# > œ>f sub.
œb> œb>>
jœ#P
œ œb œU˙b
To any A or Bexcept 7a
† œ#F
(4b)jœ#
œP
œbjœb
Fœ œb
U
œ# > œ>œ# >
f sub.
jœ> œ# >U
poco
Jœ-
Fœ jœ
Pœ œU
F
F˙ To any A or B
except 1a
† œ#U
F(5b) œ# j
œbP
jœb œU œ-
F˙ œb> œb >
œ>f sub.
jœ>> œ
U
Pœb œ#
U
F
jœ# jœ# ˙ To any A or B
† jœbP
(6b) jœbœU
Fœ# œ œ#
U
P
jœ>
>
f sub.
œ>
œ> œb> œ>
œ# > œ
U
>fP
(accel.)
œb œbTo any A or Bexcept 2a, 8b
jœb jœ
,
.F
† œU
p(7b) jœb œb
Fœb
Uj
œP
jœ
œ#U- œb >
œ> œb>f
jœ>
> œ#P
œ# œU
Fœ# -
F˙#
To any A or Bexcept 2b, 3b
†˙p
(8b) œ# œ#U
Fœb
U
poco
jœbF
œb œU
jœb >
œbU>
f sub.
œ> œ>˙# > œ#
jœ#P
œ#U
jœn jœbF
˙ To any A or B01/24/17
A Splendid Torch
-‐ 98 -‐
Group B:
Que sçay-‐je?
Nothing is so firmly believed as that which we least know. — Michel de Montaigne, Essais (1595)
With regard to matters requiring thought: the less people know and understand about them, the more positively they attempt to argue concerning them.
— Galileo Galilei, Letter to Don Virginio Cesarini (1623)
-‐ 100 -‐
Performance Notes
Instrumentation: solo Eb clarinet Properties: Recurring, assertive
Interpretation: • This module is to be performed as a series of shorter iterations of 10 to 30 seconds each. The performer is to interpolate intermittent breaks of 10 to 30 seconds (ad libitum) at any of the broken or solid barlines. • The performer may begin the initial iteration at any of the 21 rehearsal markings in the score. • Whenever resuming play after a longer pause, the performer must begin by repeating the final gesture of the preceding iteration, and continue playing from there; thus each iteration overlaps the previous and subsequent iterations. • Once reaching the final measure of the score, the performer returns to the top (attacca) and continues playing from the beginning. • Whenever possible, one complete cycle through the score should be completed in a given realization of An Unaware Cosmos; shorter realizations, however, may necessitate a truncated version of this module. • In the sections marked Furtive and Frenetic, the player may play between 7 and 24 measures (two complete cycles) ad libitum before proceeding. The performer should strive for noticeably different durations in recurring statements of these sections. If resuming play at one of these sections following a long pause, the player may begin at any measure marked with a parenthetical lower-‐case letter. • Each line of music in proportional notation is approximately 12-‐15 seconds in duration. • The duration of a given iteration, as well as the duration of the pauses between iterations, should be determined in part by the context of this module within the performance of An Unaware Cosmos: for example, longer iterations may be played during passive and/or static modules, resulting in a more prominent, soloistic treatment of the material; when played during the more assertive and/or active modules, shorter iterations may be chosen, resulting in a more intrusive/disruptive treatment of the material. • In addition to the longer pauses between iterations, brief pauses (≤3 seconds) may be interpolated within a given iteration wherever a breath mark occurs over a barline. It is left to the performer’s discretion whether and where these optional breaks are to occur, which may be in part contextually determined.
Tuning: The performer may tune to A=427 (optional; see general prefatory notes for details).
Set-‐up: Performer should be standing in a prominent location at house left or right—either at the floor level or (preferably) on a balcony—so as to be visible to the audience. If this module is included in a performance with one or both of the other solo modules (A Splendid Torch for solo piccolo trumpet and/or …e pur si muove for solo violin), the solo performers must be stationed as far apart in the performance space as is practical.
Symbols:
Durational continuum within senza misura section; values arranged from shortest to longest (precise durations ad libitum)
Accelerando/ritardando Senza misura
Gradual change from one mode of play to
another
Semitone pitch bend (with embouchure)
Erratic/intermittent bisbigliando: use at least two alternate fingerings; always return to the primary fingering.
Trill/tremolo (alternating pitch in parentheses)
m.vib Molto vibrato
Pause/break in sound (very short, short)
& .. 85 .. 8
782
Ÿ~~~~~~~~~ ŸØ
MercurialA1
(a)œ# œ# jœ<
ƒ
Exuberant , œœb œb
˙ m.vib.! ! !
f
(b)œœb
œ œœ œb
Uord.
