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    10 views14 pages

    Ítaca Viaje para Un Flautista

    Uploaded by

    David Miranda

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    itaca, viaje para un flautista nine pieces for solo flute (2012) wilfrido terrazas PROGRAM NOTE ltaca, viaje para un flautista is a collection of nine pieces fora flutist. Four of them are written for flute in C, one for piccolo, two for ato flute and two for bass flute. The overall duration of the nine pieces is around 30 minutes. | gave the World premiere at the lonion Center for the Arts and Culture, in Metaxata, Kefalonia, Greece, in a concert held August 21%, 2012. This work was inspired by my readings of Homer, particularly of The Odissey, but also by the work of many other Greek artists from different eras, such as Kavatis’ postry, Angelopoulos’ fms and {as most of my works) by Xenakis’ music. Itaca, viaje para un flautista was written during a residency at the lonion Center for the Arts and Culture, during the summer of 2012. | carried out this residency thanks to a grant from an artistic residency program supported by wo Mexican institutions: Fondo Nacional para la Cultura y las Artes (FONCA) and Consejo Nacional de Ciencia y Tecnologia (CONACYT). To all three institutions | express hereby my deepest gratitude and recognition. REMARKS, ‘taea, viaje para un flautista is an exploration in composition-improvisation for a soloist. It features ideas which | have been exploring as an improviser for some time, and which now | am trying to implement in my written music. The score functions as a platform for improvisation, giving the performer guidelines from Which he or she can build upon. The following are some of the ideas that can be found in the score: Growth modules. In this work, | propose a type of improvisation “mechanism of sorts, which | have named growth modules, Certain musical material constitutes such modules, which the performer can use as a point of departure or platform for improvisation, in free and creative ways. When playing from growth modules, try to develop a certain level of activity which creates a particular sound world, Do not repeat things exaclly. Instead, work on repetition-evolution, You can choose not to repeat anything, of course, but maybe that would narrow your options too much, The order in which information appears inside a growth module is only a suggestion, and therefore it can be changed at wil, but Keep in mind that, asin most of my music, shapes are very important, even if precise pitches are not. Follow the suggestions for each piece, as rigorous or as loose as they may seem, Mobile temporality. Some of the pieces have suggested (and flexible) durations in minutes and seconds, and one of them (VI) is written with a metronome marking, ‘The other ones, though, use what | call mobile temporally. This means that the player should look, during practice or actual performance, for the temporality that he or she finds most at ease with. The idea isto find a temporality which comes naturally for each performer, as ihe or she were trying to find a hidden oral tradition. The proportionalty ofthe notation can help as a guide, but itis not meant to be an unbendable rule. See also the score to my ensemble piece Retrato de Walter Lérmer. Finger motion. | propose two types of finger motion in this work: discontinuous (normal) and continuous (glissando-tke). The difference and contrast between the ‘wo should be clearly noticeable and create an inner struggle, particularly in the pieces for piccolo and alto flute. For further details about this idea, please read my article "Xenakis’ Wind Glissandi Writing’, in Sharon Kanach (ed.) Performing Xenakis. New York: Pendragon Press, 2010, pp. 25-52 Fluctuation arrows. Whenever a double headed arrow appears, fluctuate itregulatty andlor freely between the two indicated poles. (All horizontal, one- headed arrows indicate gradual transitions) The pieces: All nine pieces can be played as independent works or in smaller sets If desired ‘They can be performed in any order chosen by the performer, except for |, which ‘must always be either the first piece, the last, or both, |, Exordio (Epilogo) 4'ca For John Fonville IL Calipso (Ausencia) 3'ca, For Nuria Manzur Il, Nadie (Odise0) 3'ca. For Roscoe Mitchell IV. Nausicaa (Mar) 2'ca, For Naybi Esparza V. Circe (Niebla) 4a. For PL, VI. Escudo (Torre) 4'30! ca. For Yair Lépez VI. Escila (Caribdis) 2'ca, For Dario Bemal Vill. Eoto (Proteo) 6'ca, For Alvaro Diaz IX, Hades (Tiresias) 2'ca, For Ramén de! Buey IX. Exordio (Epilogo)] NOTATION SYMBOLS