m#$% (Thus Said)dpbiro/biro_lakhen_excerpt.pdf · (Thus Said) For Contralto, Piano, Ensemble, and...
Transcript of m#$% (Thus Said)dpbiro/biro_lakhen_excerpt.pdf · (Thus Said) For Contralto, Piano, Ensemble, and...
!m"#$%
(Thus Said)
For Contralto, Piano, Ensemble, and Electronics
Dániel Péter Biró (2008-2010)
Material Press
Dániel Péter Biró – Ko Amar Performance notes
Instrumentation: Contralto, Two Speakers, Flute (alto and bass), A Clarinet, Percussion, Piano, Violin,
Cello, Double Bass, Electronics (2 players) Seating and Amplification: Contralto should sing slightly apart from the stage and ensemble. Both speaking
voices should sit in front at opposite ends of the stage and should be amplified with
headset microphones. Speaker 1 is to control the spatializer (midi keyboard) and
speaker 2 operates the sampler (midi keyboard). The percussionist is to sit in the
middle of the ensemble. The percussionist’s voice should be lightly amplified with a
headset microphone. Percussion instruments should be amplified with condenser
and contact microphones. 2 speakers should be placed in front of the stage 2 in the
middle, 2 at the back of the audience and 1 in the piano. Strings and winds should
sit on opposite sides of the stage (flute and clarinet on one side, violin, cello and
double bass on the other side). Piano should sit behind strings and juxtaposed to
percussion.
Tuning
Percussion
The 9 percussion instruments are as follows:
1) Wood
2) Cow Bell
3) Gong
4) Tavil
5) Darabuka
6) Sand Block
7) Vibra Slap
8) Guero
9) Tambourine
Consonants are written under certain notes of instrumentalists: these should be
imitated via modes of instrumental timbre.
Piano
2 Strings (C#1 and D1) are to be prepared with modeling clay: this has to be
supported by the metal supporters and are to touch the string as to create the 7th
overtones on both strings. The other harmonics are to be created by touching the
fingers on the string with one hand while hitting the key. Most of these can be
found in front of the dampers (between the dampers and the keyboard). It is
advised to specify each harmonic by preparing the piano strings with yarn. A piece of
yarn can be wrapped around the string to show the different harmonics (red for 11th,
yellow for 13th etc.).
Harmonic notation Harmonic produced on string (inside piano) – bottom stave
shows string and harmonic to touch while top stave shows resulting pitch.
Scraping string with plectrum: Press key and scrape string with with plectrum
(imitating the letter kaf “kh” like the “ch” in the name “Bach”). Pitch should sound.
Strings Piece is to be played senza vibrato except where specified
l.h. ! pressed Left hand presses finger down halfway. There should not be any
harmonic sounds. In most cases it is necessary to put a second finger (lightly) in
back of the finger pressing.
Bowing across string Bowing along the strings as well as across them. This
produces a hissing white noise (like an “sh”) along with the pitch (pitch should still
be present).
Overpressed bow Producing noise similar to a German “ch” sound as in “nicht”
(less pressure = “hk”) or as in “Bach” (more pressure = “kh”)
A Clarinet
3/4 air Resulting sound should be 3/4 air (air noise) mixed with 1/4
pitch; 1/4 air would indicate the opposite (3/4 pitch mixed with
1/4 air noise).
Alto and Bass Flute Speaking into flute: Pitch content is to combine with timbre of spoken word or
consonant. Sometimes distortion of pitch content will occur.
3/4 air Resulting sound should be 3/4 air (air noise) mixed with 1/4
pitch; 1/4 air would indicate the opposite (3/4 pitch mixed with
1/4 air noise).
!!!
!m"#$% (Thus Said) Electronic Setup
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44.2624
oxygen8
oxygen8
headset 1
headset 2
perc. voice
violin
cello
flute
clarinet
perc. instrument
gong DI 1
gong DI 2
kolot sampler™
zimmermann™
klempner™
creme der trem™
getaktet tör™ piano speaker
House PA
sinspatial™ A
sinspatial™ B
spatializer™
midiinport 2
midiinport 3
port 1midiin
audio in from voices, winds, strings & perc.