ƒ
,(c) jœb
˙
Pf
A2
poco
, (a)
œ#œ œb
Fur3ve* (q = c 150; q. = c 100)
.œ>œb œ( )
Fp
. .˙# > œ( )
Fp
&82
83
85
87
82
83
85
87
82
83 ..
Ÿ Ÿ Ÿ~~~~~~~ Ÿ Ÿ Ÿ Ÿ~~~~~~~~ Ÿ Ÿ Ÿ
œ>œ( )
Fp
A3
.œ>œb( )
Fp
(b)
.œ>œ œ( )
Fp
. .˙# > œ( )
Fpœ>
œb( )Fp
(c).œ# > œ( )
Fp .œ>œ œ( )
Fp
. .>œb( )
Fp
(d)
œ>œ( )
Fp
.œ# > œ( )
FpØ
& œ œb˙bisb.~~ ~~~ ~
Exuberant
Øf
poco
(a) (b)
œ œœ#
œœ
Jocular
œb -Uœ œ œ œ œb œ œ œ œ œ#
U ,
Pf Pf
A4(a)
œ#œ œ
œb -
F
Exuberantjœ
>
˙bf
bisb.~~~ ~ ~~
poco
(b)
œ œœ
œ# œ#œ
U>
F fpoco
(c) œ# œ jœ<
ƒ
,
& jœ
˙#,! ! ! m.vib.
f ƒ
B1(a)
jœ#>
˙
ord.
pocof
(b)
œb œœ œ
œb œbU
F
œbœ œ# -
ƒ
(c)j
œ-œU
œ# œb œ œ œ œ œ œb œ# œU ,
Jocular
PP f
B2(a)
œ#œ
œ# œU
f
Exuberantœ>
œœb œb œ
œbU
ƒ
& 83 .. 8
287
85
Ÿ~~~~~~~~~~~~ Ÿ ŸŸ
œb œb˙
fpoco
(b) (c)
œbœ œ œ
œ# œ#U
F
œ œbœU
pocoƒ
(d)
œ#œ œ#
˙n >œb( )
f pmolto
B3(a)
œ œbœ
œ#œ
Frene3c* (q = c 150; q. = c 100)
.œ# > œ( )
ƒF sub.poco
œ# >œ( )
. .> œb( )
&85
83
82
87
85
83
82
87
85 ..
Ÿ~~~~~~~~~ ŸŸ Ÿ Ÿ~~~~~~~~~
Ÿ Ÿ ŸŸ~~~~~~~~~.œ# > œ œ( )
(b) .œ> œb( )
œ# > œ( ). .˙# > œ( )
(c)
.œ# >œ œ( )
.œ> œb( ) œ# > œ( )(d) . .> œb( )
.œ#>œ œ( ) Ø
&Ÿ~~~~~~Ÿ~~~~~~~~~~~~
œœ
œ˙b >
,œ
f
Exuberant
Ø ( )p
molto
C1(a)
(b)œ#
œ œb˙
f
bisb.~~~ ~ ~~
poco
(c) œ œœb œb
œœ>
U
œ( )
ord.
ÍP
(d)œœb
˙
fsub.
poco
jœ#
œ-f
poco
C2(a)
œ œ#œ
f
œ# > œ œ# œ œ# œ œ# œ œ# œ! ! !
P
&Ÿ~~~~~~~~~~~~~~~jœ>
œ œ
Fpoco
Wis:ul(b)
œ# -U ˙ ,
F p
C3
jœ
jœ# <
Exuberant
f
,(a)
œ œœ
œ# œ#˙ ! ! ! m.vib.
F f
,(b)
œœ œb
œU
f poco
ord.œ
œœb -
fj
œ˙b> œ( )Í
(c)j
œ>
œU
fpoco
-‐ 101 -‐
Que sçay-‐je?Joseph Klein
© 2017 Joseph Klein. All rights reserved.
from An Unaware Cosmos
2017Solo E
b clarinet
* Play 7 to 24 measures in this secLon (ad libitum) before proceeding.
& œœ œ
Jocular
œbU œb œb œ œ œ œ œ œb œb œbU ,
PF f P
D1(d) (a) œ œ
œb -
ƒ
Exuberant
sub.
œœb œ
˙
pocof
(b)
œ œœb
œ œbœU
F
(c)
jœ>
œ#U
ƒœ#
œœb(d) jœb
˙ ,! ! ! m.vib.
Fmolto
& 87 .. 8
283
85
87
82
83
85
Ÿ~~~~~~~~~~~~ Ÿ Ÿ ŸŸ Ÿ Ÿœ
œ œ
Fur3ve* (q = c 150; q. = c 100)
. .˙b > œ( )FpP
sub.
D2(a)
œ> œ( )Fp
.œ> œ#( )Fp
.œb > œ œ( )Fp
(b) . .>œ#( )
Fp œ> œ( )Fp
.œb> œ( )Fp
(c)
&85
87
82
83
85 ..
