Music Painted from Memory

For Violin and ‘Cello

Lisa R. Coons

Performance Notes

!

Movement I

Movement I is a portrait of the landscape of the Midwest. The opening is an attempt to represent the physical landscape, but this gradually evolves into an emotional portrait of an artist trying to depict something too close to them, something thattraps them. Very little of this movement is about the actual pitches (though, like all three movements, it is based on material from Baptists hymns), but it’s about submerging the audience in an aural experience—a representation of a place, and a hintat the emotional baggage of "home."

"Wind" gestures - moaning, flat bow gestures intended to depict the sound of strong winds against buildings before a storm. All glisses, but irregular, wobbling and unstable (never smooth, straight lines). Pitch is very fluid, and movement higher in register is linked to louder dynamics (like wind). In these gestures, performers always play double stops when possible, (when the notated music moves below d string in violin, simply play one note until the arc of that gesture rises above the open string pitch). Gestures start on unison double stops (notated as white notehead) and as they move higher, the pitches move gradually further apart, before returning again to a unison. They should be mostly hiss/white noise with just a bit of pitch.

Noteheads without stems in sections of improvisation (like "wind" gestures) - white noteheads represent points of alignment (both pitches the same), but solid noteheads merely indicate a suggested boundary for the gesture. The gesture is always more important than the notated pitches, so performers should feel free to take liberties with pitch as they see fit. Suggesteddymanic ranges provided.

" ##$ "

!

“Muted pizz” means that the strings are muted and very quick, irregular plucking is done with the right hand. The result shouldbe a dry, percussive texture rather than asuccession of notes.

"Non-muted pizz” often come from these gestures, these are gradual transitions to more resonant material that animate the texture and help transition to other sound palettes.

muted pizz

15"

"Muted strikes" are percussive bow strikes that are intended to represent the rattle of tree limbs, a very dry sound, mostly about percussion.

!

Noteheads without stems, alone and marked with timings, are meant to be moments of relative stability, but pitch should still wobble slightly and should still be the result of double stops (double stops that are rarely perfectly in tune).

"3"

Noteheads without stems, alone and marked with timings and accents above them are intended to be performed similarly, with double stops barely fluctuating around given tone, but with erratic accents that actually lift the bow from the string—more extreme.

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!

Higher timings, in bold, act as rehearsal numbers or markers to show relative time. These are cumulative and apply to bothperformers.

Timings for individual sections and gestures are given above brackets. Theseare for the individual player.

"5"

3:00

Sections with parenthetical notes indicate that the player should improvise gliss gestures freely, but occasionally (and erratically) come back to accent these pitches. Bow should never be lifted, but these accents should feel more like exaggerated dynamic surges.

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!

Dotted vertical lines between parts indicate that it is very important to exactly align both instruments at this point.

Sections that say "expansion" or "collapse" indicate that unpredictable gliss gestures should continue, but that double stops should gradually move outward toward indicated limits (the solid noteheads) or inward toward arrival/alignment pitches (indicated by white noteheads). Expansion or collapse should take the entire bracket of time.

p/mp

"#Dynamics are primarily giving in ranges (p/mp) meaning that agiven phrase/section should have dyamic fluctuations between the two given markings.

(slow expansion)8"

$# $# $%$# (collapse)

2"

"#

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Arrows from boundary pitches to arrival pitchesindicate that the move from wherever the performer is to that arrival pitch should be directional—a single, directional gliss. This is a development of the more gradual “collapse” gesture.

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3"

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Like the wind gestures, anything marked with “charcoals” (starting after 3:20) should be unstable pitch, fluctuating around the white notehead and rearticulating the parenthetical notes. But this gesture is loud, in a piercing, ordinario tone. The gestures should move very little (moving in ! tones) and should be primarily composed of stable non-vibrato tones, but interjected with moments of much louder, wildly unpredictable and exaggerated/unstable vibrato. This section is about the frustration of sketching something too close to oneself. Aggressive dynamic surges - watch one another, this is like a dance where you push each other with dynamic bursts.

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These gestures, or sections asking for “scratch/strikes,” should be fast percussive gestures, like the opening “strikes,” but louder, more aggressive and with just a bit of scratch tone (so slightly longer on the string).

Hiss/whisper circles – these are rhythmic steady circles of bow noise—all hiss and white noise, and very steady, like a record at the end of its groove. At the end of the movement, this sound is interspersed with pitches. The pitches should come from, and dissipate into, these quiet rhythmic gestures. Pitches should never be quite clean, they should always have some of this hiss, but they should be warm tones, with rich vibrato.

!!!

!!!

A "trem/trill" gesture is an added moment of instability. At player's discretion, the given note is very briefly tremolo-ed and trilled (almost with a " scratch tone) - very loud, very violent. As many times in the section as player feels is appropriate.

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!

2

!

Movement II

Movement II is a portrait of the industrial side of the same Midwest environment. It is about mechanical failure, so many of the gestures are almost too fast to accomplish and should feel rushed, becoming an anthropomorphic depiction of aging machinery beginning to slip and give way.

These gestures should be muted to the point of being dry, brittle sounds. They are very fast, repeated gestures, and can perhaps be more easily strummed than plucked.

pizz (muted)

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!pizz (muted)

Dashed arrows indicate a gradual change between techniquesor timbres over time.

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Movement II ends with "breath sounds" in 'cello, this is all white noise/hiss and resultsfrom alternating shorter/faster/louder strokes(inhales) and longer/slower/quieter strokes(exhales)"" "" ""

3 3 3 3 3

!