audio in from piano
audio in from piano
out 1
out 2
out 3
out 4
out 5
Yamaha 02R96
inputs outputs inputs outputs
DIGI 002
linemic
44.262444.262444.262444.262444.262444.2624
out 5
out 6
to dac~ 1
to dac~ 2
to dac~ 3
to dac~ 4
to dac~ 1
to dac~ 2
to dac~ 3
to dac~ 4
to dac~ 5
to dac~ 6
to dac~ 5
to dac~ 6
to dac~ 6
to dac~ 6
to spkr 1to spkr 2to spkr 3to spkr 4
Altiverb ~vst B
spkr 1
gong 1 gong 1
spkr 2
spkr 3 spkr 4
spkr 5 spkr 6
piano
Noa (vocal)
Altiverb ~vst A
to dac~ 1
to dac~ 2
to dac~ 3
to dac~ 4
to dac~ 5
to dac~ 6
Mishpatim IV_Biró
Max/MSP The piece requires two people to control the electronics. One person controls the patch (convolution and
spatialization) while the other controls the gong feedback and volume. Player one opens convolution programs 1A – 6B and player two activates the feedback by opening and closing the gong microphone input (indicated in score). The following patch is required:
The following Help file explains the way to load the sound-files in preparation for the live convolution:
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Percussion
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Violin
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3:2e
/ -lif
ppp
%7 & 4-
pp
, -
$ - 9 +& ,n
p
-):2&
15:14x3:2e
/ 6 ( )/
pp
p
$)* &% % %7% ) % )
%%7 %7 %15 % & $)% & %5 % &
pp
6 ) ( / 6%7 %7%
) % ) %%7 % %
5:4e 5:4e 5:4e 5:4e
/ 9 6+ (
7
%)& )
7
%)&
4)0; ,
5:4e
613
$%)*0& %%77 5
%% &&11
$%)%1&%5 % & , & )
7
%)05:4e
(7
4)5:4e
6 - +;,
mf
%7 8 ) /
mp
; ,
%*7 ) ) p
; ,%*
) -; ,
6+
3:2x 10:9x
15:14x
3:2e
/ 9 +&Bartók pizz.1/2 pressed
mp
.8 + .
15:16x
. , &/ /
arcopont.
%)8 %) && %)7
& +Bartók pizz.l.h. 1/2 pressed
mp
.& 9 +&
15:16x
3:2e
6 .mf
arcoc.l.t.
%27 & 9 . +p
arcoord.%2
15:16x
pp
3:2e
- +arcotasto%2
pp p
3:2e
9 .mf
c.l.t
%27 & .3:2x
3:2x
6+
(mf
c.l.t.pont.
%) %7 4nat.
ppp
+
10:9x
,
15:16x
+mf
pont.
%7 8 4ppp
+10:9x
. + .
15:14x
-
3:2x
3:2x
15:16x
18
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
123 "#
"#
"#
"#
"#
"#
"#
"#
"#
"#
"#
$%#!
$%#!
$%#!
$%#!
$%#!
$%#!
$%#!
$%#!
$%#!
$%#!
$%#!
##
##
##
##
##
##
##
##
##
##
##
poco rall.
poco rall.
$%$!
$%$!
$%$!
$%$!
$%$!
$%$!
$%$!
$%$!
$%$!
$%$!
$%$!
q = 60
Fl.(voice)
A. Fl.
Cl.
spa.
C.
Pno.
Vln. 1
Vc.
Cb.
!"
!
"
#!"
!
"
& ' ($T
f
'd
mf)*+ ,- . /
w
p
z d
mp
) ) ,*.
d
mp
,*- 0 013:14x
'
9:8e7:4e
1 %pp
ord.2 $ &2- 2 $$
ppp
'1/4air
f
23 2,
45mp sub.
f
(
ppp
ord.
26+
4 2 2 4
pp
1/4air
mf
ord.
26+ . 0
p
1/2air
2 27 83/4air
mp
26 26 265 2) .13:14x
ppp
ord.
479:8e
1/4air
2)- 4*
pp
ord.
2-7:4e
1 'f
2 45mp
+25+
.7:4e
sub.ff
pp
ord.
4) 2 29 4
ppp
1/4air
mf
slap
,6+ . 0
1/2air
p
2slap
27 8mp
3/4air
,6 26 265 . 0
13:14x
ppp
ord.
4
9:8e
(
1/4air2*-4
pp
ord.