Ÿ~~~~~~~~~~~ Ÿ Ÿ Ÿ Ÿ~~~~~~~~~~.œ> œ œ( )
Fp
. .>œ#( )
Fpœb> œ( )
Fp
(d) .œ> œ#( )Fp .œ> œ œ( )
Fpœ œ
œ# œ#œ# œU
fØ
Exuberant
ƒsub.
(a)D3
(b)œ# œ
œf
jœb
˙ ! ! ! m.vib.
& 85 .. 8
382
87
85
83
82
Ÿ~~~~~~~~ ŸŸ Ÿ Ÿ~~~~~~~~
ŸŸ~~~~~~~~~~~~~œ
œ œœb œ ˙b >
,œ
ord.
ƒ ( )
FP
D4
molto
(c) (a)
œ œ œ œb œ# œ œ# œ# œ .œ# > œ œ( )
Frene3c* (q = c 150; q. = c 100)
ƒ
! ! !
.œ> œb( )œ# > œ( )
. .˙# > œ( )(b)
.œ# >œ œ( )
.œ> œb( )
&82
87
85
83
82
87 ..
Ÿ ŸŸ~~~~~~~~ Ÿ Ÿ
Ÿœ# > œ( )
(c) . .> œb( )
.œ# >œ œ( )
.œ# > œ( )(d)
œ# > œ( )
. .> ,œb( ) (a) œœb
œbœ
œ# œU
Exuberant
؃
(b)
E1œ
œ# œ˙b
poco
! ! ! m.vib.
ƒ
ord.
f
œ œœb >
&jœ#
> œ œb œ œb œ œb œ œb œ œb! ! !
f P
E2(a)
(b) jœ>
œ œ
Fpoco
Wis:ul
œb -U jœb>
˙ ,
f p
E3(a)
œ# œ˙bbisb.~~ ~~~ ~
Exuberant
fpoco
(b)œ
œb œbœ
œ Jœ
f F
,œb
œ œœ
U (c)œb œb
˙
pf
,
&
jœ
œ#U
œb œ œ œ œ# œ œ œ œb œbU
P
Jocular
fP
E4(d)(a)
œ œbœ œb
œ ˙ ! ! ! m.vib.Exuberant
f sub.
jœ Jœ,ord.
ƒ F
(b)
œ#œ œ
f˙# ~~~ ~ ~~
poco
bisb.
F1(a), œ
œbœ
˙ƒ p
(b)j
œ>
œbU
f sub.
&Ÿ~~~~~~~~~~~~~~~
œ œ˙# m.vib.! ! !
F
(c)œ# œn
œ œœ
œbƒ
ord.
œnœ
œU
f poco
(d) œœb œ
>œb( )
! ! !
FpocoÍ
(e) jœb >
œ# œnWis:ul
fj
œb > œU
˙,
F2(a)
œ œœ#
œ œbœ#U
f
Exuberant
11/18/17
& ..Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~
œœ
jœb <ƒ
(b) jœb
˙ ! ! ! m.vib.
f
, œ œbœb œb
œ> œb( )
ord.
ƒ Pf
(c) (d)
œbœb
œ œU ,
ƒpocosub.
F3(a)
œ#œ
> œ( )
! ! !
Í poco
(b)
jœ> œ œ#
F
Wis:ul
f
jœ>
œU
˙b(Da capo)
P 11/18/17
Que sçay-‐je?
-‐ 102 -‐
A Delicate Geometry
… I do not attribute to nature either beauty or deformity, order or confusion. Only in relation to our imagination can things be called beautiful or ugly, well-‐ordered or confused.
― Baruch Spinoza, Letter XV to Henry Oldenburg (c.1666)
The universe seems neither benign nor hostile, merely indifferent to the concerns of such puny creatures as we are.
— Carl Sagan, Cosmos (1980)
-‐ 104 -‐
Performance Notes
Instrumentation: voice (countertenor or mezzo-‐soprano), electric guitar, accordion (or harmonium, or portative organ)
Properties: Recurring, passive
Interpretation: • This module is set up as a loop of 18 related [self-‐similar] events; each event is a different duration and must be played in strict time (including the silences within the events). • A given realization of An Unaware Cosmos may include between three and five iterations of this module; a given iteration may include no fewer than 5 and no more than 12 events. • Performers may begin each iteration with any event, and may proceed in either direction; however, the direction must be reversed with each iteration (e.g., forward, backward, forward, backward, etc.), but must never change directions within a given iteration. Because the score is set up as a loop, the last event in the score (R) proceeds to the first event (A), and vice versa when performing the events in reverse order. • Each iteration must begin no closer than three events away (in either direction) from the starting point of any previous iteration. Thus, performers should plan ahead of time where each iteration will begin and end. • The vocal part consists of continuously fluctuating vowel sounds (indicated at the bottom of the part), which are rhythmically activated by consonant modifiers (indicate directly below the staff and above the vowel transformations). Phonemes are notated using IPA symbols. • The electric guitar is to be played with a clean jazz tone; subtle vibrato should be used throughout, which is exaggerated at the points indicated in the score. Continuously changing chord voicings are intended to provide timbral variation throughout; string indications are at the beginning of each event. The guitarist may also, at his/her discretion, make alterations to the indicated chord voicings ad libitum within some or all of the longer events (e.g., B, F, H, K, O, Q) in order to further explore the timbral possibilities. All guitar notes should be allowed to resonate throughout the measure, only to be dampened before the silence at the end of each event. • While the timbre of each part is distinctive, the three performers should strive to create a composite, organic sound throughout.
