LEILIT by Yuval Avital For a Recorders Consort : Contrabass in Fa, Bass in Do, Bass in Fa, Tenor, Soprano & 2 Sopranino; Accordion Consort (7 elements); Piano; Bowed piano; Improvising soloist; 2 Keis Cantors (live or tape) & Video.
yuval avital © Yuval Avital 2011 LEILIT by Yuval Avital Preference : The Keis & Beta Israel
Beta Israel also known as Ethiopian Jews are the names of Jewish communities which lived in the area of Aksumite and Ethiopian Empires (Habesh or Abyssinia), nowadays divided between Gondar, Amhara and Tigray Regions.
Nearly all of the Ethiopian Beta Israel community, more than 120,000 people, reside in Israel under its Law of Return, which gives Jews and those with Jewish parents or grandparents, and all of their spouses, the right to settle in Israel and obtain citizenship. The Israeli government has mounted rescue operations for their migration. Some immigration has continued up through present day. Today 81,000 Ethiopian Israelis were born in Ethiopia, while 38,500 or 32% of the community are native born Israelis.
A Kes is an elder of the Beta Israel similar to a Kohen or Rabbi. Their duty is to maintain and preserve the traditions and customs of the people. This has become more difcult by the people's encounter with the modernity of Israel, where most of the Ethiopian Jewish people now live. Their The holiest text is the Torah — Orit. All the holy writings, including the Torah, are handwritten on parchment pages that are assembled into a codex. The rest of the Prophets and the Hagiographa are of secondary importance. The language of their holy writings is Ge'ez.
In addition to the Rabbinical Biblical canon, the Beta Israel hold sacred the books of Enoch, Jubilees, Baruch and the books of Ezra as well. The basic wording of Beta Israel Biblical writings was passed down through ancient translations like the Septuagint, which incorporates the Apocrypha (as called by Protestant Christians) including all the books noted by Catholics as Deuterocanon as well as other Rabbinical Jewish Apocrypha.
Operation Moses refers to the covert evacuation of Ethiopian Jews (known as the "Beta Israel" community) from Sudan during a famine in 1984. Beginning November 21, 1984, it involved the air transport of some 8,000 Ethiopian Jews from Sudan directly to Israel, ending January 5, 1985. Thousands of Beta Israel had fed Ethiopia on foot for refugee camps in Sudan.
It is estimated as many as 4,000 died during the trek. Sudan secretly allowed Israel to evacuate the refugees.
More than 1,000 so-called "orphans of circumstance" existed in Israel, children separated from their families still in Africa, until fve years later Operation Solomon took 14,000 more Jews to Israel in 1991.
© Yuval Avital 2011 LEILIT by Yuval Avital Introduction to the performance (pp.1)
1) The Ensemble
Since Leilit is written to a rather unusual ensemble, I would like to give some words of explanation regarding its components :
I, II - An antiphonal of 2 consorts : recorders on the right & accordions on the left, each of them composed by seven elements. The choose of the term "consort" indicates individual roles & behaviors of each instrument, within a united timber system, in diference to the term "section".
III - An opened grand piano in the center - back, which carries multiple roles in the score : In one aspect it is the fundamental layer of timber (extended through playing within the piano), rhythm (as a percussive instrument) and harmonic. In a second aspect it function as an "obbligato" soloist in contrast to the improvising soloist. In a third aspect, It is an ambient of sonic drones created by the bowed piano technique (view explanation at the end of the score reference).
IV - An improvising soloist (in the center) - that create a musical "bridge" between the ensemble and the Keis cantors. The instrument need to have a defned pitch, might use live electronics extension. As to performance, The soloist receives his in & out points from the conductor. Most of The soloist parts are connected to the chants or parts of the cantors, so it is fundamental that he or she will study through the recordings used in the TAPE version their parts. The soloist is provided with a general improvising score, that will indicate the general choice of notes, gestures & behaviors.
V - 2 Keis cantors (In both sides of the soloist) - in Tape or live. Two Keis form the Beta Israel tradition of Gondar, Ethiopia, Chant & play extended traditional music & prayers : The frst one play the traditional cymbal (Kachak), and the second the large drum - both of them used for prayer. One of them plays a traditional fute. The Keis I'd worked with are Keis Eli wande Montesanut , and Keis Baruch Mesert , from south Israel, Born in Gondar area. They are also the source of the tape/video version.
