Maximilian Marcoll · 2019. 2. 5. · Fremdbestimmt. 2018 duration: approx: 12’ Commissioned by...
Transcript of Maximilian Marcoll · 2019. 2. 5. · Fremdbestimmt. 2018 duration: approx: 12’ Commissioned by...
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Maximilian Marcoll
[Interlock No.2]
Study for a scene for
performer/narrator and
prepared stroh viola (or stroh violin)
Fremdbestimmt
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2018
duration: approx: 12’
Commissioned by
Annegret Meyer-Lindenberg
First Performance by
Annegret Meyer Lindenberg and
Burkart Zeller
Köln, Kunstation Sankt Peter
December 15th, 2018
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Setup
The following steps are necessary to prepare for the piece:
– The horn of the strohviola or -violin is to be taken off.
– Attach a 3 meter long silver thread on the lowest string of the instrument, approximately a third of the string’s length away
from the bridge.
– The other end of the thread is to fixed on a varnished oval piece of wood, approximately four by three centimeters big and
half a millimeter strong. It is to be held between the teeth of the narrator for the entire diration of the piece. The thread is to be
held under enough strain to allow for the sound of the viola to resonate inside the performer’s mouth.
Notation
Performer/Narrator
The part of the narrator is limited to the completely voiceless forming of vowels and the equally voiceless uttering of
consonants. All phonemes are written in the IPA (Inernational Phonetic Alphabet).
The forming of vowels is indicated by black print on white ground, while the actual pronounciation of consonants is indicated by
white print on black background. In most situations, the consonants are to be performed with as little airflow as possible, the
obvious exceptions being sounds that need air, similar to h, j and such. When sometimes other phonemes appear on black
background, some extra emphasis and air is, of course, required.
Diphtongs are specified utilising arrows in between the two main vowels.
In this example, at first “e” is silently formed, followed by a strongly audible “R”, followed by “mä”, in which the “m” is
supported by air, the “ä” being silent again.
The second staff indicates the strain that is applied to the thread by moving the head back (arrow down: more pressure) and
forth (arrow up: less pressure).
Viola/Violin
The entire part is exclusively to be played on the lowest string of the instrument. Everything is to be played with extreme bow
pressure.
There is only two sounds to be played, one high pitched and one low pitched sound, achieved by varying the bow position on
the string. The left hand is supposed to dampen all four strings all the time.
The endings of all notes are just as important as their beginnings and there is no room for swellings or fadings. All notes are
suposed to end just as appuptly as they begin. In most cases the bos is not to leave the string in rests. Dashed legato slurs
indicate that a series of consecutives notes separated by rests are to be thougt of as one long note during which the bow
movement occasionally stops.
e R m ɛ
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25
24
23
24
23
25
Spr.
Vn/Vla ›!
˙
h = 50 *
˙"
˙ # # .›!
# .
25
24
23
25
24
6
›!
˙w"
w # .w!
.w
24
23
24
23
25
24
10
˙"
˙ # # . w!
w# . w
!.w
1. Prolog
*) or as slow as bow allows
m
a
m
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24
23
25
24
23
24
15
˙
!
w Ó w"
Ó w"
.ww!
w # .
24
23
25
24
23
24
20
w"
w# w
".w
˙!
˙ # # .
24
23
25
24
23
25
w"
w ˙!
˙ ˙ ›"
˙›!
.w"
a ɛ m ɛ R
“R” a ɛ a s
ʃa ɪ e R m ɛ
R
attacca
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44
42
44
43
42
44
Spr.
Vn/Vla ! .œ
"
˙ œ Ó ! .œ
"
œ œ œ
#Ó . ! .œ
"
œ œ
#Ó
44
83
44
42
44
83
44
7
! .œ
"
˙ œ Œ . ! .œ
"
œ ‰ œ œ# Ó ! .œ
"
˙ œ
#Œ .
44
42
44
43
45
42
43
13
! .œ
"
œ ‰ œ# œ Ó ! .œ
"
œ ‰ ‰ œ œ Ó . ! .œ
"
œ Œ œ œ
#Ó
43
83
44
83
44
83
43
19
! .œ
"
œ ‰ œ# Œ . ‰ œ
"
œ .œ ‰ Œ . Œ œ
#
œ œ ‰ Œ .