2* +
& 2- 2 $ 2- 27:8e 2 2 2 $ 2 2- 4 $ 2- 210:9e
2 2 2 4 $10:8e 4 $ 2- 2- 4 $
7:5e7:8x
7:5e
1né
ppp
27 + 4pp
. / ' / $ha
ppp
27 + 4pp
. ' .é
ppp
27 + 4pp
(
:
mp
2277
$$
p
4499 1
p
22-mf
sub.p
+,) ,*2 2 2 2
27 227322
pp
222778
444 $$$
f
(
2 2 22 2 25
2 27 2 ,p
sub.pp
27+ 2222579
ppp
+,* + 22277 $$$ 222-444
5:4e 3:2e3:2e
3:2e3:2e
: .sounding
. ,7 + ,7:8e
' :-
11 11
+2,) 2,*5 0 / : 2293
44 $$ ($ :- (2, /
ppp
2 $ 2+ 4
:- . .
3
; .
,277-
,4
7:8e
'; .
1 0; .
(n)
mp
after-touch
(n)
mf
-
2* , 25 , , , $$ :
13:14x
. .
; .mf
after-touch
2+ /
sost.ped.
( .
Dampedhard
mf
; ..
0+ . / / .
7:5e
3:2e
;
1 ' ' ( (
arcopocopont.
ppp
4,pp
2, 2,77 4, /
arco1/2pont.
p
arco1/2c.l.t.
arcoord.
272,771 2 23
tasto
mp
2ppp
$ 27 4
9:8e
'pp
2+ 4*
ppp
27-
13:14x
: (
ppp
2 $ 2- 2 $$
pp
arcoc.l.t.
f
2*3 26+. (nail pizz.l.h.1/2 pressed
f
'mf
arcopont.
17 +p
2 2 23 2 $
9:8x
2arconat.
mp
2- 2)
3:2e
ppp
nat
4* %2+ 4 2+
7:4e3:2x
:- ' ' ( . / . .
arcopont.
mf sub.ppp
2+ <
arconat.
( .
nailpizz.1/2 pressed
mf
0- . / / .
7:5e
3:2e
19
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
128 "#$%
"#$%
"#$%
"#$%
"#$%
"#$%
"#$%
"#$%
"#$%
"#$%
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
"!
"!
"!
"!
"!
"!
"!
"!
"!
"!
&!
&!
&!
&!
&!
&!
&!
&!
&!
&!
Fl.(voice)
A. Fl.
Cl.
spa.
C.
Pno.
Vln. 1
Vc.
Cb.
!"
!
"
#
!"
!
"
' (b
p)* (5:6e
( (mp
t
+, (g
mp)4:3q
-7:4q
. /ck
ff
+,* /t
+,* ( /Z
f
+,* (
10:9e
19:16x
- -
0p pp p
)1 2 23 (5:6e
(p
2 23pp
2 21p
4:3q
ppp
ord.2$* 47:4q
2%5 2* 41/4air
pp
2$5 .ff
2 23 4 &f
(10:9e
19:16x
ppp
ord.
63 &pp
1/4air
sub.f
ord.
2738. /
mp
43p
(7:4e
6:5e
0 -'
ppp
ord.2* 4 215
2*
4pp
1/4air
-ord.
ppp
25 63 &
1/4air
pp
235 . / (
' 4 & 2 4 &7:4q
2* 6 .19:22x
. 2* 619:16x 6 & 27:6q 2 2 46:4e
0 - ( &gel
ppp
23 9 4pp
/ ( - :ha
ppp
23 9 4pp
( & -
0 (p mf ppp
))$ 9
) 2; 23 2 21
2 22; 2 21 2
pp
222; &&&22222111
&&&&&66666 - <
pp p
23* 22;; && 66;; 0
f
22 2
23
11:8e
<* (
5
6+sost.ped
11
)2)$9 / 0
f
after-touch2
*+
= ,,
10:9e
< -= ,
-)5 :
= ,
19:22x
0mp
pont.flaut.) &
pp p
-7:4q
- -pp
nat.
)2* )4 ' 'ppp
2)8 2)%% 9 )4pp
pont.
- .pp
nat.)2%% 5 4 & (4 & (ppp
1/2 on bridge
28. /mp
473 (
7:4e
6:5e
<pp
pont.)27 ( /5:6e
mf
arconat.c.l.t.
27 :&
7:4q
0ppp
nat.
2$ 9 4 23 8 29 4pont.
pp
<28 .ff
)2733 &&)27 &&
(pont.))47
f
10:9e
19:16x
pp
nat.
4% & /4 &
ppp f
1/2 on bridge
2279 : /
nailpizz.
mp
23*
7:4e
<* (
p
arco ord.