Set-‐up: The ensemble should be set up in a rather tight semi-‐circle, as indicated in the diagram at the right. All three performers should be able to see each other for cues. Although all parts are equally prominent, the vocalist should act as the leader, giving subtle visual cues as necessary.
Symbols:
Gradual change from one mode of play to another
Exaggerated vibrato (electric guitar): wider and slower than ordinary vibrato
“Weighted” crescendo/diminuendo (with flared swells at the peaks)
Block chord
Upward arpeggiation
Clean break in sound
&
V
&
45
43
44
œ,
- ˙ œ œ œ œ- œ œ œ œ-3
œœœ# Œ Jœ-
‰ jœ# - ‰œ-
‰ .R
œœœ#¯ ,
3 3
œœœœ#,
-˙˙˙
â˙˙˙
â
Voice
ATranquil q = c. 40
P
Electric Guitar
F
p F FpAccordion
~~~~~
poco
o u ɨ i! ! ! ! ! !j wn j w j n w
24
~~~~~~~ 1
∑
∑
∑
~~~~~
&
V
&
44
42
42
œ- œ œ -jœ œ-
œœO#
≈ O-œ# -
‰ O- œ- ‰jœ#
JO-
5 3
˙˙˙˙#b -˙˙˙
â
B
F
P
@
p F p
V
EG
AC
~~~~
poco
e i u! ! ! ! ! ! !
w jmn ŋn
3 ~~~~~46
˙,
˙ œ œ œ œ-3
œ-RO- ‰
œ# -‰ .
JO- ‰ .
Rœœœ
# ¯ ,
53
5
jœœœœ,
œœœœ#bâ
....œœœœ œœœœâ˙˙˙
â
3
pF Fpsub.
~~~~ ~~~~~ ~~~~~~~ao ɑ! ! ! !
jŋmn
5
∑
∑
∑
~~~~
&
V
&
42
45
45
œ-j
œ œ,
-
œœœ,
‰ .R
œœœ¯
˙˙˙˙bbb,
-
C
F
p F
P
@V
EG
AC
~~~~~~~
poco
m wja e! !
245
∑
∑
∑
~~~~~
-‐ 105 -‐
A Delicate GeometryJoseph Klein
© 2017 Joseph Klein. All rights reserved.
from An Unaware Cosmos
2017
&
V
&
45
42
43
œ- œ jœ œ- œ œ œ ˙,
-
œœœ,
œ- Jœ-
‰ Jœ- ‰
œ-‰ . R
œœœ¯
3 3
˙˙˙˙bbb,
-˙˙˙
✜œœâ
D
F
P
p F Fp
V
EG
AC
~~~~ ~~~~~
poco
u ɑ a e! ! ! ! ! !
w j j wn j
123
∑
∑
∑
~~~~
&
V
&
43
44
œ#,
- ˙ œ œ œ-3
Oœœ# ‰O-
œ- ‰ . Rœœœ#¯ ,
5
œœœœb,
-˙˙˙
â
E
p
P
F
@
F
p
V
EG
AC
~~~~~~~ ~~~~
poco
e ! ! o! !n jw ŋ
ɵ234
∑
∑
∑
~~~~
&
V
&
44
45
45
œ# - œ œ œ- ˙ jœ œ-
3
œœœ# ‰ . Jœ-
Œ Jœ- ≈
œ-
5 3 5
˙˙˙˙#b -œœœœâ
....œœœœâœœœœ
F
F
P
p F p
V
EG
AC
~~~~~
poco
u i e ! ! !! ! ! ! ! !
j jwn w ŋ
124
@~~~~~~~~~
.˙,
œ# œ œ-Œ
œ# - Rœ-
‰ œ- ‰.
Jœ-
‰ .R
œœœ#,¯
Œ5
35
jœœœœ,
œœœœ#bâ
....œœœœ œœœœâ˙˙˙
âŒ
3
F Fp p F
~~~~~~~~~~~~
a ɑ o! ! ! ! ! !
wmn
~~~~
&
V
&
45
43
45
œ- œ,
jœ œ- ˙ œ œ œ-
œœœ,œ-
Jœ-
œ-
Jœ-
œ-‰ .