Movement III

Movement three is a quiet epilogue. It is nostalgic, depicting Baptist church music, warped by time/memory. It is meant to be beautiful, and always delicate, even if that beauty is unconventional.

Players should move at will from almost straight toneto irregular/unstable vibrato (like old women singing in church),but always with a very warm tone, and always blending (though not matching one another's vibrato episodes).

3

I. Still Life in Charcoal

Violin

Violoncello

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"

!

a landscape, rolling hills and high grasseswind and approaching storms

high reg. muted pizz + isolated muted strikes + occasionally non-muted pizz (sparingly)

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28"

:20

"wind

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muted strikes - branches moving in the wind

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muted pizz transitioning to non-muted and back

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1:10

muted pizz, gradually interject increasing numbers of muted bow rattles, shoulb be almost indiscernible from muted pizz + occasional non-muted strikesp/mp

12"

1:20

p/mp

muted bow rattles, interject occasional short gliss tones (reminiscent of wind)growing quickly higher in register

10"

1:30

"move bow nearer bridge

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bow near bridge (in and outof sul pont tone)

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transition gradually to all gliss tones, all double stops, fluid

13"

1:40

improv gliss gestures, lovely/delicate. all double stops

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1:50

10"

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2:00

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improvising unstable, wind-like pitches, but no longer waves. growing more erratic, double stops further apart moving higher in register, still w/ occasional muted strikes).

18"

!improv gliss gestures, lovely/delicate. all double stops

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standard notation section: glisses should accelerate within each gesture, more of an exponential arc than a steady line, but taking the full duration of the note to complete. arrows mean immediate collapse to arrival pitch, more violent

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aggressive dynamic surges. watch one another, this is like a dance where you push each other with swells of sound.

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w/ occasional scratch/strikes

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begin moving by larger intervals, add short bursts of loud trill/trem gestures and more scratch/strikes as you gradually build to solo

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3:50

solo mostly scratch/strikes and loud trill/trems, coming directlyfrom preceding material. startviolently/erratically and transition to quieter, rhythmicscratch/strikes

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same form of improvisation, but start incorporating occasional rising gliss lines (more directional and sustained than earlier)

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growing more fluid/improvisatory. begin incorporating occasional rising gliss lines (more directionaland sustained than earlier) add scratch/strikes and bow rattles against strings, but no trill/trems here

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12"

4:10

(growing more fluid/improvisatory. w/ occasional rising glisses. add scratch/strikes and bow rattles against strings, but no trill/trems here#

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4

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! improv, keep adding more rising line glissandi (each of which should now start aggressively, with a scratch/strike). plus isolated bow rattles and small groups of low reg. scratch/strikes

mp/mf

7"

4:20

mf/f

combinations of groups of rising glisses (each starting w/scratch/strike, but building on one another to go higherand higher), groups of low reg scratch/strikes, and trill/trem gestures. growing more insistent

8"

4:30

" improv, keep adding more rising line glissandi (each of which should now start aggressively, with a scratch/strike). plus isolated bow rattles and small groups of low reg. scratch/strikes

mp/mf

7"

mf/f

combinations of groups of rising glisses (each starting w/scratch/strike, but building on one another to go higherand higher), groups of low reg scratch/strikes, and trill/trem gestures. growing more insistent

8"

!

"

! same improv of rising glisses, scratch/strikes and trill/trem, but growing always more violent, more frantic. watch one another and try to align, like an awkward dance, or a fight. groups of glisses should feel more frantic, growing shorter and faster over time. scratch/strike and trill/trem episodes should feel like frustrated eruptions.

f/ff

4:40

20"

4:50

continue improv, moving to all rising glisses,always more violent and out of control. as you move higher, transition to fast, erratic bow noise (as though you push the instrumentas far as it will go and it fails--it ceases to beable to speak (not aligned)

mf/ff

15"

5:00

" same improv of rising glisses, scratch/strikes and trill/trem, but growing always more violent, more frantic. watch one another and try to align, like an awkward dance, or a fight. groups of glisses should feel more frantic, growing shorter and faster over time. scratch/strike and trill/trem episodes should feel like frustrated eruptions.f/ff

20"

continue improv, moving to all rising glisses(each with scratch/strike or trill/trem beginnings). but grow always louder. even though the linesgliss up, the starting points should move lower in register--the sound becoming heavier, slower, and more labored. (not aligned)

f/ff

15"

!

"

! gradually transition from erratic bow noiseto regular hiss/whisper circles

p

10"

5:10

pitches come from, and dissipate back into hiss/whisper circles durations determined by performer. circles regular, pitch dur not.

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5:20

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5:30

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5:40

35"

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5:50

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slowing, as though out of energy, and growingmore quiet. start making glisses less even,let them hover and hold on specific pitches,becoming always more breathy and movingtoward the next gesture

10"

adding silences. gradually transition to all wind gestures, as from the opening. but unlike opening, these wind gestures start to combine irregular glisses with rhythmic bow (hiss/whisper) circles. align with vln

20"

all hiss/whisper circles. align w/vln

15"

5

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(circles and pitches slowing)

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single pitch slowlybeing repeated inthe circles, like a scratched recordfading to all hiss

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10"

&like vln, start adding pitches to the circles, but keep circles in alignment with vln. pitches should overlap with vln, but try to keep general phrases in tact (as indicated by dotted slurs and dashed lines). circles always in alignment between players. watchone another for cues to align cirles and keep pitches in order. this is an exchange, a final dance

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q = 130

II. Machines with Human Gears

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Violoncello

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$hold momentarily, then change music for both of you while vc continues breath gesture. begin next movementas vc fades out breath sounds*

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