Character Studies After Elias Canetti

Joseph Klein

Character Studies after Elias Canetti

for various solo instruments

( 1997-2018 )

About this Collection

This collection of short works for solo instruments is based upon characters from Der Ohrenzeuge : Fünfzig Charaktere (Earwitness : Fifty Characters ), written in 1974 by the Bulgaria-born British-Austrian writer Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. Begun in 1997, the present collection was inspired by Canetti’s vividly surreal depictions of these characters; seventeen works have been completed in this series to date : • Der Hinterbringer (The Tattletale) for solo piccolo (2013) • Der Ohrenzeuge (The Earwitness) for solo bass flute (2001) • Der Wasserhehler (The Water-harborer) for solo ocarina (2000) • Der Tückenfänger (The Wile-catcher) for solo basset horn (2014) • Der Leidverweser (The Woe-administrator) for solo contrabassoon (1998) • Die Müde (The Tired Woman) for solo alto saxophone (2004) • Der Schönheitsmolch (The Beauty-newt) for solo bass saxophone (2008) • Die Königskünderin (The King Proclaimer) for solo trumpet (2006) • Die Sternklare (The Starry Woman) for solo percussion (2006) • Der Fehlredner (The Misspeaker) for solo cimbalom (2018) • Die Silbenreine (The Syllable-pure Woman) for solo glass harmonica (2000) • Der Saus und Braus (The Fun-runner) for solo piano (2017) • Der Gottprotz (The God-swanker) for solo organ (2014) • Der Demutsahne (The Humility-forebear) for solo guitar (2008) • Die Tischtuchtolle (The Tablecloth-lunatic) for solo violin (1997) • Die Schadhafte (The Defective) for solo violoncello (2015) • Der Leichenschleicher (The Corpse-Skulker) for solo contrabass (1997)

These works may be programmed individually or in sets of two or more. They may also be programmed in conjunction with Canetti-menagerie, a semi-improvisational, open-form work for five to eight instruments drawn from this collection, which uses these solo works as source material for improvisational interplay. In programs that include two or three of these works, performers may wish to freely improvise short duo/trio interludes based on the material in the respective solo works, as a way of further exploring the material and creating a connective fabric between the individual studies.

Elias Canetti ( 1905-1994)

Joseph Klein

( The Tattletale ) character study after Elias Canetti

for solo piccolo

(2013)

– for Elizabeth McNutt –

duration : c . 5 ' Performance Notes

senza misura pause/breath (very short/short) Ø

@ fluttertongue metered notation : beat units are q@ fixed, measure units fluctuating pitch bend q grace note accelerando [FREEZE] freeze in place until next event

n.v. ! ! ! m.v. gradual change from non vibrato to molto vibrato

→ accelerando/ritardando

→ → durational continuum in senza misura sections : arranged from shortest to longest (precise durations ad libitum).

fermata continuum : arranged from shortest to longest.

• Accidentals apply only to the notes they immediately precede, with the exception of repeated pitches.

• Each line of music in spatial notation is approximately 12-15 seconds in duration. • The forte interjections on page 1 should occur "outside of time," thus disrupting the continuous flow of running 16th notes. th • Any breaths taken during the extended 16 -note passages (e.g., mm. 10-12 , 60-64) should occur only at slur breaks ; the performer must not drop any notes when doing so , but should rapidly interject the breath within the rhythmic flow. Suggested breath points are indicated parenthetically in the score.

Program Note Der Hinterbringer (The Tattletale ) is the twelfth in a series of short works for solo instrument based upon characters from Der Ohrenzeuge : Fünfzig Charaktere (Earwitness : Fifty Characters ), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti ( 1905-1994 ). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters, and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, percussion, bass

- i - saxophone, guitar, and piccolo, among others. In Canetti's depiction of this character, The Tattletale "won't keep anything to himself if it could hurt someone's feelings. He hurries and gets a steal on other tattletales... [he] will overlook no insult uttered in anger, and he makes sure that it teaches the insultee." Der Hinterbringer was completed in April 2013 and composed for flutist Elizabeth McNutt, who first performed the work at the University of North Texas on 18 March 2014.

* * * * *

( The Tattletale ) The tattletale won’t keep anything to himself if it could hurt someone’s feelings. He hurries and gets a steal on other tattletales. Sometimes it is a bitter race, and even though not all of them start at the same point, he can sense how close the others are already and he outstrips them in gigantic leaps. He speaks very fast and it is a secret. No one must find out that he knows. He expects gratitude and it consists in discretion. "I’m only telling you. It concerns only you." The tattletale knows when a position is threatened. Since he moves so quickly — he is very hurried — the threat grows en route. He arrives and everything is safe and sure. "You’re being dismissed." The victim blanches. "When?" he asks. And "How can that be? No one’s said anything to me." "It’s being kept a secret. They’re going to tell you at the very last moment. I had to warn you. But don’t give me away." Then he gives a detailed speech on how awful it would be if he were given away, and before the victim even has time to fully gauge the danger he’s in, he already feels sorry for the tattletale, that best friend of his. The tattletale will overlook no insult uttered in anger, and he makes sure that it teaches the insultee. He is less anxious to carry back praise, but to show his good will, he occasionally forces himself to do so. In such cases, he never hurries , he tarries where he is. Praise lies on his tongue like unsavory poison. Before spitting it out , he feels as if he were choking. Finally he speaks it, but very chastely, as though timid at the other man’s nakedness. Otherwise he knows neither shame nor disgust. "You’ve got to defend yourself. You’ve got to do something ! You just can’t take it sitting down !" He likes to counsel the victim, if for no other reason than because it takes longer. His advice is such that it magnifies the victim’s fear. After all, the only thing the tattletale cares about is other people’s confidence, he cannot live without confidence.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

English translation 1979 by The Seabury Press, Inc. text used by permission© of Carl Hauser Verlag, München.