R
œœœ¯
3 3
˙˙˙˙bb,
-œœœœ œœœœâ
˙˙˙˙
G
F
P
@
p F F
V
EG
AC
~~~~~~~~~~~~ ~~~~~
p
poco
e a ɑ o! ! ! ! ! !m j ŋ wj w
342
∑
∑
∑
~~~~
A Delicate Geometry
-‐ 106 -‐
&
V
&
45
43
45
42
43
- ˙ œ œ œ- œ3
œOœb Œœ-
Jœb - Œœ- O-
5 3
œœœœbb -œœœœ œœœœâ
œœœœâ˙˙˙˙ œœœœâ
H P
F
F pp F
V
EG
AC
~~~~~~~ ~~~~
poco
u o ɑw
! ! ! ! ! ! ! !
jw ŋ
234
œ œ œ .-
≈ œb - œ-Œ ‰
jœ
œb - O-
5 5
œœœœ œœœœ œœœœâœœœœâ
œœœœF pp
~~~~~ ~~~~~~~a e! ! ! ! !
wnmj˙ œ œ œ- ˙ j
œ œ,
-3
Œœ-
œb - ≈ œ- .O- ≈ œb - œ-‰ . R
œœœb¯ ,
3 55
œœœœ ....œœœœbbâ
˙˙˙˙ ˙˙˙â
,
F Fp p
~~~~i ou! ! ! ! ! !
j jn j ŋ
∑
∑
∑
~~~~~
&
V
&
43
45
45
œb,
-j
œ -
œœœbb ‰ œb - œ-‰ . R
œœœbb¯ ,
3
˙˙˙˙b,
-œœœœâ
I
p
P
F
@
F
p
V
EG
AC
~~~~~ ~~~~
poco
i e an j j
! ! ! !
345
∑
∑
∑
~~~~
&
V
&
45
42
44
œ# - ˙ jœ œ- œ œ œ œ
,
-3
œœœ# ,Œ Jœ
- ‰ Jœ-
‰ œ- ‰ . Rœœœ# ¯
3 3
œœœœbb,
-œœœœâ
....œœœœâœœœœ ˙˙˙
â
J
F
P
@
p pF F p
V
EG
AC
~~~~~~~~~
poco
~~~~~a e i u! ! ! ! ! !
j m j j ŋ n
123
∑
∑
∑~~~~
&
V
&
44
43
43
- œ œ œ- ˙3
Oœœ ‰ . JO-
Œ Jœ- ≈
O-
5 3 5
˙˙˙˙#b -œœœœâ
œœœœ
,jœœœœ
â
3
K P
@
F
p F Fp
V
EG
AC
~~~~~~~ ~~~~~
poco
o ɑ a! ! ! ! ! !m ww j
234
œ,
œ- ˙ œ œ œ-3
œ-jO
Rœ- ‰ œ- O-
‰ œ-O-
‰ . Rœœœ¯ ,
5 3 5
˙˙˙˙ ˙˙˙˙#bâ pFp F
~~~~e i u! ! ! ! !
j j ŋn
∑
∑
∑
~~~~
A Delicate Geometry
-‐ 107 -‐
&
V
&
43
45
- œ œ œ-
,Œ
3
œœœ,
‰ .R
œœœ¯
Œ
˙˙˙˙bbb,
-Œ
L
p F
F
PV
EG
AC
~~~~~~~
poco
j w ŋ no ɑ! ! !
124
~~~~~
&
V
&
45
43
43
œ# - ˙ œ œ œ- œ œ œ ˙,
-3 3
œœœ#,
Œ- Jœ-
‰ Jœ- J
œ-œ- ‰ .
R
œœœ#¯
33
œœœœ,
-œœœœâ
....œœœœâ˙˙˙˙ œœœœâ
M
F
p
P
@
pF F p
V
EG
AC
~~~~~~~~~ ~~~~~~~
poco
i u o ɑ! ! ! ! ! !
w jwn wmn
245
∑
∑
∑
~~~~~
&
V
&
43
42
44
œ,
- ˙ œ œ œ-3
œœœbb
‰œb -
œb - ‰ . Rœœœb
b ¯ ,
5
œœœœ##,
-˙˙˙
â
N
p
P
F
@
F
p
V
EG
AC
~~~~~ ~~~~
poco
u ɨ i! ! ! !
j n mw
342
∑
∑
∑~~~~
&
V
&
44
45
45
œ-jœ - œ œ-
3
œœOb
≈ O-œb -
‰ O- œ- ‰jœb jO-
5 3
˙˙˙˙### -˙˙˙
â
O
F
p F p
EG
AC
~~~~~
P
@V
poco
a ɑ o! ! ! ! ! ! !