VI - Video : there are two versions for the video section - the frst in a case that the cantors part is performed alive, and the second in a case that the cantors part is performed in tape. In the second version the tape is integrated within the video.
The Video part is not a decorative visual layer, but rather a fundamental component in the Icon/sonic opera. It is composed by both visual components connected with each section as by sonic material. In order to simplify the already complex piece, the video's audio will be in stereo track. Leilit score reference 01 / Yuval Avital
Formation :
A. recorders consort :
2 sopranino, 1 soprano, 1 tenor, one bass in Fa, 1 Bass in Do, 1 paetzold recorder (Great bass in Fa).
B. 7 Accordions.
C. Piano
D. Improvazing soloist.
E. 2 Keis - Traditional Beita Israel spiritual leaders (live or in video).
F. Video track.
Positioning : Screen
Highest Piano (uncovered)
Soloist (sitting)
Lowest Keis (sitting) Keis (sitting) Recorders - standing. Accordions - standing. Leilit score reference pp.2 / Yuval Avital RECORDERS
7 wind sound, blowing the labium & holding ü the as a concert fute (horizontal). 9 similar to previous, but covering labium with lips. ü 4 wind sound, regular position, ü labium covered entirely with one hand. 5 whistle sound, regular position, ü labium 1/2 covered with one hand, variate. * these 4 elements use a graphic line to indicate dynamic & tone variations.
> inhale slap › lunga, very long note, unmeasured 1 1/2 sound of the note, 1/2 wind sound (similar to ney fute)
return gradually to full sound breath (cesura) ≤ Flatterzunge æ fnger vibrato ≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤≤ lip vibrato .~~~~~~~~~~~~~~~~~~ Labtiun trill Labuim tril (or large vibrato). ~~~~~~~~~~~~~~~~ à intonate 1/4 tone up £ intonate 1/4 tone down Leilit score reference pp.3 / Yuval Avital
Acccordions
Accordions are notated in 2 pentagrams (usually G clef & F clef). Unlike traditional accordion notation, the the pentagrams don’t stand necessarily for left & right hand, but represent notes written in their true pitch. Registers are not indicated, but are needed to obtain ranges asked, and could bu used freelyfor timber variations. The range asked for the accordions (registers included) is Mi 0 - La 5.
Special notation marks for accordions :
Bellows shake : used in long note, are autonomous from the general beat, speed is chosen by each interpreter, can variate : {x 3} create a triadic pattern. {x 4} create a quadratic pattern. {x 5} create a Pentagonic pattern. {x 6} create a Hexagonic pattern. {x 7} create a Heptagonic pattern. {x 5,6,7} alternate between Pentagonic, Hexagonic & Heptagonic patterns. {x // } create a fast binary tremolo (measured). {x /// } create a fast non binary tremolo (unmeasured). {rallent. /// to /} Rellentando from fasttremolo to slow repetition. {rarefatto} Rarly create fashes of fast tromolo. {x} Stop special bellows (frm note). Other indications : Create wind sound. ü
Create 1/2 note 1/2 wind sound &/or transition from wind to note. üø Leilit score reference pp.4 / Yuval Avital
Piano
U The Lower clef is, or the usage of a one line pentagram is reserved to percussive sounds on the stings. If not indicated otherwise, ã u should be played on the lowest registers with hands.
U• b± Triangular noteheads stand for a glissando inside the piano, indicating also its range; stands for a continuos sound; • meens to be played with entire palm. æ æ
— The arrow indicates the direction of the glissando; stands for play with nails side; stands for playing with the skin side. ‡ variating pure note and overtones on the string & note vs. stops ˜ Play note with its octave harmonics, touching gently the string in the proper location. œ
two index fingers alteration. variate. Use the two index fngers as sticks to play on the keybord.
q ~.~~ Scratch in one movement, slowly a low string with a coin. ~~~ ~~~ ~~~ q Leilit score reference 05 / Yuval Avital
General indications :
T.L. 35'' Timeline indication, in relation to section.
« Continue with element.
System mechanism : explanation regarding the page interpetation, through the role of each section.
I Number of element that should and the recorders consort sign of the conductor( hands move in oposite directions verticaly).
III Number of element that should and the accordions consort sign of the conductor( hands move in oposite directions horizontaly).
ALTERNATE Change elements freely, or according conductor’s indications (as pre-decided by the ensamble).
* move to bowed piano position.
