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HELGE SKJEVELAND

AnamorfwsiV(ANAMORPHOSIS)

for large symphony orchestra

(a BMI SCA winner, 1973/74)

This work is organized by chromatic, cluster-generating polyphony. I’ve attempted to create structures, and through

them, textures in sound, by use of extensive subdivision of instrumental groups, and their subsequent use as “choirs.”

Formally considered, the music falls into the same category as Ligeti’s Atmosphéres, Penderecki’s Fluorescences, Xenakis’

Metastasis, etc. Its style is an amalgam of the aforementioned and their techniques I’d just discovered and admired, but

none of it was meant as an “epigonal” (Ligeti’s term from a kind letter to me) derivation thereof, since it is, of course,

transmitted through my own lens of influences and ideas.

Twelve-tone series occur in the work’s sonorities and textures; however, except once, series are not used in a the-

matic way. Serial ideas are primarily used to create harmonic tensions and fluctuations within the structures. Full in-

structions for realization of the score, including explantions of notation, follow:

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Ms. 9 The ’cello cluster should be attacked sffz, held at mp, and then allowed to morendo al niente by the end of ms. 14.

The violins’ chromatic cluster should (at the beginning of ms. 13) begin a morendo, while the individual desks carry outthe indicated portamenti and change their timbre to sul ponticello. The molto vibrato effect shouldn’t be synchronous,but the instruments should each adopt individual rates for their vibrati, which should be ±¼ tone, and this molto vibratoeffect ends as the portamenti begin. The II Vns playing the open low G should slightly damp it, until beginning to slide.

The percussion section should strike their instruments, then let them vibrate to extinction: I.e., players should not damptheir instruments if they achieve a dynamic level of ppp by the end of ms. 12. The glockenspiel, celesta, and vibraphoneshould fade out so as to have their sound absorbed into the woodwinds’.

The pianist prepares for low-register sympathetic resonance of the mid-register sffz chromatic-cluster crash by silentlyde- pressing the notes in the range indicated by the hatched box, then depressing the sostenuto pedal to hold the dampersof their strings, and then releasing these notes before crashing the cluster. The celesta also crashes a chromatic cluster asit begins its roulade. All instruments that play these roulades here, are to be un-damped. I want a blur that vanishes byits own, natural decay.

Mss. 9-32 Although complex, the wind parts should be played giusto possibile in pitch, but small rhythmic variances will be un-avoidable due to the complexities; these, however, will not be obvious — also because of the complexities. The piccolosshould be careful to avoid shrillness as much as possible when playing in the very high register.

Ms. 13 The tam-tam should be edge-bowed with a well-rosinated string-bass bow. I want a contra-contra (lowest-mode) pitch— signified by the nabla symbol (L), preferably somewhere 15-30Hz (i.e., B-3 B-2). Begin with a dynamic level of mp,and gradually crescendo to reach f by ms. 24, then allow it to vibrate while quickly procuring a bass-drum beater, andhit it in the center of the plate simultaneously with the sfz in the horns, trombones, and the beginning of the ’celli’scluster.

Ms. 27 Quarter-tone cluster in violins with superimposed, independent (non-synchronous) trills. Accidentals’ notationexplained next page. The small notes indicate direction and size of the trill.

Ms. 35 There are two performers (executants) on the piano part in mss. 35-50. To begin with, performer A uses the keyboard,while B operates inside the instrument. Farther into this section, divide tasks in playing the notation. The harmonic clus-ter at the beginning of ms. 35 is performed by touching the strings indicated so as to get a metallic, ringing, cluster re-sult. Each string harmonic’s pitch should differ from the others so that no simple relations occur, but, instead, a “noisy”sound mixture. The symbol u denotes a nail-pizzicato; the symbol , which occurs below the piano part throughout thework, denotes the pedals, and a filled-in (black) circle in it indicates that the corresponding pedal is to be depressed. Damping (pedal release) is indicated by ~. I indicate phrasing in multiple-pedals work by using interrupted ties.

