Do Bats Eat Cats? for: alto flute, clarinet Bb, violin, viola, cello, contrabass, piano and percussion.

Transcription

1 Oer Pelz Do Bats Eat Cats? or alto lute, clarinet Bb, violin, viola, cello, contrabass, iano and ercussion. Commisioned by the Israeli Contemorary Players and the Ernst Von Siemens Paris Duration 12 min. Ca

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3 Ensemble Alto lute Clarinet Bb Violin Viola Violoncello Contrabass Preared iano Percussion 1 vibrahone 3 damed with a cloth chinese Jeté ricochet bounce the bow naturally. The score contains many variations o this gesture short, long, c.l.b., while glissing the let hand, while glissing changing the osition o the bow toward or away rom the bridge. The duration o the gesture is marked in the score but can be layed adlibitum, with resect to the natural bouncing o the bow. Irregular vibrato, unstable sound roduced by changing the seed and amlitude o the vibrato. Son ecrasé crushed sound. Extremely heavy bow ressure. No recise itch can be discerned, only a grinding sound. In this score it is mainly a very quiet sound PP. Natural harmonics, in some cases no recise itch will be audible but only noise. In the Contrabass art, the harmonics always marked at sounding itch. They may be layed on any string with any ingering. Woodwinds Air sound blowing sound. Nearly no itch. Air sound together with note Air sound, together with key sla. Pizz. l., sla tongue cl. Tongue ram l eneral Notes The dynamics in the score are relative, not absolute. They indicate the energy and intention with which the musicians are to lay, but do not necessarily corresond to an absolute dynamic level. This is mainly imortant when using saicial technics with the instruments e.g. air sound, laut. or hitting with the brush on the ercussion. Inaccurate or nonexistent restes are indicated in brackets, in order to avoid a misunderstanding o the bar s meter. The duration o gestures or arts containing some reedom is indicated either in seconds or by the aroriate note value. Crescendo da niente W.T. Piano l Mouth iece osition Close/Oen Whistle tones l The iano must be reared in a way that the indicated notes are damed. The ollowing notes should be reared by daming the strings o the iano with PATAFIX Blue Tack installed just beneath the iano s damers. The result o the daming is a ercussive sound where the itch can not be clearly discerned. Diminuendo al niente as ast as ossible L.V. Strings Flaut. Molto laut. Bat. / c.l.b c.l.t. A./ A. sul ont. Local accelerando, Local ritenuto aroximately quarter tone / aroximately three quarters tone Arrow indicating a gradual transition rom one mode to another. Let Vibrate There is a distinction between a normal lautando and molto lautando. In the second, extremely little bow ressure should be used ; the movement o the bow can be also slow, roducing a very weak and ragile sound. dam. Reers to a note or a section in which the strings are to be comletely damed with the let hand. In this score, this is used with Bartok izz. and c.l.b. Bartok izz. mainly with damed strings Battuto strike the string with the hair o the bow / con legno battuto strike the string with the wood o the bow in this score the strings should always be damed when laying c.l.b Con legno tratto Alto exaggerated / onticello Bow s osition cle Uer register closer to the bridge. Lower register away rom the bridge, over the ingerboard. The osition o the bow is marked by a line drawn along the sta o the cle. In this score, this serves to control the timbre o assages layed c.l.b. by changing the bow s osition on the string. Percussion Strike the strings o the indicated cluster inside the iano with the alm o the hand. Signs indicating with what to strike alm/nail izz./ stick or a encil Damed note. Marked in score in order to avoid conusion. Brush Drum hard wooden stick Very sot vibrahone stick Bow The Cow Bells should be damed with a cloth, sotening the resonance signiicantly. Damed note. When using the vibrahone the layer is asked to strongly dam the notes with his hand beore striking them, in order to block the resonance. With a brush Strike the, then squeeze the brush roducing small cracking sounds. scratch the drum in a circular movement. with a brush osition on the center/rim.