First suggested by the composer Curtis Curtis-Smith in 1972, the technique uses fexible bows made from monoflament nylon fshing-line which are then coated in rosin. The nylon is threaded under the strings, and the performer can coax a sustained tone from the piano. Bowed piano has since been adopted and expanded upon by various other composers, including George Crumb and more extensively by Stephen Scott.
For more information, watch : http://www.unitedstatesartists.org/showcase/bowed_piano_playing_tutorial. Score LEILIT Yuval Avital 1st movement For a recorders consort, an accordion consort, piano, improvising soloist, two keis cantors (live or tape) & video Adagio T.L. 185''' q = 40 T.L. 165'' T.L. 90'' T.L. 215 -220''' T.L.15'' T.L. 35'' T.L. 60'' T.L. 140'' according phrasing TIMELINE T.L. 110''
2 VIDEO 10'' 1 CADENZA I 20 -30'' add chant whistles 0 Alivo Zihamer (according phrasing) Keis 1' 1' ÷ plates & drum, softly 1' CADENZA I * Alivo Zihamer Improvising soloist 7'' & live electronics & Leggermente più fluido di prima Lento 1 • 1 1 Più fluido e presente 1 Sopranino Recorder 1 #W bW #W † SOFT WIND SOUND, conductor create movement silenzioso % 1 1 P1 w Sopranino Recorder 2 W W W † SOFT WIND SOUND, conductor create movement silenzioso silenzioso % Descant Recorder † W #W #W SOFT WIND SOUND, conductor create movement silenzioso P 1 P ÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖÖ Tenor Recorder 1 & bW bW W SOFT WIND SOUND, conductor create movement P 2 P % Bass Recorder in Fa j• j œ œ æ SOFT WIND SOUND, conductor create movement & > W #W w p #W F 2 slap 2 Bass Recorder in Do • • & æ > SOFT WIND SOUND, conductor create movement b > W W slap bW W silenzioso • 2 slap• 2 C.Bass Recorder in F ? æ # > > SOFT WIND SOUND, conductor create movement silenziosoW W slapW #W
! ˙ ! ˙ ˙ #˙˙ ˙ #˙ ˙ #˙˙ ˙ ˙˙ & « « SOFT WIND SOUND, conductor create movement Accordion 1 ?
& SOFT WIND SOUND, conductor create movement {accel.& rall.} Accordion 2 t « W W variate Ø P - ppp & SOFT WIND SOUND, conductor create movement Accordion 3 {accel.& rall.}
? « 7'' W W variate Ø P - ppp & SOFT WIND SOUND, conductor create movement Accordion 4 {accel.& rall.} « ? W bW W W variate $ Ø « {accel.& rall.} P - ppp SOFT WIND SOUND, conductor create movement & {accel.& rall.} Accordion 5 {accel.& rall.}
t « « W bWW WW W $
& SOFT WIND SOUND, conductor create movement Accordion 6
t « « « WW bWW variate bWW W p $ P - ppp & SOFT WIND SOUND, conductor create movement Accordion 7 {x /// } {x /// } t « « ALTERNATE W WW W{xW /// } W % melodico, rarefatto ! " — — — #— — — — & ‡ ‡ Œ ‡ Œ U• R continue & variate« R continue & variate « b± b— b— — b— — ? Œ Œ #æ ‡ ‡ ‡ ‡ ‡ R R R R R cloud Pianoforte cloud cloud Ø - p Ø - p Ø - p t « « « « bœ bœ bœ « bœ ‰ 5'' bœ bœ œ œ bœ œ œ œ œ œ #œ œbœ œ tra fermo e frenetico œ œ œ œtra fermo e frenetico œ Ø - p 8'' Ø - p U U a volte tremolare una o più note U a volte tremolare una o più note ã u u u « ©Yuval Avital 2011 2 LEILIT 1st mov. 60 - 75''' 17 TIME
17 VID. CONTINUE CHANT "Alivo Zihamer", stronger 17 2' Ks. ÷ 17 CONTINUE DIALOGUE WITH CHANT Alivo Zihamer Imp. solst. &
17 So. R 1 w † SOFT WIND SOUND, conductor create movement Ó.
So. R 2 w † SOFT WIND SOUND, conductor create movement Ó.