- ii - character study after Elias Canetti for solo piccolo Joseph Klein ( 2013 )

Hurried = 90 q 5 7 5 6 X & 4 bœ bœ nœ bœ nœ œ œ œ bœ œbœ ∑ œ #œ#œ œ nœ#œ nœ #œ œ#œ œ nœ [FREEZE] 4 p

3 7 6 7 5 7 5 6 X bœ &4 #œbœ œnœ#œ œbœbœ œnœ nœnœ#œ#œœnœnœnœbœ bœ œ œ bœ œ œ#œbœnœœ œ#œ œ bœ œnœnœbœ#œ œ œbœnœ

4 5 7 6 7 6 5 œ^ 6

& bœ œ œ nœ œ bœbœbœ œ œ nœ#œœbœ œnœnœbœ#œ œ œnœœ#œ#œ œ œbœnœ#œ œ #œ œ S nœ œ œ #œ#œ œbœnœ nœ f (p) s œ 5 5 7 5 6 7 6 7 œ^ bœ bœ &#œbœ œnœ#œ œ#œœœbœnœbœ nœ œbœ nœ œ#œ#œ S œ œnœ bœbœœnœ nœbœbœ œnœnœœ#œ#œ bœnœnœ#œ œ#œ f (p) ^s 6 5 œ œ^ (5) 7 5 7 5 6 b>œ bœ & œbœ œ nœ œ#œ#œ œ bœnœnœbœ œ œ nœ œ #œ #œ#œ œ nœnœbœbœ œ œ œ #œ œ œ bœnœ #œ nœ f (p) ^ ^s nœ 7 œ 6 7 6 œ > œ^ (6) 5 - œ œ bœ #>œ œ #œ œ> bœ- #œ bœ æ & œ bœ œ #œ œ #œ œ œ œ œ bœ bœ œ œ bœ nœnœ bœ œ œ nœ f (p) f (p) ^s > ^s ^s 8 #œ œ #œ (5) #œ - - nœ ˘ . . s ^ 6 ˘ . . #œ œ> nœ > #œ œ ¯œ œ¯ œ œ œ œ- #œ œ¯ œ¯ œ œ œ #œ bœ Ø œ- & æ œ #œ #œ#œnœ œ nœ S f f Fsub. f (p) f f Fsub. 2013 by Joseph Klein. All rights reserved. © - 1 - ^s ( ) ^s bœ Ÿ bœ 9 œ bœ nœ Ÿ ( ) Ÿ œ> bœ œ bœ œbœ œ > - œ > œ˘ ¯œ œ¯ œ. œ. >œ œ œ œ œ œ œ œ œ Sœ bœ ( ) & æ æ œ bœ sub. poco > poco f f F f f poco f

5 10 Ÿ œ bœ > ( ) X œ œ bœ œ bœ #œ bœ nœ #œnœnœ #œ œ #œ œ#œ œ #œ #œ œ #œ œnœnœ œ nœ #œ œ œ#œ nœ & 4 œ#œ 6 œ #œ f molto 5 7 P 7

5 5 11 nœ ( ) œbœ #œ œ #œ œ œ œ bœ , #œnœ #œ nœ nœbœ œ œ œbœ bœ œnœ bœ œ #œ nœ bœ œnœ #œ & 5 #œ œ œ œ bœ œ 7 7 bœ œ nœ#œ 6 6

( ) 12 , œ#œnœ œ nœ , œ œ œ œ bœ œbœ#œ œ#œ œ bœ œ bœ nœ#œ#œ œ #œ œ bœ#œ œ nœ#œ nœ#œ nœ œ ∑ 3 & #œ 7 FREEZE 4 6 6 bœ 6 [ ] 7 œ 5 poco

s 14 Tarrying = 72 q s , œ- œ > - s œ- - -œ nœ 3 œ œ bœ œ bœ œ 5 & 4 bœ œ bœ 4 œ- #œ- - œ F f

Hurried = 90 Tarrying s= 72 17 q6 5 7 5 q U œ- - - & 45 œ œ #œ bœ #œ œ nœ Œ 43 bœ œ 169 œ #œ#œ nœbœ nœ nœ #œ nœœ bœ nœ œ #œ nœ nœ simply, but with p F rhythmic precision > 19 s >s #œ >s #œ - œ œ - œ - œ œ- . œ 9 #œ- . s 3 bœ - 7 œ. 9 œ nœ 3 & 16 œ 4 bœ 16 S œ 8 bœ. #œ bœ. 4 œ-. - - -

23 >s œ - . bœ - œ - s œ œ- bœ œ #œ- #œ. bœ œ - œ- #œ S - - . œ#œ S & 43 bœ bœ 167 Sœ. 85 œ 167 43 - bœ-

- 2 - , 28 s >s - , - bœ , #œ- œ >s #œ œ bœ bœ s - - œ bœ œ œ œ . - œ œ. œ. œ.bœ œ Sœ œ 3 œ œ-. 5 - 7 bœ S œ 5 & 4 œ S ≈ 8 bœ 16 œ #œ #œ- 8 - becoming increasingly- agitated....

s > 33 > , s , s > œ , œ bœ bœ s œ œ- . s œ œ - bœ S - s œ - - 5 œ- . 3 #œ s#œ- ≈ 2 œ #œ ≈ 3 bœ. œ ‰ œ 9 & 8 œ- 4 œ 4 œ. #œ 4 16 - F s >s , 37 >s œ > - bœ s - œ. œ #œ nœ , œ - . œ -œ.. œ s s œ. bœ - nSœ - - 9 bœ 7 bœ œ #œ 12 bœ. bœ bœ Sœ. 3 bœ ≈bœ 7 & 16 #œ-. 16 16 - 4 16

>s 41 >s , œ , >s , œ q . , œ sbœ- . - œ œ œ œ >s bœ #œ#œ #œ s - ˘ œ #œ - bœ S œ #œ. œ bœ œ¯ ¯œ ¯œ œ. œ. œ.œ. & 167 Sœ. ≈ Sœ œ ≈ œ. œ ≈ 86 167 #œ œæ. 169 - œ- - f f f f Fsub. f s 45 ,> , > - #œ #œ , œ œ s œ. œ s > œ -. œ œ œ-. #œ s œ - bœ 9 bœ #œ S 7 S 11 bœ S bœ s ˙ nœ 3 3 bœ ≈ æ. ≈ œ > ∑ & 16 16 #œ- 16 > 4 [FREEZE] 8 f f f f , 49 œ , œ œ , bœ s>œ bœ s œ-. œ bœ S bœ s œ- nœ 3 œ > 2 ∑ 7 ≈ œ > 4 ∑ 1 & 8 > 4 [FREEZE] 16 > 4 [FREEZE] 8 f f f , s, , 53 > œ #œ > , œ #œ œ bœ - œ s s> bœ œ œ œ. #œ Sœ bœ s- nœ 1 Sœ 5 ∑ 3 bœ S ≈ 6 bœ ≈ Sœ. > 2 ∑ Ø & 8 8 [FREEZE] 8 #œæ 16 œ 4 - > [FREEZE] F f f f f

Chaste (senza misura)

58 poco vib. s n.v. m.v. #œ #œ ! ! ! , œ #œ sbœ œ œ- nœ œ - Ø œ- S œ S Sœ nœ ˙ & bœ œ molto p P P