2. "reden wir"
ɔk m t ɔk m t ɔk m t
ɔk m t ɔk m t ɔk m tɔk
ɔ m tk ɔ m tk ɔ m tk
ɔ m tk R e n nd v i R
(G. Benn)
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83
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83
44
83
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25
! .œ
"
œ ‰ œ# Œ . ‰ œ" œ.œ
#‰ Œ . ! .œ
"
œ
#‰ ‰ œ" œ œ# Œ .
44
45
83
44
83
44
83
44
31
‰ œ" œ.œ
#‰ Ó . œ
"
œ Œ . ‰ œ" œ.œ
#‰ Œ . Œ œ
"
œ œ ‰ Œ .
44
83
44
43
83
38
‰ œ" œ .œ ‰ ˙
#
œ Œ Œ .#̇ "̇
˙
#Ó Ó .
83
44
43
44
83
44
44
.œ" Ó .œ" ‰ Œ ˙
"Ó Ó ‰ œ# .œ ! .œ" ‰ Œ .
ɔ m tk R e n nd ɔ m tkɛ
R e nd ɛ ɔ m tk R e n nd ɛ v i R
R e nd ɛ v i R ts͡ su m ɛa n v
v v e R “R” R e d ɛ t
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83
44
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50
Œ .˙! ˙" .œ! ‰ Œ . Œ .œ! .œ ˙" .œ! ‰ ˙" Œ
44
..
..
..83
..
..
..45
56
˙" Œ . .˙
!
‰ œ" ‰ w!
Œ #U
R e d ɛ t v e R e d ɛ t ɪ st
nɪ çt t o t ɪ çtn t o t
4x
4x
attacca
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43
83
44
83
43
Spr.
Vn/Vlaœ!
œ Œ œ-
q = 90
‰ œ-!
‰ ˙" Œ Œ Œ .
43
85
42
44
5
Œ ‰ œ! œ ‰ ‰ ‰ œ- ‰ ‰ œ- ‰ ‰ ˙
"
Ó
3. Edel I
e d ɛ ls a ɪ d e R mɛ n ʃ
ħɪ ɪ l f R a ɪ ç ʊ n d g u t
attacca
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83
87
83
85
87
Spr.
Vn/Vla œ
!
‰ œ
!
‰ œ
!
‰
q = 90
œ
!
‰ œ" ‰ œ" ‰ œ" ‰ œ" ‰ œ" ‰ œ
!
œ ‰ ‰
87
83
44
87
6
œ" ‰ œ" ‰ œ" ‰ œ" ‰ œ" ‰ ˙
!
œ œ Œ
87
83
44
83
9
œ" ‰ œ" ‰ œ" ‰ œ" ‰ œ" ‰ w!
œ ‰ ‰
44
43
83
13
‰ œ" ‰ w!
.œj
œ Œ
83
44
43
83
16
‰ œ" ‰ w!
.˙ œ ‰ ‰
4. ironische Distanz
g e ħa a l t ɛ n a u f i o ɪ ʃ eR n d ɪ s t a n ts͡“d”
i o ɪ ʃ eR n d ɪ s t a n ts͡“d”
i o ɪ ʃ eR n d ɪ s t a n ts͡“d”
d ɪ s t a n ts͡
d ɪ s t a n ts͡
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44
42
83
20
‰ œ! ‰ w"
w œ œ Œ
83
44
87
83
24
‰ œ! ‰ w"
w ˙ œ ‰ ‰
83
44
87
83
28
‰ œ! ‰ w"
w . .˙ œ ‰ ‰
44
85
33
‰ œ! ‰ w"
w w œ œ ‰ ‰
d ɪ s t a n ts͡
d ɪ s t a n ts͡
d ɪ s t a n ts͡
d ɪ s t a ts͡n
attacca
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83
43
44
87
43
44
Spr.
Vn/Vlaœ! œ ‰
q = 90
œ
"
Œ Œ ˙
"
Œ Œ .œ! .œ ‰ .˙
"
44
42
43
42
44
6
.˙œ!
