for MEME – the Monash Electronic Music Ensemble – 2019 [and beyond]

ice formations
for live electronics
in four movements

instructional text-scores
indeterminate formations

I. clouds of ice
II. black ice
III. hailstorm
IV. formatées

SEAN X. QUINN [born 2000]

NOTES FROM THE COMPOSER:
‘ice formations’, a four-part electronic poem explores the different forms of ice; the natural, figurative, violent
and created. It is a work that requires ensemble interconnection and the ability to think beyond a single sound.

The opening movement – clouds of ice – is an atmospheric textural work, focusing on the entire ensemnble creating a
micropolyphonic density that allure to ‘a hovering iceberg’. This imagery should take influence from the work
Atmosphères by György Ligeti, in the sense that a massive combination of reverberating sounds can sound like a dense
wall of sound – but in this sense more transparent, like a cloud.

The second movement calls on a harsher, more direct set of sounds. The ensemble shouldn’t create a cluttered mess of
attacks, but instead random and polarising stabs that echo through the acoustic [and their own effects]. However, amid
this clattering, a true sparsity should be achieved. Allow the acoustics to do the work. There should be no underlying
drone. Allow the silence to encase the work. This should be approach with a great suddenness and shuddering force.

The third combines the ideas of the opening two, this time breaking the ensemble in half. The aim is to envisage a
literal ‘hailstorm’ in the acoustic, with the atmos section employing the rumbling winds surrounding the distortion
section who approach with vigorous and violent jabs. The shape of the piece should be of a very long crescendo followed
by an “equally” long diminuendo. There should be a great deal of silence at the end of this piece.

‘formatées’is the only piece out of the four that is considered a drone – being subtitled a ‘dronicon’. The
divide into four allows for the four sections to be realised clearly, with the opening being humming drones, followed
by development of feedback and modulated distortions. The third opens into a more atmospheric collection above the
drone, before leading to the entire ensemble at four, using the clatter of continuous sounds to break up the drone.

The work should be performed in a large reasonant space, with speakers positioned around the audience to ensure maximum
coverage. It should take no longer than around 30 minutes to perform. Timing, aside from II, can be manipulated. The
space should also be dark, only the performers illuminated.
 I. clouds of ice (a hovering iceberg) – in memoriam György Ligeti
ensemble – full

Create a dense, hovering texture.

Mostly lower pitches.
Avoid higher frequencies.
Do not drone.
Atmospheric micropolyphony.
Create a sense of glacial movement.

A sense of fragility – granulated.

Begin subtly, grow in your own time.
Do not become deafening.

Listen to the sounds around you.

Develop as an ensemble.
Not as an individual.
Contemplate the acoustic.
Eventually peter out.
In your own time.
In the ensemble’s time.

Play for no longer than 5-6 minutes.

It should be unconducted.

3/04/19

[attacca]
 II. black ice (shards and fragments)
ensemble – full

Begin after an inhaled breath cue.

Sharp echoed sounds.
Warp them throughout.
Ensure they are loud.
Almost deafening.
Allow them to reverberate
according to the acoustic.

Embrace the sounds around you.

Create a sort of sparseness.
Do not play at the same time
as those around you.

One pitch/sound at a time.

Wait at least 4 seconds before
playing again.
End at 5 minutes exactly.
Cut all reverb.
Stillness for about 15 seconds.

It should be unconducted, but

a leader may be given to end
and begin the piece.

3/04/19
[attacca]
 III. hailstorm (dense cluster of sonic disturbance)
two large sections – atmos and distortion

Section one [atmos] begins.

Dense and subtly distorted.
Not quite atmospheric.
Extremely micropolyphonic.
No drone allowed.
Play constant sounds.

Section two [distortion] begins.

Far-off to begin.
Sharp distortions.
Clattering, glitching.
Emerge from section one’s
soundscape.

Play for around 8 minutes.

Sections may begin at any stage.
Section two should begin
on an inhaled breath cue.
Unconducted.

3/04/19
[attacca]
 IV. formatées (dronicon)

ensemble – in four sections

Section one begins.

Very, very soft.
Extremely low and droning.
Minimal feedback allowed.

Section two begins.

Add to the drone.
More and more distorted.

Section three begins.

Gradually morph into modulations.
Faster and more cluttered texture.
Micropolyphonic insertions.

Section four begins.

A crash of violent stabs.
Play every 5 seconds.
Different for every player.

Play for no more than 10 minutes.

Can be conducted or unconducted.

3/04/19
[fin]