- 3 - becoming urgent... Hurried = 90 q 59 ( ) œ Ÿ œ > œ œ œ Ÿ ( ) Ÿ bœ œ œ œ œ > Ÿ œ œ ( ) #œ œ #œ œ#œ œ#œ X #œ œ ( ) nœ œ & > #œ bœ 4 œ > œ œbœ œ bœ œ bœ f poco f poco f poco > 5 f P

60 ( ) œ , bœ œ œ œ #œ œ #œ nœ #œ#œ œnœnœ œ#œ œ bœ bœ œnœbœ œbœnœ œ#œ œ#œ#œ & œ bœ nœbœ 5 7 œbœ œ bœbœ nœ 6 œ 7 œ œ 5 6 7

( ) 61 5 , bœ œ #œ nœbœnœ œ#œ#œ #œ œ nœ #œ œnœ œ œ #œ#œnœ œ nœ œ œ bœbœ œbœ nœ œ œ œ 6 & #œ nœ œ œ #œ œnœ#œ 5 5 6 6 7

( ) 5 62 , 7 #œ#œ œnœnœ œ#œ œ œ œ œbœ bœ œ #œ œnœ#œ œ œbœnœnœbœ bœ bœ nœ bœ & bœ œnœœ œ#œ œ œ œ œ#œ œ#œ nœ œ 6 5 7 6 7

63 6 ( ) 7 œ œ œ , bœ œ#œ nœnœ #œ œ bœ œ œ nœ nœ #œ#œnœ œ œ#œbœnœ œ œ & œ œ #œ #œ œnœ bœ œnœ 5 7 5 bœœ#œ nœnœ #œ œ œ œ 7 6

64 bœ œ nœ œ bœ 7 6 7 œ bœ #œ#œ œ nœ bœ bœ œ nœ œ #œ bœ ≈ ≈ ≈ & 5 œ œ 5 œ œ#œ œ œ bœbœ œbœ bœbœ œnœnœ œnœ #œ#œ œ 6 6 p

65 5 6 5 7 5 7 6 & ≈ bœ ≈ ≈ ≈ bœ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ œ nœ nœ bœ œ œ œ bœ œ nœ œ b-œ bœ œ œ œ œ nœ bœ- bœ œ nœ bœ œ bœ

66 lunga 5 s . . s & ‰ Œ ‰ ≈ [FREEZEÓ ] 03/24/18 œ œ-

- 4 -

Joseph Klein

Der Ohrenzeuge

( The Earwitness )

character study after Elias Canetti

for solo bass flute

(2001)

– for Helen Bledsoe –

duration: c . 5' Performance Notes

senza misura sounds produced with mouth Ø directly over embouchure hole

pause/breath (very short/short) tongue ram (resulting pitch sounds a minor seventh lower) [FREEZE] freeze in place until next event buzzing lips into embouchure five beats ( = ) hole

slight fluctuations around residual tone, produced by blowing dynamic indicated (ad libitum) forcefully across embouchure hole with flute rolled away ! ! ! gradual change from one mode sucking into embouchure hole of play to another ( "slurping" sound )

quarter-tone higher/lower → indefinitely-pitched vocal/ pitch bend/portamento instrumental sounds (e.g., key → slaps, whispering)

→ foot stomp normally played pitch with

key-slap attack

flute angle : normal position ; rolled in ; rolled out vocalized (sung) pitch

fluttertongue glottal fry

multiphonic (fingering indicated in score) ingressive vocalization audible inhalation

harmonic (fundamental rapid alternation of inhaled/ indicated with small notehead) exhaled sound (unvoiced, panting)

accelerando/ritardando

n.v. s.v. o.v. f.v. vibrato continuum : no vibrato ; slow vibrato ; ordinary vibrato ; fast vibrato.

durational continuum in senza misura sections : arranged from shortest to longest (precise durations ad libitum).

fermata continuum : arranged from shortest to longest.

- i - • An instrument with a B foot is required.

• Accidentals apply only to the notes they immediately precede, with the exception of repeated pitches. • Each line of music in spatial notation is approximately 15 seconds in duration. • The "Mercurial" section (measures 10 through 50) should maintain an impetuous "stream- of-consciousness" feeling throughout. The fragmented quality of this section should be tempered by a driving intensity: there should be a constant forward motion, as if the chain of disparate elements were a single linear idea. This section consists of brief fragments from the following pieces for flute, alto flute, and bass flute (measure numbers are included for reference in the score):

• m. 10 : Betsy Jolas, Episode I (1964) — bass flute

• m. 12 : Roman Haubenstock-Ramati, Interpolations (1959) — flute

• m. 15 : Luca Lombardi, Schattenspiel (1984) — bass flute

• m. 17 : Joji Yuasa, Terms of Temporal Detailing (1989) — bass flute

• mm. 19-20 : Paul Chihara, Willow, Willow (1968) — bass flute

• m. 21 : Mario Davidovsky, Synchronisms No. 1 (1963) — flute

• m. 23 : Edgard Varèse, Density 21.5 (1936), flute

• mm. 26-27 : Walter Hekster, Crescent Moon (1989) — bass flute

• m. 29 : Luciano Berio, Sequenza I (1958) — flute

• m. 32 : Giacinto Scelsi, Quays (1953) — alto flute

• m. 33 : Bernd Alois Zimmermann, tempus loquendi… (1963) — bass flute

• m. 35 : Karlheinz Stockhausen, Flautina (1995) — alto flute

• m. 36 : George Crumb, Lux aeterna (1971) — bass flute

• mm. 38-39 : Isang Yun, Etuden (1974) — multiple flutes

• mm.40-41 : Vincent Persichetti, Parable I (1966) — alto flute

• m. 43 : Heinz Holliger, (t)air(e) (1980/83) — flute

• m. 44 : Roger Reynolds, Ambages (1965) — flute

ª m. 45 : Charles Wuorinen, Flute Variations II (1968) — flute

• m. 47 : Claude Debussy, Syrinx (1913) — flute

- ii - The International Phonetic Alphabet (IPA) is used for vocalizations, as well as to indicate mouth contour and tongue placement (the latter notated parenthetically in the score ); the following IPA symbols are used in the work:

[i] ee as in seed [p] p as in p at [ç] aw as in paw [k] c as in c ast [o] o as in float [f] f as in f ive [u] oo as in boot [s] s as in s it [m] m as in m an [S] sh as in shut [√] u as in mu d [C] ch as in German ich [t] t as in t op [h] h as in h at

Program Note

Der Ohrenzeuge (The Earwitness ) is the sixth in a series of short works for solo instrument based upon characters from Der Ohrenzeuge : Fünfzig Charaktere (Earwitness : Fifty Characters), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters, and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, percussion, bass saxophone, guitar, and piccolo, among others. In Canetti's depiction of this character, the earwitness "comes, halts, huddles unnoticed in a corner, peers into a book or display, hears whatever is to be heard, and moves away untouched and absent." Accordingly, the work itself quotes fragments of several Twentieth-century works from the flute, alto, and bass flute repertoire. Der Ohrenzeuge was composed between September 2000 and January 2001 for flutist Helen Bledsoe. Who first performed the work on 25 February 2001 at the Posthoornkerk in Amsterdam.

