Dorotea VejnovicDorotea VejnovicDorotea VejnovicDorotea Vejnovic

The Goldfinch WhisperThe Goldfinch WhisperThe Goldfinch WhisperThe Goldfinch Whisper

For string quartetFor string quartetFor string quartetFor string quartet

THE GOLDFINCH WHISPER

Goldfinch is a specific specie of finch family of birds. It’s habitat is in Peruvian Andes, and this goldfinch is different from

other finches. When in danger, Andean goldfinch does not attack, but produces a broad variety of sounds in order to make the intruder

leave. Those birds have wide range of sounds, and this is mentioned in many Quechuan traditional songs.

This quartet is based on traditional song from Peruvian Andes, which is about different transformations in nature, refering to

plants, animals, but also humans. This idea of transformation and progress found it’s pendant in music, making gradual progress from undefined,

unstable sounds (representing archaic sources of sound and the use of instruments, raw sound that demonstrates the nature of materials of which

instruments are made, such as wood, animal hair, metal etc.) to precisely defined sounds and pitches of Quechuan melody which is represented in

it’s original form only once, in the central part of formal structure of piece.

Combining contemporary composition techniques with folklore melody of peruvian tradition and using various modes of transformation of basic

melody while still keeping its traditional sound present, although in different context, was a challenge and inspired me through this piece.

Note: Quartet should be amplified.

Dorotea Vejnović

NOTATION AND PERFORMING TECHNIQUE - THE GOLDFINCH WHISPER

Gently mute the string using palm

Perform strong pressure on bow strings, in one place, with turning the hand wrist in direction of arrows (bow is rolled over strings or soundboard ’ through’ bow strings)

Discontinue muting string with palm Flautato Very light contact between bow strings and strings (tone should be barely heard)

Hit strings with palm of left hand, so that the sound of string hitting fingerboard is heard Constant strong pressure on the string

Bow movement: Play near the bridge, very strong pressure on the string

Irregular circular movement

Arbitrary pitch in high register

U-turn movement Arco c. l. Slightly bend the bow, play in the same time with bow strings and legno

Wavelike movement in both directions

Col legno balzando

Arco balzando

Let the bow drop on the string in one spot, and let it bounce

in indicated duration (bounce is naturaly accelerated by the

weight of the bow)

Rectilinear movement in direction towards or/and away from the bridge (bow is slightly bent, so that strings are played with edge of bow strings)

Col legno gliss Legno is sliding towards bridge in bouncing motion.

Rapid movement across the strings with fingernails, behind bridge (harp-like)

Bartok pizzicato

Speed of bow movements:

Pizzicato performed with left hand

1

2

3

4

very slow

moderate

fast

very fast

Pizzicato with fingernail

Stopped pizz After pizzicato, mute the string with palm

Pizzicato with fingernail, performed on pegbox, near scroll

Knuckles Hit the soundboard with knuckles. Palm Making rhythm with palm

Right hand – col legno on the bridge, improvised rhythm Left hand – making a certain rhythm with palm underneath the strings, between f-holes

Hit the soundboard rapidly with fingertips. Rhythm is arbitrary

Left hand making rhythm by hitting the strings with palm Right hand making a certain rhythm with palm underneath the strings, between f-holes

Tap the soundboard with fingernails.

Notes: Bar 32.-40.

Bar 96.–101.

Sul corpo con l’arco Jete sul corpo

First violin- play by gently shaking the hand to produce

‘tremulous’ tone

Eight notes and 16th notes should be performed with minimal possible movement of bow

Play on C-bouts, on narrow part, on the edge of soundboard

Fingertips tr Rapidly hit upper bout, alternating index finger and middle finger