D. Rec. † SOFT WIND SOUND, conductor create movement
17 MORSE CODE REPEATING NOTE T. Rec.1 #œ w Ó & SOFT WIND SOUND, conductor create movement 3 #œ œ œœ œ œ œ œœ œ œœ œ œ œœ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 MORSE CODE REPEATING NOTE B. Rec. Fa & SOFT WIND SOUND, conductor create movement Œ #œ œ œœ œ œœ œ œ œ œ. œ œ œ œ œ œ œ œœ œ œ œ œœ œ.œ œ #œ œ œ œ œœ œ œ œ œ #˙ w MORSE CODE REPEATING NOTE B. Rec. Do & SOFT WIND SOUND, conductor create movement œ œ œ. œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ C.B. Rec ? SOFT WIND SOUND, conductor create movement
17
& SOFT WIND SOUND, conductor create movement Acc.1 W ? t ? #W MORSE CODE REPEATING NOTE
& SOFT WIND SOUND, conductor create movement #œ œœ œ œ œ œ œ. œ œ. œ œ œ œ œ œ œœ œ œ #œ œ œœ œ œ œ œ œ œ œ. œ œ œ œ œœ œ œ œ œ Acc.2 W t
W MORSE CODE REPEATING NOTE
& SOFT WIND SOUND, conductor create movement W #œ œ œœ œ œ œ œ. œ œ. œœ œœ œ œ œ œ œ œ #œ œ œœ œ œ œ œ. Acc.3 ? t ? #W "w & SOFT WIND SOUND, conductor create movement Acc.4 W
? t w W
& SOFT WIND SOUND, conductor create movement Acc.5 W
t w w W " w & SOFT WIND SOUND, conductor create movement Acc. 6 W t W w
& SOFT WIND SOUND, conductor create movement Acc.7 W
t w W w Enter just before cadenza finish to silnce
17
! Repeat 3 times. variate. & l.v. 10'' 17 — ! œ ? ‡ bœ œ œ#œ œ & & œ bœ œ œ Pn. œ #œ œ œ bœ œ t ® ® bœnœ #œ w w # W W # W W #œœ w w W W W W œ œ œ 17 y y y y y y y y U y y y æ y y y y yy U y y y y y y U y y y U y y y y y y I ã u y R u y R Ó y R u y y u y R u y y I II III System mechanism : Conductor alternates systems I - III at will, considering soloists phrasing. General dynamics PP. General time - lento fermo. when instruments don't play systems, wind imitation could be performed at will. LEILIT 1st mov. 3
28 135'' TIME
28 VID. 28 3 AT 60'' GINAYU READING, quiet non in sync. Ks. ÷ 28 CADENZA II Imp. solst. & V 0 28 U U I q = c 100 U II q = c 80 III q = c 100 œ IV q = c 80 œ ˙. q = c 70 q = c 100 ˙ So. R 1 bœ œ œ W U œ œ U 5 Œ. ' 8 6 Œ Œ Œ Œ ‰œ œ 8 w 7 Ó ‰ ' ÔR ®' 6 Œ Œ ‰‰ J 4 Œ ' bœ. ˙ 5 Ó Œ † 18 variate intonation, add tremoli4 at will (ney imitation) 4 3 4 8 4 3 4 J 4 Clear sound p - pp 1 add tremoli at will U Clear sound U • U ˙ • U U So. R 2 œ œ œ W œ bœ œ œ #œ. œ 5 . 8 6 œ œ 8 W 7 œ 6 4 5 † 18 Œvariate intonation,' add tremoli4 at will (ney imitation) 4 Œ Œ Œ Œ ‰3 4 8 Ó ' ®ÔR ' ‰ 4 Œ Œ ‰3 4 Œ ®œ œ. ˙ 4 Ó ‰ Clear sound p - pp 1 add tremoli at will Clear sound U #œ. #W • • D. Rec. U U U 5 ‰ ‰ #œ 8 6 Œ Œ Œ #œ #œ '‰ Œ Œ 8 7 Ó œ œ bœ ®Œ 6 Œ Œ bw 4 Œ 5 Ó ˙. † 8 J5 4 4 4 8 4 4 4 1 1 add tremoli at will Clear sound ˙. 28 variate intonation, add tremoli at will (ney imitation) Clear sound p - pp 3 3 U U • • œ bœ ˙. bœ ˙. T. Rec.1 5 j 8 U 6 8 U 7 œ #œ nœ bœ 6 U 4 5 J & 8 Œ ‰ œ œ 4 W 4 Œ Œ ‰ œ ˙. 4 W 8 Œ ‰ Œ ‰ 4 Œ ‰. bœ ˙ Ó 4 ‰ ' 4 Œ ‰ 1 variate intonation, add tremoli at will (ney imitation) Clear sound p - pp 1 add tremoli5 J at will Clear sound 3 5 • • U B. Rec. Fa U 6 8 U 7 œ 6 4 U 5 U & 85 Œ 48 4 Œ Œ ‰ 4 8 Œ œ œ bœ Ó 4 Œ ' Œ 4 ‰ œ bœ 4 Œ w #œ ˙. W 1 #œ ˙. 