- iii - Der Ohrenzeuge ( The Earwitness )

The earwitness makes no effort to look, but he hears all the better. He comes, halts, huddles unnoticed in a corner, peers into a book or display, hears whatever is to be heard, and moves away untouched and absent. One would think he was not there, for he is such an expert at vanishing. He is already somewhere else, he is already listening again, he knows all the places where there is something to be heard, stows it nicely away, and forgets nothing. He forgets nothing, one has to watch the earwitness when it is time for him to come out with everything. At such a time, he is another man, he is twice as large and four inches taller. How does he do it, does he have special high shoes for blurting things out? Could he possibly pad himself with pillows to make his words seem heavier and weightier? He does nothing else, he says it very precisely, some people wish they had held their tongues. All those modern gadgets are superfluous : his ear is better and more faithful than any gadget, nothing is erased, nothing is blocked, no matter how bad it is, lies, curses, four-letter words, all kinds of indecencies, invectives from remote and little- known languages, he accurately registers even things he does not understand and delivers them unaltered if people wish him to do so. The earwitness cannot be corrupted by anybody. When it comes to this useful gift, which he alone has, he would take no heed of wife, child, or brother. Whatever he has heard, he has heard, and even the Good Lord is helpless to change it. But he also has human sides, and just as others have their holidays, on which they rest from work, he sometimes, albeit seldom, claps blinders on his ears and refrains from storing up the hearable things. This happens quite simply, he makes himself noticeable, he looks people in the eye, the things they say in these circumstances are quite unimportant and do not suffice to spell their doom. When he has taken off his secret ears, he is a friendly person, everyone trusts him, everyone likes to have a drink with him, harmless phrases are exchanged. At such times, people have no inkling that they are speaking with the executioner himself. It is not to be believed how innocent people are when no one is eavesdropping.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

English translation 1979 by The Seabury Press, Inc. text used by permission© of Carl Hauser Verlag, München.

- iv - Der Ohrenzeuge character study after Elias Canetti for solo bass flute Joseph Klein (2001) Furtive = c. 60 q 5 s s s s 4 s s Ø V 4 ‰ ‰ ‰ ‰ Œ 4 ‰ ‰ Ó •L •L •L •L •L •L S S S S S S 3a (ord.) >s (ord.) ( ) flt. s flt. gœ nœ Ø œ ˙ #œ Uœ U œ #œæ æ nœ œ #œ (r ) V bœæ bœæ æ #œ æ æ æ b˙ œ Ò π Í 3b ( = c.60) q s s s s Ø V Ó 4 ‰ ‰ ‰ Œ 43 ‰ Œ Œ •L •L •L •L S S S S ! ! ! ( s.v. ) ! ! ! n.v. f.v. 6a o.v. U ( w ), , œ#œ ˙ œ Ø #œ œ bœ V b˙ œ œ bœ π F P ! ! ! 6b > #œ [u]ñ ! ! ! P [i] ñs ‚ nœ ( ) nO V œ b˙ œ ¿¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Ò Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~( ) f P ñ 6c ( = c.60) (ord.) flt. (ord.) q s œ s s Ø œ s s œ V Ó 43 ‰ ‰ Œ œ #œ bœ • • bœ œ bs.v.˙ L L æ æ æ æ S S P ! ! ! F

8b (o.v.) (w/ F key) [u]ñ ! ! P! [i] ñs U ( ) , n˙ yœ ‚ bœ O ( ) V bœ Ò ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ˙ #œ poco F ( Ÿ )~~~~~~~~~~~~~~~~~~~ 2001 by Joseph Klein. All rights reserved. P ñ © - 1 - ! ! !

! ! ! overblow 8c even , , , , , œ œ œ œ œ œ œ œ œ-œ J V #œ #œ #œ #œ #œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > . > . > . > . > . >- < - < - - P F F F F F halting, erratic (ord.) ﬂeeting ^ , 8d #œ > œ #œ œbœ œnœ > œ> #œ œ œnœ bœ œ œ œ bœ #œ œ #œ nœ#œ #œ#œ œ#œ œ #œ > bœ bœ V #œ œnœ Ò œ œ#œ#œ #œ> œ œ œ> ± sub. f P ç Furtive 9 s nœ , bœ s U ( y ) nœ (g ) bœ ˙ œ ˙ œ Sœ #Sœ nœ 5 V bœ bœ Ò ∑ 4 π F ﬂt. 7:5 IN gasping: [√] 10 Mercurial = c.90 æ q #œ- æ æœ œ - æ#œ s s s s œ S s s s ‚ s #œ bœ V 45 ‰ ‰ ‰ ‰ s 43 ‰ ‰ 169 ‰ ≈ 89 •L •L •L •L •L •L •L •L 3 •L •L p urgentS S S S Sp S S S S strained S F [i o u ç...] 13 [tS(i)] #¥ Ÿ ( ) œ. #œ œ œ Ÿ ( ) s Ÿ > 9 s s s s 3 s s 9 œ bœ ( ) s ¿ 3 V 8 ‰ ‰ ‰ 8 ‰ 8 œ. œ bœ 8 •L •L •L •L •L •L 4:3œ. œ S S S S S F ß q. ! ! ! S F maniacal laughter: ! ! ! slurping: 16 (ord.) . [u] œ. bœ. œ • œ. . 3 s 7 . . . nœ s 2 V 8 8 œ bœ . bœ Ò 4 • 4:3 œ • L¿ poco L 7:8 ± L S ƒ F S f 5 s 19 œ. ! ! ! œ œ 6 [u] [i] œ nœ œ œ. #œ#œ bœ bœ œ S s #œ œ 2 œ bœ 9 ~ 5 nœ V 4 #œ 8 ~ ~ ~ 8 9:5 bœ. œ. œ. œ. œ. œ. ~ ~ ~ •L P ƒ ‚ ‚. ‚ p S F F - 2 -