Ms. 45 I ask the ’celli to create a fifth-harmonic cluster. The small notes are the touch points, and the diamond-shaped notes theresulting suoni reali. Care should be exercised so that the tone rings and is penetrating. Stagger the bowing.

Ms. 62 Tam-tam and suspended cymbal are bowed so as to generate tones with fundamentals as low as possible again, but witha rich profusion of higher fundamentals (“shimmer”).

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Ms. 61 The violins begin a section of percussive performance, á la Xenakis’ Pithoprakta. This should by ms. 65 graduallycrystallize into an as-high-as-possible quarter-tone harmonics cluster, as the score indicates. BE CAREFUL HERE.

Mss. 73- The trumpet parts are proportionally notated. Bucket mutes are used. Care should be exercised so that the trumpetsdon’t sound as if in banal canon in extreme stretto.

Mss. 89-105 The bassoon parts should be played giusto, esp. after ms. 95.

Upbeat to 110 The first violins play another fifth-harmonic cluster. The notation here differs from the ’cello cluster @ ms. 45,however: Here, I indicate only the stopped and touched point, as the suoni reali are stratospherically high.

Mss. 100-114 The climax in the strings begins giusto, as notated, and becomes proportionally notated later. The second violins,the violas, and ’celli break off leaving the bassi playing the F# pedal piano, whose timbre is gradually mutated to sulponticello, with the rich upper-register shimmer that results from this bowing. Again in mss. 100 – 105 there is anextensive, virtuosic assault on the piano by two performers, which is absorbed into the huge quarter-tone cluster mass.

Mss. 125 Extreme care is necessary when playing the horn parts at the end. The psychological impact of the “violent” string/pianoclimax depends in great measure upon the calmness, perhaps even pathos and sensitivity, of the gentle ending.

Quarter-tones — I use this notation for these: ¼-tone sharp , ¾-tone sharp , ¼-tone flat , ¾-tone flat .

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A word to the conductor about the piece may help: I’m not unmindful of this work’s difficulties. Be that as it may, its resul-tant effect is what’s important. Even though excruciating problems in conducting and directing the orchestra exist because ofcomplexities, there shouldn’t be too much difficulty in seeing the overall pattern of the piece, nor the logic that undergirds it. It’simperative each performer have a viable understanding of the whole — in other words, not only one’s own part. Although in allprobability few would notice the absence of VC 9 & 10 in ms. 112, their role is just as essential to the piece’s success as any otherpart’s. If the orchestra members get involved in and excited about the piece, then it will be easier to perform and a success, forthen its spirit of youthful adventure will accompany its performance, even if there are slight errors that will inherently be inaud-ible to all but musicologists and avant-garde purists. Thank you.

INSTRUMENTATION

5 C flutes (two players doubling piccolo and alto flute in G, respectively, the latter notated at concert pitch)

4 oboes

4 B= clarinets (notated at concert pitch)

3 bassoons

3 B= bass clarinets (notated at concert pitch)

1 contrabassoon

4 B= trumpets (notated at concert pitch)

4 trombones

4 French horns (notated at concert pitch)

2 baritones or euphonia

1 tuba

5 timpani triangle

xylophone clash & suspended cymbals (the latter with well-rosinated ’cello bow)

glockenspiel tam-tam (large, with well-rosinated contrabass bow)

celesta anvil (or steel block, mounted on thick felt or velvet pad to un-damp ringing tone)

vibraphone snare and bass drums

piano with lid removed; equipped with the required mallets of yarn, soft & hard rubber, and wood.

NB: ALL PERCUSSIONISTS SHOULD HAVE THEIR OWN MALLETS, BEATERS, BOWS, AND OTHER NEEDEDPARAPHERNALIA, IN ORDER TO PREVENT CONFUSION, FIGHTS ON STAGE, ETC.

12 I Vni

12 II Vni

12 Vle

12 VCi

12 CBi

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Layout for surround-sound Recordings(Sound-placement diagram)

Suggested symphony-orchestra deployment

(This work is dedicated to the memory of the late Carl Ruggles)

DURATA: APPROX. 10'

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