4)mf
4) (p
2)8 /& : / : - - -
20
!"#!$!%##&
!"#!$!%##&
!"#!$!%##&
!"#!$!%##&
!"#!$!%##&
!"#!$!%##&
!"#!$!%##&
!"#!$!%##&
!"#!$!%##&
!"#!$!%##&
133 '(
'(
'(
'(
'(
'(
'(
'(
'(
'(
%#")&
%#")&
%#")&
%#")&
%#")&
%#")&
%#")&
%#")&
%#")&
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###!#"'$'###(
###!#"'$'###(
###!#"'$'###(
###!#"'$'###(
###!#"'$'###(
###!#"'$'###(
###!#"'$'###(
###!#"'$'###(
###!#"'$'###(
*&
*&
*&
*&
*&
*&
*&
*&
*&
*&
rall.
rall.
Fl.(voice)
A. Fl.
Cl.
spa.
C.
Pno.
Vln. 1
Vc.
Cb.
!"
!
"
#
!"
!
"
+ ,b
f-. / 0 , , ,
1 2ppp
ord.
3$ %
1/4air
4& 4-& -
3%%
ppff
ord.
pp
4.45
3:4e
sub.ff
ord.
pp4 46 3& 4 % 4$ % 3
ppp
1/4air4&78 9
ppp
ord.
31/4air
47 4&7 35:4e
1 2'ppp
ord.
3 %
1/4air
4 4$ 3 %
pp
4$7 2 / 0pp
ord.
35 % 4: 3ppp
1/4air
4& ;< 3ord.
3 (
1/4air
4< 4< 3
+ 47 4 4 =10:13e
3 4 4 4. 3 4 4 % 3 478 3 3 4 4 35:4e
1 2 / / 2é
ppp
45 4 4 %pp
2 9 / 2 , / 9 2el
ppp
45 < 3pp
4<2 , 0 % / / >a
ppp
45 %< 4 %
1 2 2mp
4447===
%%% ?
p
1ff
)*
p
4 4@ 4@ 4 4
pp
4@ 44 33 44.33 ,
pp p
44444@ ===
5:4e
? mf
withplectrum
sub.mp
+5 < 445 %% 44 ==,
A , A ,
3355 %% 44:
33ppp
A ,pp
4578335
A ,
2p
4455<
==B
A ,
1 2ppp
nat.
3 % --4 4- 3- %% --pont.
pp
4-</% 0nat.
pp
33&pont.
44 %% 44@ %% 33ppp
1/2on bridge
44;< 9ppp
nat.
33$$pont.
4-$$ : 3-
? 2 '
ppp
arconat.3 % .4 44@ 33 %
% .
pp
pont.
44@7 /% 0 ?nat.
pp
3$ 3 312:11e
ppp
pont.
4-$$;<3- '
nat.
3 .pont.
47 47 3
?/ 2
ppp
arconat.
45 % 4 =pont.
pp
45 <2 / 0pp
nat.35 % 4. 3ppp
pont.4578 9 2nat.
ppp
45 < =
21
!!!"!#$"%!!!&
!!!"!#$"%!!!&
!!!"!#$"%!!!&
!!!"!#$"%!!!&
!!!"!#$"%!!!&
!!!"!#$"%!!!&
!!!"!#$"%!!!&
!!!"!#$"%!!!&
!!!"!#$"%!!!&
138 '(
'(
'(
'(
'(
'(
'(
'(
'(
)!#!$)$!!&
)!#!$)$!!&
)!#!$)$!!&
)!#!$)$!!&
)!#!$)$!!&
)!#!$)$!!&
)!#!$)$!!&
)!#!$)$!!&
)!#!$)$!!&
*(
*(
*(
*(
*(
*(
*(
*(
*(
e = 100 rall.
rall.
A. Fl.
Cl.
spa.
C.
Pno.
Vln. 1
Vc.
Cb.
!"
!
"
#
!"
!
"
+$ord.
pp
,- .
ppp
1/4air,/
1/2air, % ,& , %
pp
1/4air
,' %- , (,ord.
ppp
,& - ,- ,1/2air
$
p
1/4air
,& ,,& , ,
,& ,1/2air
ppp
,' $, , ,$pp
1/4air
, ,,& ,
3:5e
+pp
ord.