12 . vigorous panting: [S ! ! ! s ! ! ! S] ! ! ! [m] (ord.) clearing 22 #œ. œ. œ throat: bœ>. œ. >> > , 71 2 s 11 œ>. 3 s 5 V 8 ≈ 8 8 ¿ 8 L¿. •L ¿ ¿ •L ± S ƒ ç S F high scream 5 (into instrument): 25 e (ord.) 3 (ord.) ﬂt. , - ﬂt. " s L‚ , 5 7 œ bœ. 4 9 V 8 .L . 8 #œ ˙ œ ‰ 4 #œ œ \ bœæ 8 molto . œ . [ç] æ œ œæ æposs. ¿œ #˙ œ f F ƒsub. F -

! ! ! ! ! ! explosive cackle: (ord.) ﬂt. [i] ! ! ! [o] 5:3 [ç] ! ! ! [u] 28 œ IN #œ#œ œ#œ œ #œ œ nœ‚ ‚ · . œ œ ( ) 9 ¿ s 3 . 2 5 #œ æ ‰ V 8 4 æ æ æ 5 4 3:2 ‚ ‚. •L 5 æ æ ƒsub. sub.p poco S ƒ f sub.p ƒ ! 3 ! ! ! 31 [p s k s t s...] [C] 3 3 5 (ord.) e s 91 2 ¿. s œ s V 8 ≈ 8 #Sœ œ œ bœ œ œ œ œ œgœ œ œ 85 ¿ •L > P f S F p S molto ƒ 33 6:5 (ord.) 12 = 7 . e . #œ. œ s , . . . #œ s s . . . œ. #œ. #œ œ nœ 5 b¬ 3 L. 7 s œ bœ œ 9 V 8 ¬ b¬ ¬ ¬ ¬ b¬ 4 8 8 poss.¬ b¬ •L f S P ƒ molto

( ) [u]ñ ! ! ! [ç] ç[S t f k t p] ( ) Œ. 6 36 , [C(i)] ! ! ! bœo . œo . œo . œo . œo . œo . œo .b·.œo . œo . œo . 9 ( .) ( .) 5 ¿ ¿ ¿ ¿. 15 V 8 bœ bœ. bœ bœ. bœ bœ. bœ bœ. bœ bœ. Œ Œ 8 > > > ¿ ¿ 16 . . . . . > > >¿ 7:4 7:4 P πcalma subito

- 3 -

16:5 [(u)] G (ord.) C # C 38 B•• ••• # •B•• ••• # œ. n EbCn n Cn œ. g L , j . œ. 15 b˙g ... 9 7 s #œ. bœ. œ #œ. 4 V 16 g 16 #œg . œg . 8 ≈. œ. 4 g g •L P F g g molto P gasping: f S P ! ! ! [C] 41 3 3 cough: bœ. œ. > -¿ bœ. œ. 4 ˙ œbœ. œ 5 . s 9 s œ. œ. œ. s 4 V 4 œœ3bœ œbœ. 8(disruptive)¿ 8 ≈ ≈ 4 3 •L •L sub. 5:4 •L sub. espress. f ∏lontano ƒ P çsub. S S S (ord.) [C] [C] [C] [C] [√] - [C] n.v. o.v. IN 44 ﬂt. œ œ œbœ nœ œ. #œ - œ - bœ. . . #œ ‚ bœ #œ ¿ -¿ ¿ œ . œ. bœ. -¿ -¿ s 4 æ æ - 6 œ. . 7 \ 2 V 4 æ æ æ 6 æ 8 8 4 f •L f •L f 5:4 •L f •L f •L f ƒ S S P S S S [C] ! ! ! ! ! ! [h] 47 s (non dim.) - œ œ ¿- ¿- ¿- ¿- ¿- ¿- 1 2 s s s s 2 œ bœ 6 114 ‰ ‰ ‰ ‰ V 4 3 4 • • • • • • • • • • sub. L f L F L P L p L π L ∏ L L L L p S S S S S S incessantS S S S

49b 8"+ s s s s s s s s 4 Ø V ‰ ‰ ‰ ‰ ‰ ‰ ‰ 4 [FREEZE]∑ •L •L •L •L •L •L •L •L S S S S S S S S >s CODA: #œ 51a bœ bœ ˙ , œ œ- #˙ , - œ œ Ø #Sœ bSœ S S S V œ ˙ (o.v.) ! ! ! f.v. œ œ œ suave p F P f Psub. >s 51b bœ #˙o , bœ o bœ œ œ ˙ œ œ (#œ) bœ (nœ) 03/24/18 n.v. ! ! ! o.v. n.v. [FREEZE]∑ V o.v. sub. bœ poco f P poco F p - 4 -

Joseph Klein

Der Wasserhehler

( The Water-harborer ) character study after Elias Canetti

for solo ocarina

( 1997/2000 )

– for Helen Bledsoe –

duration: c . 4'

Performance Notes

senza misura pause/breath

Ø (very short/short)

portamento between pitches indicated, stop tone abruptly with by sliding finger (s) across hole(s) T tongue

inverted mordent (rapid alternation + covered or muffled tone with half-step above)

highest pitch possible ! ! ! gradual change from one mode (overblow) of play to another c.2” c.2” → accelerando/ritardando within the duration indicated

→ → durational continuum within senza misura section: values arranged from shortest to longest (precise durations ad libitum).

n.v. s.v. o.v. f.v. vibrato continuum :

no vibrato ; slow vibrato ; ordinary vibrato ; fast vibrato.

• The part is notated in concert pitch for ocarina in G. • Accidentals apply only to the notes they immediately precede, with the exception of repeated notes. • Each line of music is approximately 15 seconds in duration. • Although not notated, it is assumed that pitches will be microtonally inflected in conjunction with the indicated dynamics: thus, passages marked piano or mezzo-piano will normally sound as written, while those marked pianissimo will sound slightly lower and those marked mezzo-forte will sound slightly higher; a crescendo will be accompanied by a corresponding rise in pitch, while a diminuendo will be accompanied by a corresponding fall in pitch.

Program Note

Der Wasserhehler (The Water-harborer ) is the third in a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere (Earwitness: Fifty Characters), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters, and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, percussion, bass saxophone, guitar, and piccolo, among others. In Canetti's depiction of this character, The Water-harborer

- i - "lives in fear that he is bound to die of thirst and so he collects water… He goes to his neighbor and asks for some water… [and] thereby spares his own faucet, which shares his sensitivity and closes before it is too late."

Der Wasserhehler was composed in July of 1997 and revised in September of 2000 for Helen Bledsoe, who first performed the work on 14 November 2000 in Sofia, Bulgaria.

