Minas Borboudakis_Z Metamorphosis_EP14626_Score_ISUU Version - For perusal only

Peters Contemporary Library

BORBOUDAKIS

Z metamorphosis for Orchestra Score

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ISUU Version

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MINAS BORBOUDAKIS

POD PETERS on demand for Orchestra (2021) Z

ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED

EDITION PETERS

LEIP ZI G · L ONDO N · NE W YOR K

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ISUU Version

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Commissioned by Mozarteum Orchester Salzburg & Junge Deutsche Philharmonie funded by the the Ernst von Siemens Music Foundation

First performance:

16 January 2022, Grosses Festspielhaus, Salzburg

Mozarteumorchester Salzburg

Constantinos Carydis (conductor)

First German performance:

28 March 2023, Philharmonie, Berlin

Junge Deutsche Philharmonie

Jonathan Nott (conductor)

INSTRUMENTS

3

4

2 Trombones

Bass Trombone

Timpani

large cymbal, wooden board, china bowls

Percussion I crotales, 3 horizontally sustained metallic rods in b, c, d, tam tam, glockenspiel, amboss in c + , china bowl in c +

Percussion II

vibraphone (with Perc. III), cymbals (pair), small nicophone, 6 tom toms

Percussion III

china bowl in c + , stand tom, bass drum, water bowl, china cymbal, plattenglocken, 1–2 metallic spirals bound on 1–2 rototoms, sustained metallic spiral, vibraphone (with Perc. II)

Electric Guitar

Piano / Sampler

Violin I

Violin II

Viola

Violoncello

Double Bass

Duration: c. 22 minutes

ISUU Version

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initiated by and dedicated in deep friendship to maestro Constantinos Carydis

ISUU Version

LEGENDE

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

RHYTHMIC STRUCTURE OF SORDINO PLAYING

RHYTHMIC STRUCTURE OF VIBRATO

COVER THE ENTIRE EMBOUCHURE HOLE WITH YOUR LIPS AND PRODUCE THE GIVEN VOWELS

a) NORMAL TONE

b) 50% TONE- 50% NOISE/ AIR

c) 100% NOISE/ AIR 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

MELODIC LINES: PLAY WITH 25% BOW AND FINGER PRESSURE.

LONG NOTES: PLACE THE BOW NEXT TO THE FINGER OF YOUR LEFT HAND AND PLAY THE TONE PRACTICLY WITHOUT BOW PRESSURE (JUST LET THE WEIGHT OF THE BOW ON THE STRING). THE LEFT HAND SHOULD TOUCH (NOT PUSH) THE GIVEN NOTE WITH HALF- PRESSURE. THE RESULT IS AN AIRY SOUND WITH 50% BOWING NOISE 50% TONE

MUTE ALL FOUR STRINGS AND PLACE THE BOW ON THE BRIDGE OR AT THE SIDE OF THE BRIDGE (NOT SUL PONT.!!), AS INDICATED. KEEP BOWING IN ORDER TO PRODUCE A CONTINUOUS "WHITE NOISE".

NOISE CLEF: HIGH, MIDDLE, LOW

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

Æ GRADUAL OPENING/ STOPPING OF MUTES

STRINGS:

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/ SOUND TO THE NEXT MUTE ALL STRINGS!

b.p. BOW PRESSURE

100 = NOISE

75= PITCH/ NOISE

50= ORDINARIO

25= FLAUTANDO (BOW FLAUTANDO)

PERCUSSION: POSITION OF BEATER ON THE INSTRUMENT

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.

6 6 œæŒ

6 ‚

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6 6 ∑ ∑ œ æŒ ≈ œ æ œ æ œ æ œ æ

æ œ æ œ æ œ æ œ æœæ œ æ œ æ

6 6 ‚ ≈ ‰Œ‚‚‚‚‚‚‚‚‚ ‚ ‚ ‚

6 6

æŒ

66 66

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Œ‰œœœœœœœœ

6 6 6 6 66

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55

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55

≈ ‰ŒÓ

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Œ œœœœœœ ‰Œ?

Œ œœœœœœ‰Œ Œ œœœœœœ‰Œ Œœœœœœœ‰ œ Œœœœœœœ‰ œ œJœœ œ

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ISUU Version

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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