,& 0 .ppp
1/4air
,' %))
1/2air
,, , %
pp
1/4air
,& %0 . )
ord.
ppp
,0 , ,0 , $1/2air
(
p
1/4air, ,'
,1 , ), , , *
1/2air
ppp
,2. (
pp
,
1/4air
), , ,
3:5e
3 ,- . , % , , , % , %- . , , , , ,4 . , , , , ,4 . , , , ,
+pp
,5 , 6 7 6 % 6 7% 8e
ppp
,5 90 ,5 %0 .pp
: :a
ppp
,5 2 .pp
: :
+ ;p
.p pp
,1 ,, .. %% ; %p
..pp p
,,,1 % ... ,,// 4
.. ,,4.. 7
p
..// ,,4..
<pp ppp,5- ..5= +
p
,,552
.. %%= +
pp
,,55 %%-..
= +
8,,55 %%0
..= +
p pp
,2...11
= +
p
,,552
..= +
pp
,,11 4..
= +
pp
,5 2 .= +
+ ($
pp
>,,' ->..
ppp
,>'' , ,,6:7e
nat.
pp
, %- , ,>''ppp
pont.
$,' , >,'' ,>'' ,> ,& , $p
, , ,' ,ppp
, ,' ,>'' ,>pp
1/2on bridge
,'4 .3:5e
1/2on bridge
< -pp
1/2on bridge
,0 .ppp
pont.
,' >,55 (,6:7e
pp
nat.
,5 %0 , ,>ppp
pont.
(>,55 ,' ,,> -,> , ,
p
,' , >,55 >,
ppp
,> -,> , , (
pp
,pont.
, >,55 >,3:5e
<.
1/2on bridge
pp
,5 0 ?pp
pont.,54 . %nat.
ppp
,5 %- ? 8ppp
pont.
,5 %0 .5pp
moltopont.
,5 0; 7 7 6 : : :
22
146
e = 80
!"
!"
!"
!"
!"
!"
!"
!"
A. Fl.
Cl.
spa.
C.
Pno.
Vln. 1
Vc.
!"
!
"
#
!"
!"
#1/2air
ppp
$$ $$% $
1/4air
pp
$%% &&$
'$
$ $
ppp
3/4air$%% &
1/2air
pp
$' $ $( $
ppp
3/4air
$) * + &ppp
1/2air
$, &pp
3/4air$%% &
ppp
1/2air$%) * +
1/2air
ppp
$%% &
#'
ppp
1/2air$ $
$% $ 'pp
1/4air
$, & $% , &
3/4air
ppp
$% - * + '1/2air
pp
$ $$% $(
ppp
3/4air$%% &
pp
1/2air
$%'
$$ $ '
ppp
3/4air$) * + . .
/ $% & $ $ $ $ $% & $ $ $ $ $% & $ $ $ $ $% & $ $ $ $ $% & $ $ $ $
#e
ppp
$' , &pp
. .a
ppp
$' , &pp
. .e
ppp
$' , &pp
$, + . 0 (a
ppp
$'
#p
$$(( %&&
ppp
$% & 0 $$(( ((
ppp
$% &pp
$$ 1
ppp
$$ $$'' $$ 0 ( 0 0 ( # *pp
.pp
$$ ((%&&((
ppp
.$$$$22
1 3(pp
$$22 )$$ ((
4 )$' , &4 )
$$22 %&&
4 ).
4 ) 4.
(continueto press)
.ppp
$$'' (( $$ . .(continueto press pedal)
.
#ppp
pont.
$5$$ $5 $$ $ *pp
1/2on bridge
$% &ppp
$$$pont.
$$ $5$$ $5pp
$5$$- * +
pp
$5$$
1/2on bridge
$5 $$ $$ppp
$$) * 3 3 0pp
pont.
5$$ $5 $5$$ $5ppp
$5$$-* +
(pont.)
ppp
$5$$
1/2on bridge
$5 $$ $pp
.
1/2on bridge1
ppp
$5 +
nat.
5$ $ $pp
pont.
$5,
&5 +1/2on bridge
ppp
$, &pont.
$5,
&5pp
$5 +$5 $ $ppp
pont.
$5,
&5 +
1/2on bridge
pp
$, &ppp
.pont.
ppp
$5 +
1/2on bridge
$5 $ $pont.
pp
$5,
&5
23
156
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
Repeat 3 Times
Repeat 3 Times
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
!!
#$
#$
#$
#$
#$
#$
#$
#$
#$
#$
#$
#$
#$
#$
C
C
q = 72
#$
#$
#$
#$
#$
#$
#$
#$
#$
#$
#$
#$
#$
#$
Fl.(voice)
A. Fl.
B. Fl.
Cl.
Voice 1
spa.
Voice 2
Samp.
C.
Pno.
Vln. 1
Vc.
Cb.