1 variate œintonation,œ œ add tremoliW at will (ney imitation) Clear sound p - pp add tremoli at will Clear soundbœ ˙. ÖÖÖÖÖÖÖÖÖÖÖÖÖ 5 • 3 • U B. Rec. Do 5 8 U 6 ? 8 U 7 ? 6 r U 4 #œ œ 5 #œ Uw & 8 ‰. 4 4 Œ ' 4 W & 8 ‰ #œ Ó ‰ 4 ‰ '#œ w Œ 4 ' œ ˙. 4 ‰ J bœ nœ 1 Clear sound 1 variateœ œ intonation,œ. add tremoliW at will (ney imitation) Clear soundœ pœ - ppœ w œ add tremoli at will ÖÖÖÖÖÖÖÖÖÖÖÖÖ 5 • 3 • C.B. Rec U 6 8 U 7 #œ 6 U 4 U 5 U ? 85 ' 48 4 'œ 4 8 œ œ Œ Ó 4 w. 4 bœ nœ 4 1 œ œ. W œ ˙ ˙. W œ 1 #œ. ˙. w œ variate intonation, add tremoli at will (ney imitation) •Clear sound p - pp add tremoli at will •Clear sound
28 BORDONE I q = c 100 II & q = c 80 q = c 60 Acc.1 III 3 3 variate ? ˙ ˙ 5 œ 4 ‰ ˙ ˙ P - ppp 4 œ œ œ œ. 4 œ . #œ. œ œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ œ. œ œ œ #œ œ œ œ œ œ œ œ ˙. 3 œ œ œ œ œ ˙ œ œ #œ œ œ œ œ œ œ œ œ œ ˙ & 3 3 Acc.2 œ œ œ œ œ œ œ œ. œ œ œ œ variate t 4 bœ œ œ œ œ œ W W P - ppp 4 bœ ‰ . œ . œ œ
6 #œ. & œ œ œ œ œ œ. œ œ œ œ #œ œ œ œ œ œ œ œ œ œ. Acc.3 3 variate ? œ œ t 4 . . ? P - ppp œ œ œ œ. ˙ 4 œ œ œ œ ‰ œ œ œ œ œ œ W #W 6 J œ & œ œ œ œ œ œ œ œ ' ' Acc.4 œ œ œ œ ˙ W variate œ œ #œ œ œ œ t W P - ppp 4 œ œ œ œ ‰ œ. œ œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ ˙ 3 J J
& Acc.5
variate 4 œ œ #œ t P - ppp œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 4 œ œ œ ‰ œ. œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ ˙. #WW œ œ œ œ œ œ œ œ œ œ 3 3
& Acc. 6 variate j 4 œ œ #œ œ œ œ t ˙ P - ppp œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 bœ œ œ ‰ œ. œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ. ˙ #˙ ˙ œ œ œ œ ˙ bœ œ œ œ 3 3 œ œ.
& Acc.7 variate 4 œ œ #œ œ œ œ t W P - ppp ˙. œ œ œ œ 4 ‰ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. W ˙. œ œ œ œ œ œ œ œ œ. œ œ. œ œ œ 3 3 J 45'' 28
& two index fingers alteration. variate. 28
e = c 190 t œ œ U œ œ U U & maintain pulsing thought the section, hiding the note's attack as possible, œ œ e œ œ w œ œ ˙ œ œ variating pure note and overtones on the string & note vs. stops (l.v. sempre) Insert phrase from time to time, in relation to thew Soloist cadenza Pn. (as response, closing of phrase or emphasis of climax) ˜ t œ rasgado 28 alternate t b1 u ã - inserire ogni tanto; ad. lib. System mechanism : All the system moves as background to the soloist, as twilight. Accordions 1 - 7 hold bordone, variating dynamics in indicated ranges, speed, but always remaining in background. Starting at System timeline 45'', piano add a the rhythmic ostinato; other elements of the piano are played by his/her choice, in interaction with the cadenza. Recorder elements I - 0 (indicated with hand : I - V with fingers, 0 closed fist, after recorder sign) enters according to the conductor's indication, as a sonic detail, without being too presented in the section. Accordion Elements I - III (indicated with fingers after accordion sign) - should be like a ritornello in relations to the soloist. 4 LEILIT 1st mov. 20 - 30'' T.L. 190'' 45 T.L. 120'' T.L. 240'' T.L. 65'' T.L. 85'' T.L. 90'' T.L. 100'' T.L. 150'' T.L. 170'' TIME