* * * * *

Der Wasserhehler ( The Water-harborer ) The water-harborer lives in fear that he is bound to die of thirst and so he collects water. His wine cellar looks well-stocked, but it is no wine cellar, all the bottles are filled with water, sealed by him personally, and arranged by year. The water-harborer is racked by the waste of water. That’s how it started on the moon. "Water? Why save water? We’ve got enough from here to eternity !" So they left the faucets half-open, they kept dripping, people took a bath every day. That was a frivolous breed up there. And what became of them? When the first reports of the moon arrived, the water-harborer was beside himself with excitement. He had always known it was because of the water, the men on the moon died out because of the way they wasted water. He had said so everywhere, and people laughed and thought he was crazy. But now, now they had been up there, and they could see in black and white, even in color. Not a drop of water and no human being anywhere ! It was not hard putting two and two together. The water-harborer saves early. He goes to neighbors and asks for some water. They are glad to oblige, he comes again. He thereby spares his own faucet, which shares his sensitivity and closes up before it is too late. Anything they give him he puts in a safe place, not a single drop is lost en route. The bottles are lying ready in the kitchen, the labels with the year written on them, the wax for sealing. Actually, this is no longer a kitchen, you would have to call it a water studio. He already has fine reserves, and if worst comes to worst, he and his family could manage for a while. But he doesn’t speak about it, he’s afraid of burglars, and feels it is wiser to keep silent about his rich cellar. The water-harborer cries when it rains. Today was the Last Time, he whispers, we will remember this day for a long time. It does rain again, but he, a counter of drops, knows that there is less rain each time, soon it will stop altogether, the children will ask: What was rain like; and adults will have a hard time explaining it to them in the prevailing drought.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

English translation 1979 by The Seabury Press, Inc. text used by permission© of Carl Hauser Verlag, München.

- ii - Der Wasserhehler character study after Elias Canetti for solo ocarina Joseph Klein (1997/2000)

Obsessive U s , U s Ø ˙ œ ˙ œ œ œ ˙ œ œ & o.v. s.v. ! ! ! f.v. ! ! ! s.v. n.v. o.v. n.v. p p P

c. 2.5" 2 >s ﬂt. >s ﬂt. + U œ œ ˙ œ ˙ œ ˙ œ œ & ! ! ! o.v. n.v. o.v. æ sub. æ sub. F π P S p F S p

3 >s U œ >sU + ˙ œ œ œ ˙ œ ˙ œ œ ˙ ˙ & n.v. ! ! ! o.v. œ SP π p P

4 s s , + , œ ˙ œ œ œ œ ˙ œ ˙ œ œ & Ò s.v. ! ! ! f.v. ! ! ! s.v. n.v. c. 2" P ñ p P p

5 s , œ œ œ U + œ œ œ ˙ œ œ & o.v. œ Ò n.v. o.v. P poco P P ñ π p poco © 2000 by Joseph Klein. All rights reserved. - 1 - 6 >s ﬂt. >s >s œ U ˙ œ œ œ œ œ ˙ œ œ œ & s.v. ! ! ! f.v. ! ! ! s.v. o.v. æ c. 2.5" sub. sub. F P sub.p SP p P

7 >s s , U œ œ œ U œ œ ˙ œ œ ˙ œ œ œ & œ Ò s.v. ! ! ! P ñ P S p

8 s , >s œ œ œ œ ˙ œ œ œ œ œ & f.v. o.v. œ ˙ ! ! ! f.v. n.v. F P S P poco sub.p

9 c. 2" œ s , œ s œ s œ œ œ œ ˙ œ œ ˙ œ œ œ & œ ! ! ! s.v. o.v. œ o.v. P P ñ P P poco

10 - s , œ œ œ œ #œ U œ œ bœ ˙ S œ œ bœ- ˙ & n.v. o.v. ˙ S sub. sub. π P ñ P P poco

11 + ﬂt. œ s œ #œ s + œ œ bœ ˙ œ œ ˙ œ- œ œ œ #œ & n.v. o.v. o.v. ˙ œ œ n.v. sub. æ sub. π p πP F P P p π

- 2 - becoming increasingly urgent...

12 → → → >s U + >s U becoming increasingly urgent... , b˙ bœ b˙ , b˙ b˙ œ #œ bœ œ œ œ & o.v.˙ s.v. ! ! ! f.v. n.v. o.v. Ò œ ! ! ! Sp P sub.p P F

13 >s bœ #œ bœ #œ #œ #œ bœ #œ >sbœ nœ S œ #œ #œ #œ #œ & f.v. o.v. œ- -œ n.v. sub. P S F S F p

>s 14 U œ œ œ bœ > bœ b˙ bœ bœ ˙ œ & o.v. œ f.v. ! ! ! o.v. c. 2" SP F c. 2" P F p Frantic

15 sŸ~~~~~~~~~~~~ s n Ÿ~(~ ~)~~~~~~~~~~~ , ( ) ( ) , bœ œ , nœ , , œ œ œ œ #œ œ S m œ œ #œ #œ #˙ œ bœ #œ œ œ S & Ò ! ! ! f.v. o.v. sub. P F poco F poco p molto

ﬂt. 16 Ÿ~~~~~~~~~~~~~~~ , >s >s ( ) b bœ > ( # œ ) > nœ bœ , m œ œ ˙ , œ , œ #œ #œ s œ bœ bœ œ œ bSœ œ œ œ æ - & > ! ! ! f.v. o.v. F S S Psub. F S

T Ÿ ~~~~~~ﬂt.~~~~~~~~~~~~~ 17 Ÿ~~~~~~~ , ( ) ( ) s , bœ nœ — , œ nœ #œ #œ bœ nSœ œ ˙ #œ S J œ œ œ œ 03/24/18 J & #œ > æ F poco F S P f moltoç

- 3 -

Joseph Klein

Der Tückenfänger

( The Wile-catcher )

character study after Elias Canetti

for solo basset horn

(2014)

- for Kimberly Cole Luevano -

duration : c . 6 ' Performance Notes

play as fast as possible @ fluttertongue q gradual change from one grace note accelerando mode of play to another

breath accent (no tongue ( ) pitch bend (with embouchure, > articulation) œ no more than a minor second)

→ → → gradual change from one short fermata mode of play to another , , distinct pause/break in sound, arranged from shortest to longest " bisbigliando (timbral trill); alternate between three different fingerings bisb [0 1 2 ~] (ad libitum, but in irregular rhythms; microtonal deviations of up to

±25 cents are allowable. [0] [1] [2] alternate fingerings (for timbral modulations) : fingerings ad libitum ; 0 = normal fingering; note that these continue through tied notes. ~~~~~ irregular/erratic trill speed (accelerando/ritardando, ad libitum)

Accidentals~ apply only to the notes they immediately precede, with the exception of repeated pitches. Broken ties/slurs indicate continuity of sound (no re-articulations) within a larger phrase.