.˙
"
Œ Ó ˙! ˙" œ Ó
44
42
43
44
43
12
˙! Ó ˙" ˙! œœ
"
œ œ œ œ œ œ œ
43
44
43
44
43
16
# œ
"
œ œ œ œ œ œ œ #œ" œ œ Œ
3
˙ Ó
5. aber das
b aa Rɛ d s ad s ɪad s st d e R mɛ nʃ
d e R mɛ nʃ ts͡v a ɪ un d dR a ɪ s ɪ g
ts͡v a ɪu n d dR a ɪ s ɪ gts͡v a ɪ ʊl s t m o R d e
ʊl s t m o R d e g u t ɛ s ɛ n
(G. Benn)
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g u t ɛ s ɛ n
43
44
43
21
.˙
!
œ
"
œ Œ ˙
"
Œ œ! œ œœ
"
43
42
43
25
œ œ œ ‰ ˙! Œ Ó ˙! Œ
44
29
Œ ˙" ˙ œ Œ w!
.˙ Œ
ʊ nd tR ɪ nk e n
ʊ nd n a xts͡ n a xts͡
a ɪ ng e s ʊ nd ɛ R ʃ l a f
attacca
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43
83
44
83
43
85
Spr.
Vn/Vlaœ!
œ Œ œ-
q = 90
‰ œ-!
‰ ˙" Œ Œ Œ . Œ ‰ œ! œ ‰
85
42
44
43
45
44
6
‰ ‰ œ ‰ ‰ œ- ‰ ‰ . .˙
"
‰ Ó . œ
!
œ œ Ó
44
43
44
42
11
œ" œ œ Œ Ó . Œ œ" ‰ œ œ ‰ Œ ˙! œ
42
43
15
Ó ‰ œ
"
˙ œ Ó Ó .
6. Edel II
e d ɛ ls a ɪ d e R mɛ n ʃ
f R a ɪ ç ʊ n d g u t
ħɪ ɪ l
m a m ħa
a k ɛ n s a nɪ ɛ R u t e
ʃ n u R
attacca
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42
43
42
43
44
42
Spr.
Vn/Vla ! ! ! ! ! !
42
43
42
44
42
7
! ! Œ ˙
"
! Ó Ó ˙
"
Ó
42
44
45
43
13
Ó Œ Œ œ
"
Œ Ó ˙
"
.˙# Œ ! ˙
"
œ
44
43
42
43
42
19
.˙
#
.˙"!
.˙#! Œ ˙
"
œ Ó
7. Abschied(G.Benn)
ud f “f” ud f Y
ud f Y l s t m ɪ
ç f Y lst m ɪ ç a n
v i bl u t bl u t v i bl u t
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42
43
44
26
Œ œ
!
Œ ˙
3
Ó œ
3
Œ œ ‰ .œ "
44
43
44
32
Ó ˙# .˙"
.˙! Ó Œ
44
43
44
37
Ó ˙# œ œ Œ Œ w!"
44
42
44
43
44
41
˙# ˙!"
w#"
44
42
44
45
w!
w ˙
#
"
d i fR ɪ ʃ ɛ ʊv ɛn ʊ
nd R ɪ nst
ɛ Rn i ɛd R “R” s a ɪ n ɛ d ʊ nkl ɛ
d ʊ nkl ɛ s a ɪ n ɛ d ʊ nkl ɛ ʃ
p u R
d
attacca
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43
83
44
83
43
85
42
Spr.
Vn/Vlaœ!
œ Œ œ-
q = 90
‰ œ-! ‰ ˙" Œ Œ Œ . Œ ‰ œ! œ ‰ ‰ ‰ œ- ‰
42
44
43
45
44
7
‰ œ- ‰ ‰ w"
. .˙ ‰ Ó . œ
!
œ œ Ó
44
43
44
42
43
12
œ" œ œ Œ Ó . Œ œ" ‰ œ œ ‰ Œ ˙! œ Ó ‰ œ
"
˙
44
42
18
œ Ó Ó . ˙" Œ .œ! ‰ œ- ‰ .œ"
Jœ! œ Œ
42
43
44
43
..
..
..44
..
..
..
23
Ó Œ œ
!
œ œ
3
w" Œ Œ œ
!
œ
3
w"
8. Edel III
e d ɛ ls a ɪ d e R mɛ n ʃ a ɪ ç
ʊ n d g u t
ħɪ ɪ
m a m ħa
a k ɛ n s a nɪ ɛ R u t e ʃ n u
R
l f R
a ɪ ln ɛ ts͡t ɛ s ts͡ a p ɛ ln
ħa l e l u j a ħa l e l u j a
8x
8x
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