45 VID.
45 Flute & drum duo Flute & drum duo Flute & drum duo 4 4 Ks. ÷ 45 CODA CADENZA II Timbers, long notes & hidden melos Imp. solst. & T.L. 85'' T.L. 150'' T.L. 240'' Labtiun trill T.L. 190'' variations 45 à So. R 1 ˙ ~~~~~~~~~~~~~~~~~~~~~~~ w w † 2 w2 • Labtiun trill • à - òà variations ~~~~~~~~~~~~ So. R 2 ˙ « « w « † w w Labtiun trill ALTERNATE ~~~~~~~~~~~~~ b w w w æ D. Rec. T.L. 65'' ˙ w † 2 T.L. 120'' T.L. 170'' 2 2 45 • • • T. Rec.1 ˙ œ ˙ & * † & ˙ B. Rec. Fa œ « œ « « & * † &
B. Rec. Do b˙ ? † ˙ ˙ & * T.L. 90'' T.L. 150'' C.B. Rec ? ? * & ˙ ˙ Œ ˙ « « «
45 ? & ˙ ˙ Œ ˙ & Acc.1 T.L. 190'' ? * ALTERNATE ALTERNATE
? Œ & Acc.2 #w w #w w t * « «
t Π& w w Acc.3 ? * T.L. 150'' ALTERNATE
& Acc.4 « ? ww bnww $ - P ALTERNATE & Acc.5 « bw w t b w w T.L. 100'' ALTERNATE $ - P & Acc. 6 « t #ww Œ ww w $ - P ALTERNATE & Acc.7 « t Œ #ww ww $ - P
&
& Pn. ALTERNATE ALTERNATE m q = c 120 t carton on low strings Free carton U U S S S S S S S S S S S S S SSS SS S S S S S S S S S S u « uæ « ã ' ' 3 3 3 3 3 3 move to bowed piano position. *FAIRY TALES SEQUENCE mechanism, duration 240'' : Piano covers lowest strings with carton paper (without interfering with bowed piano notes) and alternates given patterns, performed with fingers or palm. Interacting with the sonic ambient the pianist can choose to play or to rest in silence. Indicated instruments move to bowed piano position, and performed in time given notes. in a case of grouped musicians, create melodic or polyphonic patterns. Speed and long notes, according to sonic ambient.Sopranino & soprano recorders : perform collective part as a sonic layer, alternating intonation, dynamics & tremolo speeds. Accordions 5 - 7, create a dark background with given notes, alternating long notes & bellow shakes.Keis play flue & drum; soloist interact with the fairy tale. LEILIT 1st mov. 5