Q (Q) bisb air gliss fz Circular breathing strongly suggested Circular breathing should be the basic form of breathing Whistle tones. Bisbigliando A quarter-tone higher A quarter-tone lower Complex muitiphonic, 3 or 4 pitches, noticeable beating ‘Simple muitiphonic, 2 pitches, clear and close interval Air (Aeolian) sounds Glissandi, always as continuous as possible Flatterzunge w+ TR LR fee] ferns far, close eringht «tc, He O° ‘Short pause andlor breath Pizzicato (tongue plus lips) plus key click Tongue ram Lion's roar Cover blowhole with mouth in order to blow inside the pipe Ordinary embouchure position Flute distance in relation to lips, air sound aways clear Move the flute position in these directions to affect sound Harmonies cluster Air sound “ordinario" (In Vil) Combined air plus ordinary flute sound (In Vil) ‘Ordinario flute sound (In Vil) la lira que tocaba la musica del viento ya no existe, sélo existe el viento, el viento que va y viene por las ruinas y no vemos Homero Aridjis, E/ poema del ya no existe, 2010 \uhe Qn oa Bl ufsord f PX prone rh vie TE xoedio (Epiloge) $o- Sahn Fonville BANSITion “To. TOSTaN Cow Ford —— Sor + ee (cama (erase) re @ HAE Ten Te Aways ME haw Toe orrener BLE ov Gee aia eee area ~If played so TE. play wthe cewese order C-B-A Gore plyed os ET eo. Nuria Menai Fuge Menon PREDOMINARTLY TL. Calipso (Ausoncia) pa Alc lihe Neeru yr nO — "QUASI Gulscawne ™ ALuAgs VARY FINGER MOTION SPEED (BEGIN sowsy) [Ab dvesdions 20" /'40 ————————— A BIT FasTeR THav [A) PLD peep dae pe Fe almpoonse quasi lala with COMBE GANTINVGUS AND Discontinuous FINGER Maton THeangHDIT flece ~¢ DO TT Nadie (diseo) poem Pascoe Hitehral| sien, My ees Be = - 2 - oti Spel - = =a - a = Sa pel er Fl] race stovel tills —y =A) sections function is ymabile. 55 Gowlh Melulee , but fumpocalitg and Kopaleve o op — Mabel Gram sect fice, ool iduchongble, SF ea eit pi freer meter tieclan Figo vedio Gluhyr fast oad aeive v exact cepetifions, build om cepetition-evelution ~Tetal ducaton i at leoot 2? . = Change registers conctadly and evaticaly —Aveld iecale TW. Navst pace Nasi Espacre RO" eeouse wit wt __ nig aTAcs ap Lia (No ‘vctesaiption ) Sige rar awe —— ¥ Ha (Fngee Psiart eat esis ponlcsstail ious 8) Ee = = Po Nhe tpg z Seer Fetes cfen eT feat ir ¥ ree PRPS rnp |) Them cane 3 ice) bey te oe : Dentin) 45 0, Weictesrvetion) Wed) a . 2 Ce) sbeeidbegl lin acento 8c e = Secon (S| fonclons sa Growth Module» ee a Tie wikis guts timefenme ae then @ Bass flute, Baie (Niel) ab fora ies RANSITION To b (No iterqurtion) Las aa & TE ALWAYS SVSTAW LOW EB Soe ees (p) 5) ae = : he Heeler a7 Gowth Melle a : 3 = eee = Shoot pause Then (© HS? Dovbla hemmanies 2 fitien adi gees Modale . == aS SSE agihala_Devble-hrermenier(aied-octnw 7 ore = \ = — Temperate eesti e bok aise nt lla Duredione + (5) shoul) be tha shovtert section [Cl should be the longest section. At least 2°) thee (Q—) She Bow = 20MM cn, (Always Herible) Bie mecca Glocse.) pace Ysin Lopez gli) gh— ach eh Ppt h a tay yf chad de ah A } com en cece eee Gren Grtse) 7 “subg ch SPOMEVIHAT FASTER, a ee) is 6) # + Ord ———Shommenies son > 3 Sf. sfe~ ee "act peta gprtectneeyeglcledechnpa deta —— 1 = Boe Ni i = sh Re (a 1 flsewonie Cluster @ a VERY UNSTABLE 400d “Alla. Yair Lépez”, aLways suoWg, aa pact, tthe AE Oe EH ge le = =a Sapepeet =—— ~ i 1 Som fp \etienets ans ond dynemrics [Bl functions ase Growth Module, se tha BOE Ady walle plceeslding curds. 430” FIngee meron Atte flute & PReDomwnvanTiy Discontinuous ( al 5 a MIL. Essile (Geiblis) pro Pate Bernal Te——-of F487 TR 9 TERS FAST, MasTLy CHROMATIC. FLURRIGS , BUT ALWAYS IRREGULAR : = 5 ash Stans Sree ae ee, FH be Qin) _Glorinad ore Bs oe = Sy 5S a= oe ae = igi er, CMTS . a pe . ee ORT ee fey JER IER Ett ote S 5 See ee xe = ‘ jose: ere i Wile i see a is yey on = ss - Ft ALMasT DeveloPing PATTERNS (BOT NeT gure!) a i 5 Fis = iz am = we Te aT ig ¥ Haemonies CursTere (sff2) DUrsranits Lass FAT > i =a Sb pp nen cere ~All sections Gundbion as Growth a heal is occuadlable, betvieen A ond [Q) = Tapia — (Mt leash 2? en!) © teen. Bast flee Ceronsneis sow ,panien rangromames] WITT. Fale (Proteo) re Ale Dine [aybesomes Sor close dor Relet& ——> fone —p oft eft oe ight/up a enher| down ae : = =a eee 7 = Sree ae —O— © —> OC —— f~ close —> ord downer yp 3 be 4. SSS Se —— = E] He for z SS feadon rik > © —adese ——e for plese == = : = a pee 3 ee Se * 4 Seed Sgt lop cee left downs — resins ee © ee 4 " close af i Et masing (Slowly) sob lest vp a aes Se os eS Se ees | JE Hhay 0 —> cs + bre Pn 9 cern den —> Ow) —2 OF —— i eo ee See SGU sb RRP

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