ECM+ WORKSHOP February 2020 Stefan Maier
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ECM+ WORKSHOP
February 2020
Stefan Maier
1. Introduction
2. Schedule
3. Notation Information and Performance Notes
4. Score
Introduction
For the past years, my work as a composer and sound artist has primarily operated within the sphere of improvised live-electronics. I’ve found that working in a hands-on manner with electronic instruments — in particular the modular synthesizer — has facilitated the generation and exploration of complex sonic textures that I hitherto had not been able to intentionally compose myself. Using feedback based procedures, I have been using my electronics set-up to generate extremely rich sounds that transform “autonomously” and with a remarkable latent musical vibrancy: materials that one could almost say have an “inner-life.” This experience of generating material from the ground-up — that is to say, allow rich materials to emerge on their own on — rather than top-down has changed the way in which I have decided to address writing for ECM+.
Given the logistical difficulties of touring with a complex electronics set-up, I decided to write for ECM+ with only barebones electronic means: very minor amplification of the Piano and Cello. The aforementioned “emergent” electronic explorations will not be present in the work. Instead, I’ve drawn inspiration from listening and working with these kinds of materials. I’ve written a sketch that uses extremely rich and chaotic sounds that do not readily allow consistent reproduction: drawing glass along piano strings to create unworldly synthetic screeching, the use of extreme scordaturas and preparations in the strings, etc. Through very simple writing, and the instruction to “explore” certain materials freely, I hope to give the instrumentalists of ECM+ the same experience I have in my electronic music studio every day: the experience of exploring vital and unruly sounds from their instruments — sounds that demonstrate an emergent musicality that is not “composed” per se, but rather discovered.
Schedule
10 mins: review of extended techniques from performance notes as needed
45 mins: playthrough of sections of sketch, run through
A
strings explore different places on body for both “high” and “low” white noise sounds — prioritize loudness and contrast in shading!
B cello+perc+pf; tutti
vc+bsn+b. cl, read through: imitate sound of cello as much as possible — possible solutions (e.g. add growl, flz, preparation?)
C
explore different fingerings, techniques, and mouth positions in winds to maximize volume and intensity of white noise sounds!
D
strings; pf solo; pf/perc; tutti; tutti with exploratory/improvisatory additions
explore different scordatura in strings to find most interesting over- pressure clicking; mm 33 explore transition from irregular clicking to gesture! Try with both bowing at frog on hair, and at threading on wood!
Pf explore tile sounds — go wild!
Percussion responds to Pf., add in Bass Clarinet, and flutes to respond
E
a.fl.+b.fl.; vc+b.cl.
How to make bass clarinet as imitative of cello as possible?
Run through entire sketch!
20 mins: Dynamic experimentation based on materials
Performance Notes and Notation Information
An incredibly high level of intensity should be sustained throughout the course of the work; even in reduced passages of quiet/delicate material a tangible sense of overwhelming potential energy must be maintained!
Individual time brackets are guidelines for respective sections/actions.
The mensural notation alternates between time brackets and conventional division of bars into beats. In the time bracketed measures, the conductor should direct and orient the ensemble only as is required; allow these sections to unfold on their own with minimal intervention. The duration of the time brackets are often variable. Allow the measures to either contract or expand ad libitum, following the dynamic contours of the sonorous blossomings.
The unmeasured sections deal exclusively with unpredictable sounds that do not readily allow consistent reproduction. This is the crux of the matter: actively explore this inconsistency and revel in the unpredictable inner life of the material! For example, within given instructions (e.g. dynamic markings, duration, technique instructions etc.) explore micro-fluctuations in the material by slightly varying parameters of production (e.g. with bowed material slightly vary bow speed and pressure) allowing materials to respond dynamically and, to an extent, indeterminately. The notation of the work is simple and reduced so as to facilitate this exploratory spirit and playing style. The success of these sections is largely dependent on the degree to which individual players are willing to actively explore the given material.
Cello and Piano are lightly amplified with Schertler condenser pickup microphones (provided by the composer).
Ensemble Noteheads
Noise, no discernible pitch content; harsh
diffuse, mixture of pitch and noise
Complex multiphonic; unstable; groaning
Articulation
fast circular bow; always at frog; moaning
articulate in even circular fashion; at a comfortable speed
Winds
Mouthpiece/Leadpipe Positions
Perform action with mouth fully covering mouthpiece/leadpipe
Perform action with mouth over mouthpiece/leadpipe so that air goes both into the
instrument and across the mouthpiece/leadpipe. Find angle which maximizes intensity and
dynamic level. Always accompanied with phonetic material. Mouth should be extremely tense,
with teeth significantly contributing to sound production so as to ensure a biting, harsh timbre.
Inhale/Exhale
Assume Exhale unless otherwise noted; inhales and exhales should always be performed with extreme intensity: the mouth and teeth should be very tense so as to contribute to a very focused
sound
Inhale
Exhale
Piano Large rectangular stone/porcelain tile, glass bowl, 2 superball mallets, large v. soft bass drum mallet
The smooth edge of the large tile is drawn along wound strings in a diagonal fashion. Results in rich metallic distortion. Highly variable. Open strings may resonate. Vary pressure, speed and position for different qualities of distortion.