j j w n
2 15
˙ ˙ œ œ œ,
-3
œ- jO Rœb -
‰ œ- O- ‰œb -
O- ‰ .R
œœœb ,¯
53 5
˙˙˙˙ ˙˙˙˙###â
,
F p
~~~~u i e! ! ! ! !
j ŋ n
∑
∑
∑
~~~~~
A Delicate Geometry
-‐ 108 -‐
&
V
&
45
42
45
œ- œ jœ œ- œ ˙ œ œ œ,
-3
œœœb,
œb - Jœ-
œb - Jœ-
œb - ‰ .Rœœœb¯
3 3
˙˙˙˙##
,
-œœœœ œœœœâ
˙˙˙˙
P
F
p F
EG
AC
~~~~~~~
PV
poco
p
u ɨ i e! ! ! ! ! !
m w ŋ j nw
234
~~~~
∑
∑
∑
~~~~
&
V
&
45
43
45
43
44
œ- ˙ œ œ œ- œ jœ œ-3
œœœ#
‰ œ-œ# -
‰ . œ- œ- Œœ# -
œ-
5 5 3
œœœœ#b -˙˙˙
âjœœœœ œœœœ
✜œœ
3
Q
F
p FF pp
EG
AC
~~~~~
V
P poco
a ɑ o! ! ! ! ! ! !
@w nm j j ŋ
3 12
˙ œ œ œ-
≈ œ-j
œ#œ- Œ ‰ œ-
œ# -
5
œœœœ#b,
âjœœœœ œœœœâ
œœœœ3
F pp
~~~~~~~ ~~~~~~~
Fsub.
u i! ! !
j j w.- œ œ œ -
,3
Œ œ- œ- ‰œ# -
œ- ‰ .Rœœœ
# ¯ ,
3 5
œœœœ œœœœ#bâ
œœœœâœœœœ ˙˙˙
✜œœâF F p Fp
~~~~~
sub.
e a ɑ! ! ! ! ! !
jmnm
∑
∑
∑
~~~~~
&
V
&
44
œ,
- œ œ -Œ
Oœœ# ‰ œ# -O-
‰ .R
œœœ#¯ ,
Œ3
˙˙˙˙bb,
-œœœœâ
Œ
R
p F
F
(Da Capo)
p
EG
AC
~~~~~
P
@V
poco
jwu ɑ~~~~~
o! ! ! !
j m
2 15
~~~~
04/04/17
A Delicate Geometry
-‐ 109 -‐
A Delicate Geometry
-‐ 110 -‐
… e pur si muove
In questions of science, the authority of a thousand is not worth the humble reasoning of a single individual.
— Galileo Galilei, Letter to Mark Wesler (1612)
Nature … is inexorable and immutable; she never transgresses the laws imposed upon her, or cares a whit whether her abstruse reasons and methods of operation are understandable to men.
— Galileo Galilei, Letter to the Grand Duchess Christina (1615)
-‐ 112 -‐
Performance Notes
Instrumentation: solo violin
Properties: Intermittent, Assertive
Interpretation: • This module consists of six event-‐types, which are labeled as follows:
A: Senza misura melodic lines, played molto espressivo; each line is approximately 15 seconds duration. B: Melodic lines to be performed in a manner similar to vocal Sprechstimme — i.e., with generally diffuse
pitch definition and speech-‐like fluidity in both the rhythmic and pitch contours. C: Frenetic arpeggiated and scalar figures, characterized by bowed measured tremolos. D: Relatively short angular gestures, some of which include sustained tones as well. E: Short disruptive interjections. These include bowed and pizzicato quadruple stops, and martelé triple
stops; further instructions regarding how these are to be used are included in the score. F: Shorter coloristic gestures. These include double-‐trill glissandi, arpeggio glissandi, erratic bowed
tremolos, and ornamented drone figures. • Events may be organized in a variety of ways, although the various event-‐types should be relatively evenly distributed in a given performance; thus, events within a given group must not be played in succession. • Events in groups A, B, C, and D may not be repeated; events in group E are to recur throughout the piece, though the performer should avoid repeating individual gestures in a given event until all have been used; events in group F may be repeated once at the discretion of the performer, but only after all events within that event-‐type have been used. • In groups A and B, the performer may begin playing at the beginning of any line; brief pauses (≤2 seconds) may be interpolated within a given event wherever a breath mark occurs over a barline. It is also possible to interject gestures from group E at these points, before resuming the original event. It is left to the performer’s discretion whether and where these optional breaks or interruptions are to occur, which may be in part contextually determined. • The duration of a given iteration, as well as the duration of the pauses between iterations, should be determined in part by the context of this module within the performance of An Unaware Cosmos: for example, longer iterations may be played during passive and/or static modules, resulting in a more prominent, soloistic treatment of the material; when played during the more assertive and/or active modules, shorter iterations may be chosen, resulting in a more intrusive/disruptive treatment of the material.
