Minas Borboudakis_Z - 4383_EP14315_Score_ISUU Version - For perusal only

BORBOUDAKIS

Z-4383 for Large Ensemble Score

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ISUU Version

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MINAS BORBOUDAKIS

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ISUU Version

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Dedicated to Vangelis Hatziyannidis and Vassilis Vassilikos for their precious words

Commissioned by the Symphonieorchester des Bayerischen Rundfunks with the kind support of the Freunde des Symphonieorchesters des Bayerischen Rundfunks e.V.

First performance:

20 July 2018, Bayerischer Rundfunk – Studio 1, Munich

Akademie des Symphonieorchesters des BR, conducted by Daniel Carter

pno. [ampl.]

ISUU Version

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INSTRUMENTS

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LEGENDE

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& & & & & & & ? & & & ˙ R Ô R Ô R Ô R Ô R Ô R Ô R Ô R Ô R Ô 5 5 ˙ x · ¿ œ h ¿ ¿

a b c

wbw jK ww µ w#w ˜ w 1/4 1/4 1/4 1/4 1/4 1/4 1/4 on the bridge

œ

MICROTONES

WAVE VIBRATO: MAKE AN OSCILLATING VIBRATO (WAH-WAH) ON THE GIVEN PITCHES

ACCORDING TO THE RHYTHM ABOVE. THE AMPLITUDE SHOULD BE ONE QUARTER NOTE LOWER OR HIGHER THAN THE MAIN PITCH

PLAY THE SAME PITCH WITH TWO DIFFERENT FINGERINGS (BISSBIGLIANDO) ON THE GIVEN RHYTHM

MUTE ALL FOUR STRINGS AND PLACE THE BOW ON THE BRIDGE (NOT SUL PONT.!!).

KEEP BOWING IN ORDER TO PRODUCE A CONTINUOUS "WHITE NOISE".

MINIMAL, IRREGULAR MOVEMENT OF THE PITCH (1/4 OF TONE HIGHER OR LOWER)

PLAY A CONSTANT AIR SOUND WITH SMALL IRREGULAR INTERRUPTIONS

a) NORMAL TONE

b) 50% TONE- 50% NOISE

c) 100% NOISE.

STRINGS: THE PLACE WHERE THE SOUND IS TO BE PRODUCED IS INDICATED.

IF NOT THEN IT SHOULD BE PRODUCED WITH BOW PRESSURE

GLISSANDO OVER FOUR QUARTERS. ONLY THE BEGINNING PITCH IS IMPORTANT

APPROXIMATE PITCH

EXTREMELY HIGH RANDOM HARMONICS

GRADUAL DEVELOPMENT OF (CHROMATIC) CLUSTER. HIGHER AND LOWER PITCH ARE IMPORTANT

BRASS: MOUTHPIECE UPSIDE DOWN. PLACE THE MOUTHPIECE UPSIDE DOWN INTO THE TUBE OF THE INSTRUMENT AND BLOW IN ORDER TO PRODUCE A SHARP WHITE NOISE.

s.t. SUL TASTO

n.p. NORMAL POSITION

s.p. SUL PONTICELLO- ALWAYS RICH IN HARMONICS

dist. DISTORTION- MAINLY A NOISY SOUND WITH A LITTLE PITCH

Æ MOVE GRADUALLY FROM ONE BOW POSITION TO THE NEXT MUTE

m.v. MOLTO VIBRATO (FREE)

c.l.b. COL LEGNO BATTUTO

b.p. BOW PRESSURE

100 = NOISE

75= PITCH/ NOISE

50= ORDINARIO

25= FLAUTANDO (BOW FLAUTANDO)

OFFICE CLIP SORDINO: PLACE A METALLIC OFFICE CLIP ON THE GIVEN STRING NEXT TO THE BRIDGE

BREATHING: IN PASSAGES WITH LONG NOTES, BREATH AD. LIB. ALWAYS ENTER IMPERCEPTIBLY. THE SCORE IS WRITTEN IN C. PICCOLO FLUTE, GLOCKENSPIEL & DOUBLE BASS SOUND 8va HIGHER/ LOWER.

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ISUU Version

ISUU Version

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ISUU Version

For perusal only

Minas Borboudakis

Minas Borboudakis (b. 1974) studied composition and piano in Munich and Hamburg. He attended masterclasses with Luciano Berio, George Crumb, Wolfgang Rihm, Rudolf Kehrer and Aleksey Nasedkin, and regularly appears as a pianist all over Europe, performing his own music and other repertoire of the 20th and 21st centuries. His style is characterized by microtonality, percussive timbres and glissando sounds, and explores the inspiration he derives from ideas of time and space as well as from a close study of classical philosophy, literature and mythology. His work also reflects a contemplation of scientific and cosmological questions. With its strong rhythmic momentum, his music incorporates archaic tonal systems and ancient Greek rhythmic patterns, as well as experimental electronic sounds. These, in turn, have an immediate impact on the treatment of the acoustic material, resulting in an interweaving of the two.

Minas Borboudakis (*1974) studierte in München und Hamburg Komposition und Klavier. Er besuchte Meisterklassen bei Luciano Berio, George Crumb, Wolfgang Rihm, Rudolf Kehrer und Aleksej Nasedkin und konzertiert europaweit als Pianist sowohl mit eigenen als auch mit anderen Werken des 20. und 21. Jahrhunderts. Zentrale Momente seiner von Mikrotonalität, perkussiven Timbres und glissandierenden Klängen durchzogenen Kompositionen sind die Beschäftigung mit Zeit und Raum und die Auseinandersetzung mit antiker Philosophie, Literatur und Mythologie sowie mit naturwissenschaftlichkosmologischen Fragen. Die Einbeziehung antiker Tonsystem und altgriechischer rhythmischer Muster prägen seine einem starken rhythmischen Impuls unterworfene Musik ebenso wie das Experimentieren mit elektronischen Klängen, ihr unmittelbarer Einfluss auf die Gestaltung des akustischen Materials und die Verschmelzung der beiden klanglichen Ebenen.

Photo © Marianna Karali