Program Note

Der Tückenfänger (The Wile-catcher ) is the fourteenth in a series of short works for solo instrument based upon characters from Der Ohrenzeuge : Fünfzig Charaktere (Earwitness : Fifty Characters), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, percussion, bass saxophone, guitar, piccolo, organ, basset horn, and violoncello, among others. The pitch material in Der Tückenfänger is based entirely on a symmetrical non-octave-repeating scale derived from a recursive <2,1,2,3> interval class set, with phrases generated from fractal progressions of that set. In Canetti's depiction of this character, "the Wile- catcher looks around corners and will not be deceived. He knows what is hidden behind innocent masks, he knows, as if lightning has struck him, what someone wants from him; and before the mask falls of its own accord, he makes a quick decision and tears it off." Der Tückenfänger was completed in December 2014 and composed for clarinetist Kimberly Cole Luevano, who first performed the work on 19 September 2016 at the University of North Texas.

- i - Der Tückenfänger (The Wile-catcher)

The wile-catcher looks around corners and will not be deceived. He knows what is hidden behind innocent masks, he knows, as if lightning has struck him, what someone wants from him; and before the mask falls of its own accord, he makes a quick decision and tears it off.

The wile-catcher can also bide his time. He goes among people and studies them, everything is significant. A person need merely crook his little finger to reveal his deadly design. Everyone is after the wile-catcher, the world teems with murderers. If someone looks at him, he quickly averts his eyes, the man must not realize that he is unmasked. Let him lull himself a bit in his predatory lusts, and hatch his diabolical plans undisturbed. For a time, the wile-catcher does not mind being thought a sucker. Meanwhile, he starts boiling, and he boils so hard that he could go up in steam. But he makes sure it does not happen, and he strikes before things come to that pass.

The wile-catcher collects evil designs. He has enough space and he keeps them well and calls his pocket, which is full of wiles, Pandora’s Box. He walks softly in order not to frighten masks prematurely. If he has to say something, it sounds gentle, he speaks slowly as if it were difficult for him. If he looks someone in the eye, he thinks about somebody else, as a diversionary tactic. If he makes an appointment, he shows up at the wrong time, much too late, as though he had forgotten it. He thereby lulls the enemy into false security, the enemy has time to form a wrong image of him. Then he shows up, apologizes humbly, and offers a hair-raising excuse for coming late; under the table the villain is already rubbing his hands. The wile-catcher then lets him speak for a long time and says nothing, he nods his head frequently as a sign of agreement, gazes stupidly and admiringly, is amazed and laughs and lets out some praise now and then. So far, everyone has been taken in by him. The wile-catcher takes his leave, gives the scoundrel his hand, shakes heartily, says ingenuously, ‘‘I’ll think it over,’’ and starts off for home in order to arrange and systematize the wiles, of which none has eluded him.

He has a special gift for systems. After all, everything in the world has a system, nothing is fortuitous, every villainy is connected to all the others, basically it is the same blackguard who, for sham, disguises himself as many. The wile-catcher reaches in with his sharp mind, he clutches a whole dense tangle and pulls it out, holds it high, and secretly feels sorry for the Creator, who worked so cleverly, and yet not cleverly enough to fool him.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

English translation 1979 by The Seabury Press, Inc. text used by permission© of Carl Hauser Verlag, München.

- ii - Der Tückenfänger character study after Elias Canetti for solo basset horn Joseph Klein ( 2014 ) Furtive = 66 [0] [1 0 2] [0 1] q s - œ œ œ . œ. b˙ œ ˙ ˙ , 6 ˙ . œ œ œ 4 œ œ œ 7 & 4 5 4 3 3 8 cresc. p f poco 4 œ œ œ . . œ œ œ œ œ œ 7 œ. S œ 5 œ œ œ 5 #œ œ S œ. œ œ. 3 b˙ . œ bœ 4 & 8 #œ 3 8 4 3 5 3 4 4 P F 8 - [0] [1] œ bSœ œ œ. bœ œ bœ œ. . , 4 S œ œ 3 n-˙ 4 œ. œ œ œ 3 Sœ œ ˙ 4 & 4 5 3 4 4 5 5 4 3 4 sub. f molto p Gentle (poco meno mosso) P [0 1 2] [2 0 1] [0] [2 1] [0] 12 s [1] [0] b˙ œ ˙ œ œ œ ˙ ˙ œ œ œ 4 7 œ Sœ œ 9 œ-. 7 & 4 3 8 3 8 8 π poco [1] [0] [1] [2] 15 [2 0 1] b˙ œ œ œ. œ [0] [1] [2] [1] [0] , 7 3 ˙ œ. œ œ œ ˙ 7 œ œ ˙ .. 5 & 8 3 4 3 8 8 dim. Agitated (tempo primo) ñ ! ! ! molto s vib. (ord.) 19 > s œ œ œ # œ #œ œ bœ œ s #œ , œ bœ. œ œbœ ˙ , bœ #œ œ #œ. #œ nœ 5 œ 7 S 4 œ Sœ œ S 2 3 3 3 3 & 8 sub. 8 4 4 4 f F f poco

23 - bœ- bœ œ. bœ œ #œ. bœ. s œ œ . œ œœ bœ œ ˙ bœ. œ. œ 3 n œ œ œ ‰ Sœ œ 4 ‰ 3 & 4 5 3 5 4 3 5 5 4 f F f F f f

