Steve Reich New York Counterpoint for clarinet and tape or clarinet ensemble Full Score Hendon Music Boosey & HawkesSTEVE REICH NEW YORK COUNTERPOINT for Clarinet and Tape or Clarinet Ensemble Commissioned by the Fromm Music Foundation for Richard Stolzman First performed January 20, 1986 at Avery Fisher Hall, New York, New York by Richard Stolzman First performance of the ensemble version on June 21, 1987 at the Florida State University School of Music, Tallahassee, Florida, under the direction of James Croft, Recorded in 1985 by Richard Stolzman on RCA 5944-1.RC, 5944.2-RC and 5944.4.RCNEW YORK COUNTERPOINT (1985) is a continuation of the ideas found in Ver- ‘mont Counterpoint (1982), where a soloist plays against a pre-recorded tape of him- or her: self. In New York Counterpoint the soloist pre-records ten clarinet and bass clarinet parts and then plays a final 11th part live against the tape, The compositional procedures include several that occur in my earlier music. The opening pulses ulti mately come from the opening of Music for 18 Musicians (1976). The use of inter- locking repeated melodic patterns played by multiples of the same instrument can be found in my earliest works, Piano Phase {for 2 pianos or 2 marimbas) and Violin Phase (for 4 violins), both from 1967. In the nature of the patterns, their combina. tion harmonically, and in the faster rate of change, the piece reflects my recent works, particularly Sextet (1985). New York Counterpoint is in three movements: fast, slow, fast, played one after the other without pause. The change of tempo is abrupt and in the simple relation of 4:2. The piece is in the meter 3/2 = 6/4 (=12/8). As is often the case when | write in this meter, there is an ambiguity between whether one hears measures of 3 groups of 4 eighth notes, or 4 groups of 3 eighth notes. In the last movement of New York Counterpoint the bass clarinets function to accent first one and then the other of these possibilities, while the upper clarinets essentially do not change. The effect, by change of accent, is to vary the perception of that which in fact is not changing. — Steve ReichNOTES ON PERFORMANCE When New York Counterpoint is pertormed with soloist and pre-recorded tape the soloist should be ampli fied so that his or her volume and timbre will fit properly with the tape. Basically the soloist should always be somewhat louder than the tape bUt not so loud thatthe relationship between soloist and tape i ost. An assistant who krows the proper balance between soloist and tape (either from hearing a propery balanced Drevious performance or reliable recording) should sit at the mixer in 2 good listening position in the hal, and adjust the volume of the soloist vis avis the tape as necessary throughout the performance. Though the Fental tape is stereo the soloist and the assistant may decide to play it back in mono inthe hall so that all ‘members of the audience get a good overall balance regardless of where they are sitting. In my experience, Using a well recorded cassette {with noise reduction) and 2 small portable professional quality cassette tecorder for playback works quite well te wise to Use 2 recorder that has a playback speed adjustment 10 ‘that the pitch of the tape can be slightly adjusted if necessary. Whatever the adjustment in speed made, it should be done in rehearsal and then not touched in performance. Generally, a monitor speaker (usually wedge shaped) should be placed on the floor directly next to the soloist s0'that he or she can hear the tape clearly throughout the performance. A sound check rehearsal is. necessary in each different hall to determine the tape/solost balance for the house, for the monitor, and {for the exact placement of house and monitor speakers. A performance diagram follows: -—— house speaker rouse lspeaker vc assistent IY a performer wishes to make their own pre-recorded tape they are encouraged to do s0, and will need to Fecord it in a multi-track tape studio. Generally, atleast 16 racks are necessary to allow for alternate takes during the recording sessions. The multi-track tape is then mixed down to a 2track stereo (or mono) tape for performance ~ Steve ReichINSTRUMENTATION Solo Clarinet Taped or live Clarinet Ensemble Clarinet 6 Clarinet 7 Clarinet 8 (doubles Bass Clarinet) Bass Clarinet 9 Bass Clarinet 10 Duration: ca. 11 minutes Performance tape* or parts are available from the Hendon MusiciBoosey & Hawkes Rental Library ‘see Notes on Peformance First printing 1989, United KingdomNEW YORK COUNTERPOINT J ca. 184 _ => unpre: Steve Reich Live C1 as Bas os ay Bos Gio All clarinets in BY Atl parts written in BP with fade iq vee bass clarinets sounding a major ninth lower: © Copyright 1986 by Hendon Mac fe Boones & Hawkes CompanyLive C1 fade in ———$— au az fade in = fade out fade in == ade out fade in = vee = 7 dt sempre fade — out fade in-<=Live c1 Boxe ceLire a.Live CL ot ca as Bass eofade ig = —————— ¢ fade igLive a, as as Base ch Bo a os aio ade utLive @. ar Bass as Bas ao Bae Gio fadein ——————————"— fLive CL Bas aio Fad a ont10 Live c1| ct a. as a cus Bas ray Bas Giooe sempre Live de 94 ————— af ar $34 i —<—<—$—<—— of x x compre: a2 = : fade out fade in ——$—_————— mf a3 = Fake out a = fade out cu tedein ———¢ eee = rh ass cio fade in —————__— ¢Live a3 aa Bos a Boss arto13, S sempre tne fade i. ——$—$— it a2 aa as ar Bos ah ao ao14 Live C1 on a a6 be i change to BCI. fade ont Bos ro) fade out Bass cioLive C os 4) «3)LY) oan 7 @2) 13} 2) Live a. a: aa os cus cu as ra Bus as on «2d Bass io 4% Fades in and out during vepaated bars last for duration of repeats.Live 6. asLive o. cu ar ass a Boss cio 20 3) (x2) 1920 23] (x2) YD 25] «3)Live CL as oT Bas ay ass ato (x2) ow) «2) 2ae 24. 2) 3K 1) 31 (x3) Live 0. 2 2) fade i) ——$——— ate in af 1) os ay tins aLive a, at aa ae or as tus ce os eo24 Live 01 kas Gioao ve ¢. a2 7 Bas ey Boss cio6 Live an oz as cus ar ay ss aio ————— ot fade it =27 Live a. ca ca as ot os tas ra) Bass cioLive G. tos ay tse eo24 Live an a2 aa oa ous ce aur cs Base a30 Live O, fade i —$<—<$—$— — a: aa as de ¢—<$—$—$—_—_———————— Bas cs fade i). —<<——$=$=<$ $< — —_——— bss Gio * ¥ fade §¢). —$<—$<—$—$—$=_$—$—at Uwe 0. an as as cus oe oss aioLae 6 at a Bos ayve G. 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