"#
"
#
$
"
#
"
#
% & & & & & & & & &d
'( )!7:6e
* %+( ,pp
3/4air+&- ,
ppp
+&- )ppp
3/4air+&- ,
pp
+&- . !3/4air
pp
flute doesn't repeat
+- +&- ,ppp
+&- / / . & & &
* & & & & & & & & &p
,
mp p sub. f
+ ! +01 /7:6e
*ppp
1/4air
+&'
++ + '
pp
1/2air+- , '
ppp
3/4air+- , '
1/2air
pp
+- , '
ppp
3/4air+- ,
p
& & & . ! . ! &
% & & & & & & & & & ) /ste
mf
+234 5 /7:6e
% +- , + + + + +- , + + + + +- , +- , +- , +- , , !
inputs: voices, fluteclarinet, cello, double basspocessing: 60%
+- , + +7:6e
% & & & & & & & & & ) / 5n
mf'234 /7:6e
6 & & & & & & & & & ) /t
Damped
f
(( /
7:6e
*
* ,7pp
/ & / . !a
ppp
+7 ( +( ,pp
+( ) & &a
ppp
+7 ( , +7 !pp
+ / &
* & 5pp
++88 4,, & /!
pp
++88 4++ !! & . !
pp
+8 & )ppp
8va
&mf
+8- +8va+
p
+
6pp++11 -
,, & & & &(continueto press pedal)
& & & & &9
*ppp
1/2on bridge
++)pont.
++ +')) +'pp
+'))(
,'ppp
+'))(,'
pp
+'))(
,'ppp
pont.
+'))(,'
1/2on bridge
pp
+'))(,'
ppp
pont.
'+-',
pp
1/2on bridge
'+-',
ppp
pont.
,,)) !!
nat
pp p
+'))( +
mf
l.h.1/2pressedtasto
f
+ ***+ ***+:5 /
7:6e
6 ,ppp
1/2on bridge
+( , ,pp
+: 5 )ppp
pont.
+'(,'
pp
+':5 / / . &
pp
pont.
+' ,
1/2on bridge
+' + +pont.
ppp
'+77 -',
1/2on bridge
pp
'+77 -',
ppp
',)) !!
pp
pont.
p
'+)) - /tastomolto+ !
mp p subf
1/2on bridge+- /
7:6e
6- & & & & & & & & & )
nailpizz.l.h.1/2 damped
/f
arcoord.
+ +
7:6e
24
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
q = 54
166 #"
#"
#"
#"
#"
#"
#"
#"
#"
#"
#"
#"
#"
#"
#"
q = 72
$%
$%
$%
$%
$%
$%
$%
$%
$%
$%
$%
$%
$%
$%
$%
q = 54
""
""
""
""
""
""
""
""
""
""
""
""
""
""
""
q = 72 poco rall.
poco rall.
#"
#"
#"
#"
#"
#"
#"
#"
#"
#"
#"
#"
#"
#"
#"
q = 54
""
""
""
""
""
""
""
""
""
""
""
""
""
""
""
q = 72 rall.
rall.
!%
!%
!%
!%
!%
!%
!%
!%
!%
!%
!%
!%
!%
!%
!%
q = 54
""
""
""
""
""
""
""
""
""
""
""
""
""
""
""
q = 72
#%
#%
#%
#%
#%
#%
#%
#%
#%
#%
#%
#%
#%
#%
#%
q = 54
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
Fl.(voice)
B. Fl.
Cl.
Voice 1
spa.
Voice 2
Samp.
Perc.(voice)
Perc.
C.
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q = 66molto rall.
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D
D
q = 60
%&%
%&%
%&%
%&%
%&%
%&%
%&%
%&%
%&%
%&%
%&%
%&%
%&%
%&%
%&%
%&%
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#"
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#"
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poco rall.
poco rall.
'"
'"
'"
'"
'"
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'"
'"
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'"
'"
'"
'"
'"
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Fl.(voice)
B. Fl.
Cl.
Voice 1
spa.
Voice 2
Perc.
C.
Pno.(Voice)
Pno.
Vl.(voice)
Vln. 1
Vc.(voice)
Vc.
Cb.
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"
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> > $ 7 $ > > $ 75 >4 7:7 $7:4x
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202 #"
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q = 60
$"
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poco rall.
poco rall.
'!
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'!
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'!
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'!
'!
'!
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q = 60
#!
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Fl.(voice)
B. Fl.
Cl.
Voice 1
spa.
Voice 2
Perc.(voice)
Perc.
