Elecric Cello Tarinaoopperabalei for Elecric Cello and Ensemble or Orchesra Jukka Tiensuu 2016
Jukka Tiensuu: Tarinaoopperabalei (2015) a concero for Elecric Cello and Ensemble or Orchesra SETUP: (speaker.fl) p1 horn(s) perc p2 (b)fl (c)bsn cbcl cl vl(s).2 vla(s) cb(s) MIDI-kbd (alernaive) vl(s).1 MIDI-kbd (suggesed) vc(s) Mic.L Solis (Mic.C) Mic.R Conducor (audience) (speaker.rl) (speaker.fr) (speaker.rr) In he ENSEMBLE version: he ui / soli / divisi indicaions are simply ignored. Opional in he ORCHESTRA version: he flue and bassoon pars maybe divided beween wo players (playing occasionally in unison for more effec). Two horns may play in unison hroughou he piece. Performance noe: If possible, he sage (and hall) should be dark in he beginning. Afer he firs srikes of he percussion, he sage would hen be slowly li up. A he end he lighs should slowly go ou again, so he las srike(s) would be heard in darkness. In he beginning, he players si in a nodding posiion and wake up when hey sar o play (or a bar 1 a he laes). A he end, he players eiher go back o heir nodding posiion (low insrumens) or slowly leave for anoher posiion as indicaed in heir respecive pars. b. (1) 2 Everybody urns o look a he rumpes. b. 64-66 (67) Towards he end of he cadenza, he musicians (excep low winds) sar o fervenly (f) whisper o each oher as in an agiaed debae. The whispering dies ou during bar 67. Similar acion from end of bar 81 ill end of bar 84. b. 7, 80 The musicians who do no play here, urn heir heads syncronized o he lef, hen righ a he beginning of bar 74. A bar 80: likewise, bu his ime firs righ, hen lef a he beginning of bar 81: Boh imes "anxiously lisening". b. 1 (Cadenza): While he solois improvises, he ensemble players will all individually endorse he solois hrough means of imiaion, accompanimen, heerophony, colouring ec. The solois may play whaever dynamics s/he chooses, bu he ensemble players mus always play p or even pp.. radiional saccao, relaive o he noe lengh and o he musical characer ' saccaissimo, always very shor regardless of he wrien noe lengh enuo, play he noe o he full wrien lengh (only, no accen is inended). al niene, le he sound die away compleely. x z r o The glissandi are played coninuously during he indicaed ime (no porameno). Noe-sems wihou head in he middle of a glissando are for orienaion only, hey are no o be ariculaed. For non-slurred glissandi, make a sligh ariculaion on he (normal-sized) end noe (preferably no bow change, hough). Accidenals apply o he remainder of he measure, bu are someimes repeaed o faciliae reading. A quarer-one sharp and fla, respecively. A sixh-one fla, as in he 6h over-one, he "pure sevenh". All rills sar on he main noe. They coninue ill he end of he noe even when his is ied over for several bars. Exaggeraely wide, slow vibrao. Trumpes: In he beginning he rumpes are ou of sigh, hen march on he sage while playing bars 1-4 campana in aria. The solois eners he sage "grandiloquenly" righ behind he "heralding" rumpes. bar 151: The rumpes sar walking slowly, sepping in he heavy rhyhm of he ensemble (ca. one second a sep, hen accel.), o he back corners of he audience space, arriving a heir respecive corners before b. 16. bars 16-181: The rumpes play bars 16-181 in he corners, hen rush o heir seas for bar 187. 21- during he cadenza he rumpes go discreely o heir respecive corners, where hey play bars 22-254, hen say here ill he end of he piece.
Elecric Cello 1 ~ 48 calmly Tarinaoopperabalei for Elecric Cello and Ensemble ~ 60 5 8 15 ~ 108 blazing, magnificen pizz. Give a quick, brillian inro o EC possibiliies: Jukka Tiensuu 2016 ~ 108 L.V. 7 F uned o E col 8vb ad lib. arco Fl. Vlns March in behind he heralding rumpes () eroico maesoso 41 some reverb for ALL II III 46 II III I II 5 col 8va ad lib. 58 Beginning of cadenza (opio ( 1s CADENZA (shor) 6 end of cadenza (opional) ~ 60 ballando ( ) Bsn reverb. 72 15ma bassa! (~10Hz) ~ 108 ~ 144 9 9 Cbcl+Bsn
2 ~ 108 101 exremely swee sound ~ 48 soohing ~ 48 accel. (por.) (por.) (gliss.) 6 Cl. solo 114 ~ 144 ~ 72 2. Cadenza (microonal) sempre xl.v. z sar wih low pizz. 15ma bassa, le GT-10 ranspose 15ma x z 120 x z x z (end wih e') ~ 144 rall. 124 8 ~ 48 1 Add some reverb. oward he end of Cadenza. Cadenza (ramificaions) ~ 96 blazing, magnificen (col 8va ad lib.) (as in he beginning) free cadenza, he ensemble players should sofly endorse EC (see performance noe) 16 more reverb. add delay /16 140 ~ 72 144 more reverb. up o exreme Pich shifer 15ma bassa delay faded ou 148 reverb. faded ou ~ 48 rall. (play 15ma) no reverb. slowly o lowes pich... quickly back again ~ 0 percussivo (~10Hz)
loco 15 (ord.) accel. (separae srokes sempre) 156 ~ 108 più dim. molo 159 non spicc. (very low "hunder") 12 dim. al niene 176 ~ 144 molo agressivo pich shifer 15ma ~ 144 (sounds 15ma) simile 184 188 loco s.p. molo 191 ord. 195 s.p. molo ord. spicc. ~ 60 rall. ~ 40