Tuning: The performer may tune to A=427 (optional; see general prefatory notes for details).
Set-‐up: The performer should be standing in a prominent location at house left or right—either at the floor level or (preferably) on a balcony—so as to be visible to the audience. If this module is included in a performance with one or both of the other solo modules (A Splendid Torch for solo piccolo trumpet and/or Que sçay-‐je? for solo Eb clarinet), the solo performers must be stationed as far apart in the performance space as is practical.
Symbols:
Durational continuum within senza misura section; values arranged from shortest to longest (precise durations ad libitum)
Upward arpeggiation
Accelerando/ritardando
Rest continuum: relative durations arranged from shortest to longest
Gradual change from one mode of play to another
& jœb ˙b j
œœ œ œb
molto espress.
f F
,c. 15" per system[1a]
A
œ jœb
˙ ,
f
jœ
Jœ Jœœb œb œ
˙ ,
F f
[1b] jœ#
œ# œ#œ ˙ "
F f
& œ œbœ œ# - œ# œ
˙n[2a] ,
F fj
œb Jœ Jœ#˙
U ,[2b]
F
jœb
œb œb œbœ
f F
jœ J
œJœ
˙#U
"
F ƒmolto
&
jœ
Jœ
Jœ œb œ œn ˙
,
F f
[3a] jœ œb œb
œ ˙ ,
F f
jœ ˙b j
œ#œ œ œ#
f F
,[3b]
sub.œ
jœ
˙b
"
f
&
jœ#
œ# œ œ#œ
F
[4a]j
œ jœjœ
˙b
U ,
-f
œ œœ œ# -
œb œ˙n
f F
[4b]j
œ#Jœb
JœbU
"
f
& ‰ jœ≤
. œ-j >
3
FIV
quasi Sprechs3mme[1a]
q = 84± (sempre rubato)
B
‰ œ≥
œ . ≈ œ > . ,3 3
III
F‰ j
ϲ
. -j
œ> - .œ- - 3 3
fF
III[1b]
‰ œ≥
jœ- - œ œ>
"3 3
F
IV
&jœ
≥> œ ‰ œ .œ>
3
III[2a]
f F‰ œ
≥ œ>
,3
IV
FŒ Jœ
≤ œ- . œ-3
II[2b]
F F
œ j .œ>
"3
f
& Πjϲ
jœ œ 3 3
( )
[3]III
Fœ> -
j > Jœ
≤3
II
f F
œ> œ . œ≤3 3
IV
F œ> Œ j
œ œ"5:3
3
F
-‐ 113 -‐
...e pur si muoveJoseph Klein
© 2017 Joseph Klein. All rights reserved.
from An Unaware Cosmos
2017Solo Violin
& œ#!> œ
!œ
!
œb
!
> œb !œ!
œb!
œb!
>œ
!œ
!
œ#
!
œ#
!
> œ#
!œn
!>
ƒ
q = c. 90C[1]
feroce
œb !> œb ! œ# ! œ# ! œ! œ# ! œ! œ! œ!
œ#!> œ
! œ! œ# !œb!
>œ! œ! œb
! œb!> œb
!œ
!
œb!
>œ
!œ
! œb! œb
!
!
>œn
!
! œ
!
! œ
!
!œ
!
!œ#
!
!> œ
!
œb
!
œ!
>œb!
œ!
œ "^
&œ!> œ
!
œb
!
œ
!
> œb
!œb
!
ƒ
[2]
feroce
œ!> œ#
!
œ
!œ#
!> œ
!œ
!œ#
!> œ
!
œ
!
>œ
!œ#
! œ!> œ! œ! œb ! œb ! œ#
!œ#
!œ
!œ#
!œ!>
œ! œ! œ! œ!
œ
!
> œb!
œb! œ!
œ
!
> œb!
œb! œ
! œ# !> œ# !
œ!
œ!> œ! œ! œ! œb
!œb
!œ#
!œ#
!
jœœœb
"
âç
~~~~
&œ!> œ
!œ!
œ#!
œ!
>œ#
!œ
! œ#!
œ!> œb
!œb
! œ!ƒ
[3]
feroce
œ
!
>œ!
œb! œb !
> œ!
œ#
!
>œ! œ! œ! œ! œb!
œ!œb
!œ
!œ# !> œ
!œ! œb !
> œ!
œ!
œb !> œ
!œn! œ! œb !
œ#
!
>œ!
œ! œ!
œ#
!
>œ!
œ#! œ!
> œ# !œ!
œ!
œ!
œ# v
"
&
˙b >
ßP
! ! ! m.vib.
[1]
Dœb - œ- œä œä œä œ> œ> œ> œ>
fmolto
! ! !