Spin large bowl on unwound strings. Find the location that speaks best, and stick with it. Results in high rich, blossoming partials. More stable than small bowl technique. Open strings should not resonate. Vary pressure, speed and position. Always very continuous
Draw two superball mallets, one over the other, along the wound string of the piano. A whale like groan should emerge. Be careful to manage resonance! Always explore by varying both speed and pressure within given restrictions
Percussion Vibraslap, bass drum, Large cymbal, Windgong, Stryrofoam and Cardboard, 2 superball mallets, 2 large very soft bass drum mallets, bow, cardboard box, styrofoam
Cardboard and styrofoam —Take care to always produce a high, harsh distortion. The distortion should hiss rather than “snore.” There should be absolutely no pitch content (e.g. groaning, squeaking)!
StringsBowing
flaut. —light bow pressure, variable speed (v. slow-ord), always explore multiphonics that may sound
ord.— normal bow pressure
o.p. (ord) —heavy pressure, no pitch; grip
o.p. (clicking) — irregular, individual pitchless clicks; grip bow in fist, at the frog, small circular bowing motion, as continuous as possible (shouldn’t be able to hear rearticulations!)
Position
s.t. — sul tasto
ord. — ordinario
s.p. — sul ponticello
m.s.p. — molto sul ponticello, extreme distortion
BB threading — bow on threading behind bridge on the given string. Always extremely harsh and pitchless.
Cello Scordatura
The C string should be tuned a minor seventh down, to D, so that when it is bowed it begins to stutter at a mezzo piano dynamic, and rattles at a forte dynamic. Always sounds animalistic.
Preparation
Cello is to be prepared with square paper clips in the following manner:
{
A
A
Sketch — Stefan Maier
q= 55
q= 55
with extreme precision, mechanical
Alto Flute
Bass Flute
Bass Clarinet
Bassoon
Horn in F
Percussion
Piano
Violin I
Violin II
Viola
Violoncello
44
44
44
44
44
44
44
44
44
44
44
44
54
54
54
54
54
54
54
54
54
54
54
54
44
44
44
44
44
44
44
44
44
44
44
44
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&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
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&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
/∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&∑ ∑ ∑
bow body (low)
ff
∑
shivering
bow body (high)
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> >
sff
> >
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>
&
bow body (low)
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bow body (high)
>
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>
sfmp
>
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ff sf
>
sff
bow body (high)
> >
>
B
bow body (low)
sf> sfmp
bow body (high)
>
bow body (low)
sf>
sfmp
bow body (high)
>
sf> sfmp
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sf> >
?
sf
bow side of bridge
> >sfmp
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9
B
B
tectonic, lumbering
q=50
q=50
A. Fl.
B. Fl.
B. Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
54
54
54
54
54
54
54
54
54
54
54
54
44
44
44
44
44
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54
54
54
54
54
54
54
54
54
54
54
54
44
44
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44
44
44
44
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44
44
44
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air 1/2 air
p
air
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p
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p
air
∑
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p
&∑ ∑ ∑ ∑ ∑ ∑ ∑
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AA
BD
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mp
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pp mp
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å
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smp
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ømf
A
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+bow body
unstable
flaut.s.p.
ppp sf
-
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&∑
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unstable
flaut.s.p.
ppp sf
-
3
B
ffsf
-
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- -
-
+bow body
unstable
flaut.s.p.
-
pp
-
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ord.
s.t.
≤
mp
ord.
≥
s.t.
≤
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ord.
≥
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flaut.
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p
ord.
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16
A. Fl.
B. Fl.
B. Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
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smf
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>
3
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o mf mf
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mf
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pressure
p mp
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mf
l.v.
A A
BD
WG
smf
- -3
-5 5
&
INSIDE
?∑
smf
>>
5
∑
sf
>>
3
smfcontrol resonance if
it gets too muddy!
A
å-
ø
&
f
-
5pp
flaut.
s.p.
mp
ord.flaut.
s.p.
p
&
f
-
5pp
flaut.
s.p.
mp
ord. flaut.
s.p.
p
B
bow body (low)
sf-
pp
flaut.ord. m.s.p.
ord.
mf
ord.
sp f
s.p. s.t.
flaut.
?
s.t.
≤
s.p.
fsp
ord.flaut.
mf
m.s.p.
ord.
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s.t.
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{
20
A. Fl.
B. Fl.
B. Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
&
SSS
mp
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smf
≤
>
&
R
≤
mpSH
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smf
>
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bis.
o mp
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mp
&∑ ∑ ∑
/
AA
mp mf
-
pressure
mp
55
&
INSIDE
?
A
å
mf
-ø
smf
> ø
A
å
mf
∑
&
sf
-
f
&
sf
-
f
B
m.s.p.
mp
ord.
mp
ord.
s.p.