4 Alto Flute A q=90 Do Bats Eat Cats? Flute, Clarinet, Violin, Viola, Cello, Contrabass, Piano, Percussion Oer Pelz Paris Clarinet in Bb Violin Viola molto laut. A. +, + %, Violoncello Molto laut.. /, % + +,, % % + + Contrabass % % % % % + + % molto laut. % absolout itch the same octave as the violoncello, % + + % + Piano 3 3 blocked Percussion Snr. Hit and than squeeze the brush roducing small cracks. 01 Vibrahone In this section A try to maintain a very quiet balance between all instruments, even i it requires laying with an inerior sound quality. Play little more loudly only i indicated. Coy rights Oer Pelz 2011 revision

5 2 air sound 3 2 m T.R. itch+air 5 % % % +, + %,, + molto laut. A. / % sul ont, + +, +, % + % A. sul ont, % m %, % + + %,, 7 % % A. sul ont 7 % % c.l.b % % son ecrasé with very slow bow seed. %, % / m % % + + % scratch the % % %

6 3 14 +, 5 % % + % 34, + % % + + +, + + % +, % molto laut. + +,, % molto laut. 6 %, + +, A. sul ont c.l.b % +, % + % % + % % + % % % +, + 6 % +, + % + hit and squeeze m dam with the hand %, + subito

7 4 20 / izz and ast air sound imidiately ater / / / /, % % molto laut., + +, +, % A. molto laut. % +, + %, %, % % + + son ecrasé 7 % % 7 7 +, % % % + + L.V. m L.V. c.l.b. % m % scratch. % % hit and squeeze m

8 5 27, / % + +, +, + %,, % + m m + % % , izz and air sound ater % + % ; c.l.t % % A. sul ont., m % + + c.l.t, L.V. A. sul ont.,,7 % % % +, L.V. A. sul ont % % + +,, % % % % % + + +, + m m m 9, % m % % +, +% cym scrub quickly and gently the 6 < < w.b. + % + m

9 6 32 ; + B q=60 izz. / % >, / % % subito,/ %, = +, / sla tongue % > % + / + %? subito subito,/ % 6? %,@ / subito /. /. molto laut. molto laut. > 7@% 7 7 +, + % 6 % 5? % % > subito / c.l.b % izz. c.l.b % > % %, / subito arco izz. subito arco son ecrasé c.l.b 0 % > 0 % % 0 % /., / + + % >, /,,% 6 %, % % + A subito,, 666 % > + /,, 666 % % / 6 6, 6, 6 6, 6, 6+ m m 9, 9, Cym. % > subito ++, > w.b. m % B vib., / % Snr. hit and scratch

10 7 = 39 > ; C itch and air = >,.%,.%. laut. sul ont. + /..% laut. /. +> c.l.t. + ;7 % ; > 7 + > / c.l.b c.l.b > c.l.t. % % + ; 7 ; 7 % /., % /., 6 %, > A m m > 9, 9, hit and squeeze DDDDDDDDDDDDDD % very sot sticks >.% 3.%,?? 9 9, 9, hit and squeeze DDDDD > hit and squeeze % /

11 47 = oco accel. Temo rimo = E.%.%. laut. sul ont. vib. irr. /..%.%. =< laut. sul ont..%.%. vib. irr. 5.% molto laut... / A.. / A /. % 6, 6 6, 6, 6 6 % W.b. 5,, %,% 6 % %

12 9 50 E 3,, >3?, m C 6,,, 6, m molto laut. molto laut. 5? % % molto laut. m c.l.b. F +,, >,? >,? 3 6 m %,, 6 9, %, 6 +% 3 +% 3, 3 3 6? 3? m 9