Pno.
Vl.(voice)
Vln. 1
Vc.
Cb.
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"
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poco rall.
207 #$
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Fl.(voice)
B. Fl.
Cl.
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spa.
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Samp.
Perc.
Pno.
Vl.(voice)
Vln. 1
Vc.
Cb.
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"
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poco accel.
poco accel.
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&"
&"
&"
&"
&"
&"
&"
&"
&"
&"
&"
&"
&"
&"
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Fl.(voice)
A. Fl.
B. Fl.
Cl.
Voice 1
spa.
Voice 2
Perc.(voice)
Perc.
C.
Pno.
Vl.(voice)
Vln. 1
Vc.
Cb.
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"
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inputs: voices, flute, clarinet, violin, cello, double basspocessing: 80%
3 3 $ 3 ; 34:5q15:16x 3:2e 3:2e
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ord.
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216
q = 60
#"
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q = 56
""
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q = 60
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q = 56
$"
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Fl.(voice)
A. Fl.
Cl.
Voice 1
spa.
Perc.
C.
Pno.
Vln. 1
Vc.(voice)
Vc.
Cb.
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nailpizz.pont.
pp ppp(08 ' +
arco 1/2 c.l.t.nat.(23:2q
flauttasto
pp
%' % .(((%
1/2on bridge
(
3:2q
ppp
( )
11:7q
.
pp
(5 + , - - ') % %
3:2e
3
Convolution - 3B
( . ) )11:7q
) (
Convolution - 6B
( ( ) . ) (4:5q
( ) ( ) ( ) ( )
!!
!!
!!
10 !!
!!
!!
!!
!!
!!
accel.
C.
Vc.
Spat.
" #a
quasi whispered
$!""""""6:7e
n
ppp
%&'
m
pp
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ppp
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-
13:8e
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#w
pppp
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""""
-
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$
ppp
inhaled
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3:2q
$
pp
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-
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(
/nailpizz.
pp
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6:7e
ppp
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ppp
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pp
on bridge
!
+ ,- # .
13:8e
2 03 $ & 03 $ 03 0 &0 0 & 00 0 $ 0 $3:2q $ 0 $3:2q $ 0 $3:2q $ 0 $3:2q13:8e
16
q = 53
C.
Vc.
Spat.
"y(e)
whispered
ppp
%"""""
sh
pppp
)4&
-
# #
3:2q
(
whispered
y(e)
ppp
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e
inhaled
)*
- v
)-
3:2q
pppp
)+ , - # . .sh
)4&
e
inhaledpppp
)*
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3:2q
ppp
)+ , - # .
/ .pppp
#on bridge
!
3:2q
ppp
!
+ , - # . . #on bridge
pppp
#!
3:2q
! ! ! !
3:2q
ppp
!
+ , - # .
2 $ 0 $3:2q $ 0 $3:2q $ 0 $3:2q $ 0 $3:2q $ 0 $3:2q $ 0 $3:2q
22
C.
Spat.
" . #e
inhaled
pppp
)&* #
3:2q
( .
pppp
inhaled
#e
#*
ppp
3:2q
( .inhaled
pppp
#e
#*5
ppppp
3:2q
('lunga
2 $ 0 $3:2q $ 0 $3:2q $ 0 $3:2q $ 0 $3:2q $ 0 $3:2q $ 0lunga
$'3:2q
2
Dániel Péter Biró
!"#$ %&m'.5
q = 60
1
!"
!"
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!"
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""
""
""
""
""
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""
""
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""
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""
""
""
""
""
""
rall.
rall.
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
q = 40
""
""
""
""
""
""
""
""
""
""
""
2q = 72
#"
#"
#"
#"
#"
#"
#"
#"
#"
#"
#"
""
""
""
""
""
""
""
""
""
""
""
rall.
rall.
Percussion(voice)
Percussion
Flute
Alto Flute
Spatializer
Electronics
Contralto
Piano
Violoncello
Double Bass
!
"
!
"
!
"
#
!
"
$ % % %& % %$ % %% % % %$a
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mp
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7:8e
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mf
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.(pianoloudspeaker)3 % %& % %$ % %% % % %$ %
$
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Reverb 30%
% % %$ %
. %ko
p
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.
6
7 % % %& %pppp
ord.
1$ 1ppp
1/2on bridge
' 37:4q
pppp
1% * ++mp
'53:4q
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3:4q (nat.)
ppp
15$88 ''
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mp
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7 % % %& % %$ *
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ppp
5' -37:4q 51%
pppp
% - +p
13:4q
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12
q = 60
3
3
q = 40
!"