œ œb ^œn ^ œn ^
œb ^œ
œ# ^œb ^
œ"
pont.
ƒ feroce
& œb
≥
v
œv
≤
œ
≥
v œb
≥
vœb
≥
v œb
≥
vœœœ
nb
≥
v
"œ
!> œ
!> œb
!> œ#
!> œ
!> œ
!> œ
!> œb
!
>œ
!>
œƒ
ç
q = c. 90
[4]
[2]
˙˙b æ>
sul pont.
Pß
ord.[3]
œb≥ œb
≥œ≥^ œ#
≤œ≥ œ≤ œ "
≥
ƒ
~~~~~~~~~~~~~~~~
&gliss.
œ#≥^ œ
≤ œ#≥
œ≥œ≥ œb≥ œ≥
ƒ
˙˙# "ä≥
çmolto
œvœv
œb v œb v œb vœb v œ
"
vƒ
[5]ϳ ϲ
œb≥
œb ^≤
œ≥ œ# ≥
œ≥œœœb
b≥
"ä
çƒ
[6]
~~~~~~
&œb≥
œ≤ œb
≥œb≤
œ≥ œ≥ œ# ≥
œb≥
ϳ"
ƒ
[7] œœœb≥ä
œ≥ œ≥ œ# ≥ œ≤ œ≥
œb ≤ œ≥ "
ç ƒ
[8] ~~~~~~
...e pur si muove
-‐ 114 -‐
&
jœœœœ
#b
>
,jœœœœnb >
, jœœœœ
bn
b
>
,
J
œœœœ#
#n
> , jœœœœ# >
, jœœœœn
##
>
, jœœœœb
n#>
,
J
œœœœ
bn> , jœœœœ# >
,
ç ç ç ç çç ççç
(arco)[a] [b] [c] [d] [e] [f] [g] [h] [i]E
[1]
~~~~~~~~ ~~~~~~
~~~~~~
~~~~~~
~~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~~~ ~~~~~~
~~~~
~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~
&jœœœœ#
,
v J
œœœœ
b ,^ jœœœœb
#,
v
jœœœœn
##
,
v
jœœœœ#
n
,
v J
œœœœ#
n
n#
,^ jœœœœn
bb,
v
jœœœœb
,
v
jœœœœ
#bn
,
vç çççççççç
pizz.[a] [b] [c] [d] [e] [f] [g] [h] [i]
[2]
~~~~~~
~~~~
~~~~
~~~~~~
~~
~~~~~~
~ ~~~~~~~~ ~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~
~~~~~
~~~~~~
~~~~~~
~~~~~~~~
& œœœ# vœœœv
œœœv
,
ƒ
martelé[a]
[3]
agitated
œœœ## vœœœv
œœœv
,[b]
œœœbb
vœœœv
œœœv
,[c]
œœœbn
vœœœv
œœœv
,[d]
œœœbb vœœœv
œœœv
,[e]
œœœnb vœœœv
œœœv
,[f]
œœœ# vœœœv
œœœv
,[g]
œœœ## vœœœv
œœœv
,[h]
œœœbv
œœœvœœœv
,[i]
œœœnv
œœœvœœœv
,[j]
œœœbv
œœœvœœœv
,[k]
œœœnv
œœœvœœœv
,[l]
&gliss.
˙b"œ
œb
wild; erraTc vibrato (quasi tremolo)
ƒ (non dim.)
8-‐10"
poco
F[1] ±
æ"
delirious; freneTc tremolo
ƒ ±
5-‐8"
[2]~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
& .. .. gliss.
12/31/17
œb´ œ œ œ œ œ
spiccato
f
e. = c. 90[3]
œb ´ œ œ œ sim.3x
! ! ! sul pont.
! ! ! molto pont.
molto
———— "
n
& .. ..jœb œ# œb œ# œb œb j
œ# œ#˙f
III (0)
IVuneven
( ad lib.)
c. 10"[4]
œb œ# œb œb jœ# œ# œb œ#
jœb œ# œb œb œ# œ# œb j
œ# œb œb œ# œ#"
˙
...e pur si muove
-‐ 115 -‐
• Each occurrence of this event includes either one or two of the gestures above; each gesture is comprised of two or three aZacks.• In those occurrences with two iteraTons, gestures may be paired as 2+2, 2+3, or 3+2, but not 3+3. • Player may repeat the same chord for two iteraTons within the same occurrence of this event. • When changing chords between iteraTons, there must be one and only one common tone between the two chosen gestures.
• Start at the beginning of any slurred grouping; repeat up to two complete cycles in any given iteraTon.• MulTple iteraTons should be of disTnctly different duraTons.
Play a single chord, or in groups of two or three consecu3ve chords (unevenly spaced).
Play a single chord, or in pairs of consecu3ve chords.
...e pur si muove
-‐ 116 -‐