4 204 ~ 48 whining (por.) (gliss.) ~ 144 molo agressivo molo senimenale 212 ~ 144 214 216 ~ 60 rall. pizz. ~ 40 225 pizz. L. V. arco II III L.V. V IV () I aacca 21 4. Cadenza (sing along) "human"/vowel sounds Play and sing along (see perf. noe) ~ 108 joyfully Prepare o reurn gracefully (see perf. noe) 12 9
Jukka Tiensuu: Tarinaoopperabalei (2015) a concero for Elecric Cello and Ensemble or Orchesra SOUND PROJECTION and NOTES for he SOLOIST (EC below) Sound projecion: Tex boxes indicae acions being execued parly by EC (effecs), parly a he mixing desk (balance, direcion, delays, reverb). The solois par - amplified and wih effecs, as well as his/her vocal par in Mic.C - is always heard from he fron speakers FL and FR, which are placed behind he ensemble. The keyboard par is always heard (as such, wihou effecs) from he fron speakers FL and FR. The reasonably amplified sound wih some reverb from he lef microphone Mic.L is heard from he fron speaker on he lef FL, bu he sound wih effecs (delay and subsanial reverb) is heard from he speaker behind he audience on he righ RR. The reasonably amplified sound wih some reverb from he righ microphone Mic.R is heard from he fron speaker on he righ FR, bu he sound wih effecs (delay and subsanial reverb) is heard from he speaker behind he audience on he lef RL. The delays for flue and viola in bars 41-62 are wo beas long, one sho, 100% we and slighly louder han he sound from he sage (acousic+speaker), resuling in a four-voice canon a one bea disance. N.B. Whenever he insrumenaliss play o he microphone, he amplified sound should be louder han he direc acousic sound. The beginning cresc. and he end dim. of he keyboard par could be slighly enhanced by mixer faders, if necessary. Keyboard: MIDI maser keyboard conrolling a (sof)sampler. Samples and more informaion available from he composer. EC: L.V. Lasciare vibrare. Leave keys down for as long as (convenienly) possible. When releasing, release he ones in he same order as hey were pressed down. L.V. is cancelled wih a wrien pause, caesura (,), saccao do, or ord. L.V. poco. Leave keys down longer han wrien (le ca. -6 noes sound simulaneously) and give each noe approximaely he same duraion. The opimal duraion depends on he empo and he naure of he harmonies hus produced, and is lef o he player's discreion. Cancellaion as above. To be able o move freely around (he sage and he audience) he solois should have a wireless connecion o he effec device. The preferred effec ypes are given as boxed ex. A change of he effec should never disurb he possibly sill coninuing "ail" of he previous sound. L.V. see above. bar 1 EC and he rumpes are ou of sigh (backsage) ill bar 1. 1 Ener he sage gallanly, even grandiloquenly, adequaely behind he heralding rumpes. 5 A shor, flamboyan improvisaion on he given chords. Coninue aacca. 258- Depar gracefully and wihou hurry and reurn o where you enered from in he beginning. While rereaing, play he pich F a any ocave/colour ad lib. quiely (dim.) and sporadically (rall.) while aking "farewell bows" o your fellow musicians. Cadenzas: All Cadenzas are o be improvised wihin he given resricions and should remain faihful o he res of he piece in syle and conen. Any duraion beween up o ca. hree minues is appropriae. 6-1 s Cadenza: Shorish bu dazzling presenaion of some of he more specacular possibiliies of your insrumen. 116-2 nd Cadenza: Shor improvisaions based on he chords given by he keyboard. While reaining he harmonic, le vibrae principle, give a clearly differen characer o each improvisaion, e.g. noble/solenne, playful/capriccioso, feverish/passionao, mournful/lacrimoso. (Sar wih low pizz., le he effecs device ranspose 15ma. Play clean, long, reverberaed sounds, accurae piches. Then proceed according o your fancy.) You may eiher give a discree sign o he keyboardis when you wan o hear he nex chord, or le he keyboardis decide. You don' need o sop your playing for he keyboard chords, you can jus keep playing and make appropriae ransiions for he new harmonies. 1- rd Cadenza: free cadenza, exremely varied in characer and colour. During he cadenza he ensemble players sofly (p-pp!) endorse he solois by imiaing, accompanying or encouraging whaever he solois plays. The solois should dish ou surprises (sudden urns, unexpeced ress ec.) in his/her improvisaion o keep he ensemble aler and vivid. 21-4 h Cadenza: Play and sing along (in unison, canon, microonal heerophony or counerpoin). Choose a "vocal"/"human" effec and imiae i wih your voice. Reminisce abou your favorie momens of he work. Sar plainif, end joyful! In he firs performance Juho Laiinen played a Ned Seinberger Design CR Series 6-Sring Elecric Cello wih Boss GT-10 effecs processor. Tarinaoopperabalei (soryoperaballe) was commissioned by Juho Laiinen and he Avani! Chamber Orchesra.