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rall.
rall.
""
""
""
""
""
""
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""
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""
Perc. (voice)
Perc.
A. Fl.
Cl.
Elec.
C.
Pno.
Vc..(voice)
Vc.
Db.
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"
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"
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"
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6:4q
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mp
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tasto
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1/2c.l.t.
sub.f
arcoord.
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3:4q
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57
!!
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22 "!
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"!
"!
"!
"!
"!
"!
"!
"!
q = 48
!!
!!
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!!
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!!
!!
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!!
!!
4
4
q = 72
!!
!!
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!!
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!!
!!
!!
rall.
rall.
Perc. (voice)
Perc.
A. Fl.
Cl.
Elec.
C.
Pno.
Vc..(voice)
Vc.
Db.
!
"
!
"
!
"
#
!"
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whispered
p$ $ f % &inhaled
o
mp
$' $ppp
%
6:4q
&whispered
i
pp$ $ mf
5:4q
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%a
mp
*'m
+'-
11:8e
# &$ )m
'S
f l
'
f
S
*,- *
, % & &6:4q
v
'p
(r
'
pp
. %tmf
)/ %
5:4q
(% ( (
pp
(& ) & 'mp
*, % '
mp
*,11:8e
0 & %pp
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f
* *+
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*
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p
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pp
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sub.mf
*2 . * $5:4e
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* 3%
f
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3
3/4air
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f
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dampinghard on string
sub.mf
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5:4e
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f
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8
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8
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mf
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sounding
3
7pont.
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f
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7 ( &mp
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3:2q
$1/2on bridge
p
III
+++++ +1 +
arcopont.
pp
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pont.+*5 +$11:8e
5:4e
58
30 !"
!"
!"
!"
!"
!"
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!"
!"
!"
!"
q = 60
""
""
""
""
""
""
""
""
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5
5
q = 60 rall.
rall.
Perc. (voice)
Perc.
A. Fl.
Cl.
Elec.
C.
Pno.
Vln.
Vc.
Db.
!
"
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"
#!"
# $inhaled
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ap
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f
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5:4e
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ff
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mf
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5:4e9:8e
# $ %mp
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mf
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5:4e
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2 3(& )
pp sub.mp
sub.ppp
& &4
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)**
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mf
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pont.
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85:4x
59
q = 48
37
6
6
q = 60 rall.
rall.
Perc. (voice)
Perc.
A. Fl.
Cl.
Elec.
C.
Pno.(voice)
Pno.
Vc.
Db.
!
"
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"
!
"
#
!"
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f
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f
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mf
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mp
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13:2h
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1a
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5:4e
ppp
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on bridge( -mf
$nat.
p
$ +. #+6:5x
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5:4e
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$4 ++mf
#+ # -nat.
p
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6:5x
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"
60
46
q = 48
7
7
q = 60
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
!"
rall.
rall.
Perc. (voice)
Perc.
A. Fl.
Cl.
Elec.
C.
Pno.
Vc..(voice)
Vc.
Db.
!
"
!
"
!
"
#
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# $% & 'whispered
(ipp
)*6:5x
'
15:16x
(a
inhale
)+, - (5:4e
& $$ $ $ $%
# %&ppp
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' %m
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S
(. )/ (m
%pp
S
)/ '15:16x
v
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(*/ -
r
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05:4e
% %tz
%
mp
%0 0 0) 0 *5:4e
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1 2%3/4air
mf
) *pp
(*pp
ord.
)3*4
)* )3*
'
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tf
3/4air
sub.ppp
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5:4e
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p
2, 5,-ppp
51/2air
$%6:5x
1 $% - 'mp
1/2air
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ord.
-
15:16x
inhaling
ff" mp
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)+4/) +++)
5:4e
+++5
3/4air
ppp
$$ $ ord.
pp
24
1/2air
ppp
$%
# $% $ $ $$Reverb 60%
$ $ $%
1 $% $ $ $$lo
p
24sam
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547
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# $% $ & (*t s
08. 0 *
-
5:4e
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62/% 1/2
on bridge- 'mf
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15:16x
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1/ )p
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flaut.
p
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5:4e
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p
2/ -2ppp
pocopont.
$%
6 $% -f
1/2on bridge
)3 **mf
(* ( -nat.
p
)3*
6:5x
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15:16x
$ $$ $ & -
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ppp
5 5%
61