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flaut.
mp
m.s.p. s.t.
ord.
≤
s.p.
mf
≥
s.t.
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{
23
C
C
q=60
q=60
A. Fl.
B. Fl.
B. Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
&
TSS
sf
>
3
mf
≤
SHHH
sff
>
sf
OOO
≤
>
sffSHHH
>
OOO
sp
≤
ff
>
&
CH
sf
>
≤
mp
CH
sf
>
≤
TCH
sf
>
sff
SSS
>
OOO
sf
≤
>
TCHA
sf
>
sffSSS
> >
&
mf sp f sf
>
≤
sf
>
≤
sf
>
≤
ff
>
?
mf f sf
>
≤
sf
>
≤
sf
>
≤
ff
>
&∑ ∑
MOUTH
PIECE OFF
≤
f sf
TCH
X
>
R
≤
TCH
X
>
R
≤
sf
TCH
X
>
R
≤
>
/
BD
WG
smf
- -3
AA
mp mf
-–
ff
Styrofoam
smf
> > >
smf
> > >
&
INSIDE INSIDE
∑ ∑ ∑ ∑
?
sf
--
3
A
ø
å
sp
control resonance if
it gets too muddy!
ååå
ø
sf
A
å
f
∑ ∑ ∑ ∑
&
-
3
f
"
sff
batt.
m.s.t
ric.
∑ ∑
detune IV
∑ ∑
>5
&
-
3
f
"
sff
batt.
m.s.t
ric.
∑ ∑
detune IV
∑ ∑
>5
B ∑
flaut.
s.p.
"
sff
batt.
m.s.t
ric.
∑ ∑
detune IV
∑ ∑
>5
?
sffp
m.s.p.s.t.
≥
>
≤
mf
s.p s.t.s.p.
"
sff
batt.
m.s.t
ric.
∑
attatch clip 1
∑ ∑ ∑
>
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r
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6
r
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≈ ‰ Œ
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5
{
D
D
EXPLORE! 32"
30
A. Fl.
B. Fl.
B. Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
&
OOO
sf
≤
>
OOO
≤
&
OOO
sf
≤
>OOO
≤
&
mouthpiece off
OOO
≤
?
Frog drum
mf
&
Frog drum
mf
/
BD
mp
2 superball mallets
mf
–
WG
ff
&∑
INSIDE
∑
?
°
mp
2 superball mallets
mf
ø
&
"
mp
v. slow, irregular
ord.
o.p. (clicking). at frog(change direction of bow as required)
&
"
mp
v. slow, irregular
ord.o.p. (clicking) at frog
(change direction of bow as required)
B
"
mp
ord.
o.p. (clicking) at frog
v. slow, irregular(change direction of bow as required)
?
"s.t. (clip)
p
s.p.
mp
s.t. (clip)
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{
28"
32
q=62
q=62
A. Fl.
B. Fl.
B. Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
54
54
54
54
54
54
54
54
54
54
54
54
44
44
44
44
44
44
44
44
44
44
44
44
&
SHH
sf
>OOO
≤F#
c
sff
j.w.
>
&
SHH
sf
>OOO
≤
&
SHH
X
sf>
mouthpiece on
f
?
f
Bassoon
∑
&
f
Horn
∑
/w
Large Cymal
f
WG
f
Large Cymal
f
WG
f
Cardboard
f
&
crytal bowl
f
Δ
tile
-KEYS
åå
åå
?
f*
∑
&
"
f
slow, irregular
sff
o.p. (ord)
ord.
m.s.p
>
&
f
slow, irregular
sff
o.p. (ord)
ord.
m.s.p
>
B
f
slow, irregular
sff
o.p. (ord)
ord.
m.s.p
>
?
¡
mf
s.p. s.t. (clip) s.p. s.t. (clip) s.p. s.t. (clip)
remove clip 1 (L.H.) BB threading
o.p.
sff
>
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j
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r
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w
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w
w
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{
E
E
vicious
34
A. Fl.
B. Fl.
B. Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
44
44
44
44
44
44
44
44
44
44
44
44
78
78
78
78
78
78
78
78
78
78
78
78
44
44
44
44
44
44
44
44
44
44
44
44
84
84
84
84
84
84
84
84
84
84
84
84
44
44
44
44
44
44
44
44
44
44
44
44
&
TCH
sff
>
ff
OOO
≤
ff
TCH
sff
>TCH
sff
>TCH
sp
>
≤
#
c
sff
j.w.
>OOO
W
≤
53
&
TCH
sff
CH CH CH TCH
> > > > >
TCH
sff
OOO
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sfmp
imitative of cello, add growling and flz ad lib.
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53
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BB threading
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f
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{
38
A. Fl.
B. Fl.
B. Cl.
Bsn.
Hn.
Perc.
Pno.
Vln. I
Vln. II
Vla.
Vc.
44
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#
c
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55
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TCH
sff
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sp
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c
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5 3 5
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sfmp
,
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sff
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L#
"seagull"
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r æææ
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r
)
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r
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r
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9
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