13 10 53 Largo I DDDDDDDDDDDDDDDDDDDDDDDDDDDDD %. % + % m H J % %, m 3 m E.%..%,, % % m J molto laut.. 5.?..% % J ;.% m? ; J 5..? 5... % >5? ; m molto laut... 5? c.l.b. 6 F % molto laut. %. ; m J c.l.b., % % % F m J K L B %,,, % A M% A m subito reeat as ast as % % A M% A m K 3 3, J K L B J 7 7 % A 9, 6, M % A 9 ; 6..,,, 6 reeat as ast as ossible m

14 11 5 E q=72. K K 7 %. % %,, 6 >,? >,? +, 7 7 m subito E +. %.%. K + % % 6,,,,,, 6,, 6, % m subito laut., ; 5 c.l.b, 6 +, 6, 6,, 6 m m ; +, 6 % + %

15 12 61 E m N%1 K % + IDDDDDDDDDDDDDDDDDDDDDD 3 6, > % % / E = % % = >.%.%, / % % laut ,.. > /,./ / %, / % % laut. > +, 5555,./ %,. /. / / % % ; 7 5, , 5 65, 5 5 L 6. / > m 5 % % % %, 555 % laut. arco II + 5 %? > 0 F izz. % % >, / % % > /,, / % % w.b. L > < ; >, Cym. %

16 13 67 = / % % H 6/ %. % subito /. molto laut. 7% 7 % / izz. %, / izz. %, % 0 % 6, 6, 6 + % / 9, m W.B vib.,/ %

17 14 69 H,, m m 3 6, ;.,, 6, % %, +,, 6 %, arco sul ont. 3, %% %%, 6,, 6 % 6 arco.. / A, m arco +.. / A m, 66 6, 6 6, 6,, 6 m 7 %, % m IDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD ; A, 6,, 6 6, K%

18 71 % 3C C C % A M % A 3 C CC 3?% J K E,,,,. %., % %, 9 % E 15 J air sound L IDDDDDDDDDDDDDDDDDDDD %. 9; ;, ; ; ;, ; ;, ;, ; 6 ;, ; ; ; 3. %. 3. % % 3 %. / sul ont.,.,. %. 6. / %. / IDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD. / 9 7% 35. / % % arco %. /@ % reeat as ast as ossible? %A? M L % % A 9 % % A M % A 9 % 3 % ? 6 reeat as ast as ossible 67 7, %A? M L % s C.B. % s Snr. only inverse or the brush A % 9

19 % % O O L% 5 / %,. / %, / 6 /. / 6 / 5 % / O 5./,. / son ecrasé. / O O L % subito D m son ecrasé,.. / % subito D O? hit and squeeze B. % % 0 DDDDDDDD DDDDDDD w.b. ; %. / %.. ; Exlanation o the geste Allow the bow to ricochet naturaly with a lot o energy down bow, than with the u bow movement continue the same geste with ritenuto on the same note. The u bow movement can be more legato than the.

20 3 H. % % E 17, %% %%, E 3 izz /, % izz./, / % 0 izz % 6 3 % W.B. Snr. Snr. W.B. % + + %% Cym. subito < L.V.

21 1 5 C C, C C, C 6C 3C 6C m, C C, C 6C 3C 6C %, C C, C 6C 3C 6 C + E 6 4 C, C, C C, C 6C C, C, C 6C, C m C, C 6C 3C C, C 6C % 3C C, C 6C, C, C 6 izz 0 izz /. / izz 0 O L% izz 0 O L % lay this notes un regularly and as ast as ossible. let hand and right hand are not syncronized.,,, /F /F, D w.b. % Snr. % m DDDDDDDDDDDDDDDDDDDDDDDDDDDDD

22 19 7 C q = 4 C, > C, C 6C C 6C, C, C 6C 6C + m = 3C > 6C 3C + C, C C 6 C 3C C, C m /. arco vib. irr.?? >??.% /.??>??.% vib. irr % > c.l.b F + + / / % > + c.l.b + F 9 m 9 > > IDDDDD IDDDDDDDDDDDDD 3 3 w.b.. / % > >