Being Pollen Jeffrey Treviño, 2011 for Johannes Fischer and Bonnie Whiting Smith

Transcription

1 Being Pollen Jeffrey Treviño, 2011 for Johannes Fischer and Bonnie Whiting Smith

2 Instrumentation: 5 hanging - very high, 1 medium, 1 very low hallway clock coil (mounted on resonant box) hanging spring coil marble slab high pot lid or metal plate low pot lid or metal plate large metal pipe low drinking glass or glass/ceramic bowl flowerpot high drinking glass bongos castanet (mounted and struck with mallets) container to be played with hard (brass or marble) mallets, yarn mallets, and wire brushes. high, 1 med., bongos 1 low. castanet (high) (low) container large high glass low glass (or marble metal Being Pollen bowl) slab pipe Jeffrey Treviño, 2011 for Johannes Fischer and Bonnie Whiting Smith flowerpot high potlid (or metal plate) low potlid (or metal plate) spring coil clock coil Notation If grace notes cannot be made to conform to to the rhythms of a given or coincident poem quotation, they should be performed as quickly as possible before or after (as notated) the metric position to which they attach. Technology Place a single, full-range loudspeaker among the instruments, as close to ear-level as possible. Three recorded poems play back through the speaker, triggered by computer program and foot pedal, as indicated: In Conversation, begin recording playback immediately. Synchronization between recording and performing is relatively loose, as specified by notated cues. In The Song Called Get Away, playback begins as desired. There is no synchronization between recording the performing. In Pollen, playback begins the second time only. Synchronization between recording and performing has been meticulously notated. Texts and Recordings All texts and recordings copyright Alice Notley; used with permission of the author.

3 B E I N G for Johannes Fischer and Bonnie Whiting Smith P O L L E N clock-like pulsation, beginning to fray, suddenly regathered e = 72 mallet shafts; all instruments l.v.; bongos struck on sides bongos Jeff Treviño, 2011 ppppp p mf 5 high glass marble flowerpot low glass metal pipe low potlid pp mf 9 low glass low glass high potlid high glass low potlid bongo spring coil high glass high potlid high bongo high bongo marble high bongo high potlid bongos low bongo flowerpot high glass low bongo high bongo low bongo high bongo high bongo high bongo attaca mf pp

4 I. Conversation (Bolinas, 1971) (microphone bump) Uh, this first poem is called Conversation. Conversation: low w/mallets bongo high l.v. bongo high potlid (waltzing w/noises) castanet... My name my name my name my name my name, my name is wesley is wesley wesley is wesley jackson is wesley jackson castanet dim. pipe (w/brush) bottle (w/brush) (w/brush) high (w/brush) my name is wesley jackson i am i am i am i am twenty five years twenty five years old old i am twenty five years old pipe bottle flowerpot high high glass styrafoam styrafoam bottle flowerpot (twenty-five years) repeat styrafoam (i am) and and my favorite my favorite my favorite favorite favorite and my favorite song song song and my favorite song marble l.v. low potlid marble l.v. high potlid (w/brushes) accel. decresc. repeat my favorite song and my favorite song is is valencia valencia isnt isnt that isnt that beautiful beautiful isnt that beautiful frank (w/brushes) struck struck (brushed) l.v. l.v. brushing bell frank decresc. morendo disappear into said, traffic sound frank said. repeat and cresc. poss. spring coil marble said thrice (crack!) spring coil l.v. high bottle high glass pipe flowerpot styrafoam 1x 2x x said thrice transition from striking to brushing rit.. said twice... attaca (Anselm Hollo laughs.)

5 interlude waltzing (as before) mallets castanet bongos pipe marble owerpot low glass 10 (l.v.) cresc. high pot lid high glass low pot lid repeat until resonance has decayed castanet bongo dim. quarters, cresc. grace notes quarters, graces 16 ve years old) poco meno mosso high glass bongos pipe low glass marble high pot lid 21 owerpot high glass bongos bongos marble pipe marble pipe owerpot owerpot 5 6 dim.

6 27 $ 5 $ as before castanet glass bongos pipe high pot lid! f dim. low pot lid p grace notes cresc. (grace notes f) (Isnt that beautiful) poco meno mosso (all l.v.) 42 $ 48 $ #! ( * + p mf p f mp rit. brushes mallets!! ( ( ( )!! 6 *!!!! 5 brushes mallets *! )!! ( *! p p pp * 58 $ 65 $ * bongo flowerpot X *! bongo X (silence all) $ brushes bongo molto meno mosso bongo flowerpot marble *! *! )!! ( + *,! * ( ( ) *! )! *! ( pipe low pot lid p ppp X(scrape mallet shaft) bongo X attaca - (,! ( -

7 II. The Song Called Get Away rit. (Buffalo, 1987) glass (valencia, valencia, isnt that) marble (my name, my name, my name is) (twve years old, i am) pot lids (beautiful, beautiful, isnt that, isnt that) attaca dim. This rhythm is a composite of several rhythms from the poem, Conversation, as described. Perform it many times, slowing gradually from the initial tempo (that of the previous section s end) to a tempo so glacially slow that no speech rhythms or meter can be perceived. Gradually soften throughout the repetitions. Let all attacks ring. Begin playback of the eponymous poem at any time. The end of the poem need not align with the end of a repetition. The repetition that finishes immediately after the end of the recording is the end of this section of the piece.

8 III. (Philadelphia, 2006)

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17 attaca

18 converging and diverging gradually e = 72 hard mallets; bongos struck on sides; all instruments l.v. coda ffdim. 5 9 clock-like diverging pp cresc. 14

19 18 5 soft mallets converging 7 f dim clock-like brushes pp 4 8 l.v.