120'' - 180'' 20'' - 30'' 30'' - 45'' 54 TIME
54 VID.
54 Alvusia 1A 5 5' Alvusia 1B 5'' Alvusia 1C 5''' Alvusia 2 Ks. ÷ 54 Alvusia 1A Alvusia 1B Alvusia 1C Alvusia 2 Imp. solst. &
54 So. R 1 › Frenetic trills, glissandi, slap clouds 4 † 7 4 ü ENTER AFTER CHANT 1A So. R 2 Frenetic trills, glissandi, slap clouds 4 † 9› 4 ü ENTER AFTER CODA CHANT 1A D. Rec. › Frenetic trills, glissandi, slap clouds 4 † 5 4 54 ü ENTER AFTER CODA CHANT 1A T. Rec.1 › Frenetic trills, glissandi, slap clouds 4 & * 5 4 ü ENTER AFTER CODA CHANT 1A B. Rec. Fa ›9 Frenetic trills, glissandi, slap clouds 4 & * 4 ü ENTER AFTER CHANT 1B B. Rec. Do › 9 Frenetic trills, glissandi, slap clouds ? 4 & * 4 ENTER AFTER CHANT 1B Labtium ad. lib ü C.B. Rec Frenetic trills, glissandi, slap clouds ? * › 4
54 bœ bœ œ #œ œ #œ œ #œ œ #œ nœ bœ 4 & œ #œ œ 4 Acc.1 Follow conductor to alternate long notes, repeating patterns, and rhythmical textures. #œ bœ bœ ? œ bœ œ w * bœ nœ œ bœ œ œ bœ Back & forth at will, frenetic bœ bœ œ #œ œ #œ œ #œ œ CHANGE I CHANGE II #œ nœ bœ 4 & œ #œ œ 4 Acc.2 Follow conductor to alternate long notes, repeating patterns, and rhythmical textures. #œ bœ bœ ? œ bœ œ t w w w * bœ nœ œ bœ œ œ bœ Back & forth at will, frenetic bœ bœ œ #œ CHANGE I CHANGE II œ #œ œ #œ œ #œ nœ bœ 4 & œ #œ œ 4 Acc.3 Follow conductor to alternate long notes, repeating patterns, and rhythmical textures. #œ bœ bœ w t ? w œ bœ œ ? * bœ nœ œ bœ w œ œ bœ Back & forth at will, frenetic ! w w bw w bœ œ #œ w œ #œ œ bœ 4 & nœ bœ œ #œ 4 Acc.4 œ #œ alternate notes freely; sometimes moving between sound - 1/2 sound & wind. œ #œ #œ bœ bœ $ - p t œ bœ œ ? bœ nœ œ bœ œ œ bœ ! Back & forth at will, frenetic w w w bœ bœ œ #œ w #w œ #œ œ #œ œ 4 & #œ nœ bœ 4 Acc.5 alternate notes freely; sometimes moving between sound - 1/2 sound & wind. œ #œ œ $ - p #œ bœ bœ œ bœ œ t bœ nœ œ bœ œ œ bœ Back & forth at will, frenetic b"w b"w! w bw w w bœ bœ œ #œ œ #œ œ #œ œ & #œ nœ bœ Acc. 6 œ #œ œ alternate notes freely; sometimes moving between sound - 1/2 sound & wind. #œ bœ bœ $ - p œ bœ œ t bœ nœ œ bœ 4 œ œ bœ 4 Back & forth at will, frenetic ! w w w œ #œ w nw œ bœ bœ & bœ œ #œ œ #œ œ #œ nœ Acc.7 alternate notes freely; sometimes moving between sound - 1/2 sound & wind. œ #œ #œ bœ bœ $ - p œ bœ œ t bœ nœ œ bœ 4 œ œ bœ 4 ALTERNATE Back & forth at will, frenetic CODA TO CHANT 1B ! 54 CODA TO CHANT 1A ! CODA TO CHANT 1C — — — & ‡ ‡ 4 ‡ bœbœ nœ cloud 54 " " bœnœ œ " R œ œ œ œ œ. æ F - ff œbœ œ œ œ bœ œ œ nœ œ œbœ bœ œbœ nœ œ œbœ œ œnœnœ œnœ bœnœ œbœnœ œ bœ œ œ œ œ bœ nœ r r œ #œ œ œ t 4 & œ b— — œbœ œ œ œ œ œ #œ bœ & 4 œbœbœ bœ bœ œ bœ œ œ œ œ Pn. ‡ ‡ arpeggiato #œ œ œ œ bœ œ œ bœbœ œbœ t bœbœ nœ#œ nœ bœ bœ nœ œbœnœ#œ 4 œœ œ œ bW 4 œ œ œ œ bœ rasgado W 54 W U U t b1 ß 4 ã u u ã 4 * go back to instrument. - System mechanism, duration 120'' - 180'' + 20'' - 30'' + 30'' - 45'' : Keis sings 3 chants, composed of 3 repeated phrases that form a ritornello with variations, noted as CHANT 1A, 1B & 1C; Soloist interact with them, alternating hetrophony & clouds. Each chant concludes with a Piano coda. Accordions 4 - 7 play a high thin drone, alternating given notes at will, and changing between full sound, ? sound & wind sound.Accordions 1 - 3 still play bowed piano : accordion 1 maintain a drone, accordions 2-3 change notes according to conductor's indications. The conductor may decide to alternate within their part long notes, repeating patterns, and rhythmical textures. In a case that the chants are fast, one or more repetitions of the entire section, until CHANT 2, is possible. The end of the system is a solo of keis & soloist, followed by a sfz cloud, which starts with the piano chord and grows in all other instruments.