27 > bœ ˙. , bœ œ bœ bœ . bœbœ bœ. œ œ œ œ œ. œ- ≈ bœbœ. œ œ 3 4 œ œ nœ. ˙ œ 5 & 4 4 5 5 sub. 3 4 P ƒ 2014 by Joseph Klein. All rights freserved. © - 1 - ! ! ! molto vib. (ord.) bisb [0 1 2 ~]~~~~ 31 b˙- 3 œ bœ bœ bœ , bœ œ œ bœ œ bœ#œ œ 5 œ. 4 œ. s œœ ≈ œ ˙ 5 # œ œ œ ‰ 3 & 4 (non dim.) 4 5 ƒ f f Psub. poco bisb [0 1 2 ~] ~~~~~ 34 ~~~~~~~ s sbœ œ bœ Sœ œ ˙ œ œ , ˙ œ. œ 3 œ Sœ S 4 bœ œ œ bSœ œ œ 5 5 3 5 S bœ ˙ & 4 4 5 3 4 sub. f P F π Impulsive (poco più mosso) 3 38 sub-tone 3 5 5 s 3 3 ! ! sub-tone , s 5 s#œ 3 sbœ s œ s 2 s > œ s . . s s s œ bœbœ nœnœ‰ bœ & 4 . bœ. œ bœ œ 4 bœ nœ bœ bœ œ. bœ bœ œ œ bœ. 4 œ bœ œ œ sub. œ bœ . bœ œ œ œ œ. π œ. Fsub. f f F f p π 3 3f 41 ! ! sub-tone 3 3 3 5 , s s s Ÿ~~~~~~~ bœ bœ œ œ 2 s s 4 s bœ > > bœ 3 œ œ > bœ> bœ . œ & 4 bœ bœ #œ #œ 4 > s 4 . ≈ œ bœ . ‰ -nœ œ œ nœ œ bœ. œ bœ bœ. bœ #œ œ sub. œ œ œ . f f F π f f f 5 45 5 3 3 s 3 s # œ s#œ œ œ bœ- > #œ. œ œ S #œ. > œ & œ. #œ œ œ œ 3 #œ (>) œ œ. 5 . bœ. bœ bœ œ bœ- œ œ f f f œ . f œ. 3 sub-tone 5 3 sub-tone 49 3 > 3 3 œ nœ. s > s s bœ nœ œ s œ #œ s bœ bœ œ œ bSœ bœ S #œ. #œ # œ 4 nœ & œ œ bœ Sœ #œ œ œ . -œ # œ 4 #œ. œbœ 3 #œ bœ #œ œ#œsub.nœ bœ. œ sub. - œ. f œ f - π F ƒF π quasi sub-tone 52a > œ . >s œ s œ œ œ ˙ œ œ. s œ œ. , s s (>) #œ #œ #œ bœ bœ œbœ œ S œ b˙ bœ œ #œ 4 œ œ 5 - # œ 3 ˙ œ 4 & 5 4 bœ 3 4 3 - bœ- 4 4 5 poco 3 sub.f f P π F Agitated (tempo primo) 56 s > (˘s) œ > ( ) (>) œ , # œ #œ œ > bœ#œbœ ( ) ˙ œ ¯ bœ nœ 4 #œ œ ˙ œ #œ. œ. 3 S œ 5 b˙ œbœ. œ bœ œ œ. & 4 4 #œ 3 Œ 4 ≈ 3 #œ 3 5 nœ F fsub. molto f f - 2 -

53 bisb [0 1 2 ~]~~~~~~~ 59 œ > œ œ #œ #˙ œ œ . #˙ œ bSœ 3 bœ œ œ œ. #œ #œ#œ 5 œ #œ 4 & œ. 4 bœ 4 3 5 4 -3 5 3 F f F poco ! ! ! molto Furtive (l'istesso tempo) 63 vib. œ œ œ. œ (ord.) 5 5 4 œ bœ œ "5 & 4 4 œ. œ œ ˙ ƒ ˙ . œ œ. œ #œ F 66 3 3 ﬂt. 3 s 3 s ≈ 3 bœ 8 4 & œ œ @ @ @ @ 4 œ œ œ œ . 8 œ œ œ œ. 4 #œ œ. œ#œ œ œ. # œ #œ œ #œ œ œ . #>œ. œ #œ #œ. F f f

69 Gentle (poco meno mosso) bisb [0 1 2 ~] 5 3 , 3 3 4 #œ œ 3 s s 5 s s 3 & 4 œ. œ œ œ 4 4 œ- 4 œ œ. œ. œ œ bœ bœ b˙ b˙ . œ œ bœ ( b œ .) bœ œ œ π poco π ﬂt. 73 ~~~~~~~~~~ bisb [0 1 2 ~] ~~~~~~~~~~~~~~~~~~ 5 5 3 , , & 43 4 78 4 78 bœ œ æ æ æ æ œ. ˙ .. w œ ˙ bœ. ˙ ˙ œ π P 78 Furtive (tempo primo) 5 3 5 3 7 3 s 4 & 8 bœ. 4 4 œ. bœ œ œ œ œ bœ. œ bœ bœ bœ nœ ˙ . œ < bœ œ poco P F F . F 82 3 5 3 3 5 ≈ s 3 ≈ 4 & œ. œ œ. œ œ 4 œ œ 4 #œ œ #˙ œ œ. œ œ. bœ œ w F bœ. P f Impulsive (poco più mosso) 3 >s 86 3 ! ! ! molto ' > 3 5 vib. (ord.) #œ œ 5 , " #œ s 3 s s 4 œ S œ #œ . & 4 ≈ s œ 4 3 #œ ‰03/24/18 ˙ bœ œ œ ˙ . #œ œ œ. bœ. - bœ. F molto œ .#œ œ œ œ œ f f f > F - 3 -

Joseph Klein

Der Leidverweser

( The Woe-administrator )

character study after Elias Canetti

for solo contrabassoon

( 1 9 9 8 )

– for James Rodgers –

duration: c . 4' Performance Notes

senza misura Ø # # # gradual change from one mode of play to another

metered notation : beat units are subito change from one mode fixed, measure units fluctuating → of play to another

sudden microtonal inflections above/below → pitch indicated, utilizing ! " alternate fingerings →

c.2” c.2”

accelerando/ ritardando within the duration indicated

durational continuum within senza misura section: values arranged from shortest to longest (precise durations ad libitum).

continuum of rests /breaks within senza misura section: values arranged from shortest to longest (precise durations ad libitum).

n.v. o.v. m.v. vibrato continuum: non vibrato ; vibrato ordinario ; molto vibrato.

subtle and continuous timbral modifications (ad libitum),

~ ~ ~ ~ ~ ~ ~ utilizing alternate fingerings, embouchure changes, etc. ; no more than a quarter-tone fluctuation in either direction.

• Accidentals apply only to the notes they immediately precede, with the exception of repeated pitches.

• Each line of music in spatial notation is approximately 15 seconds in duration. • The tone throughout the opening section ("Melancholy") should be continuous, with audible breaks only where indicated; circular breathing should be used if at all possible. The sustained tones must be carefully shaped and interpreted as though each is a self- contained phrase in itself.

Program Note

Der Leidverweser (The Woe-administrator ) is the third in a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere (Earwitness: Fifty Characters), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters, and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, percussion, bass saxophone, guitar,

- i - and piccolo, among others. In Canetti's depiction of this character, The Woe-administrator "has lost all he had six times. He has known poverty and hunger; and since he was not born with a silver spoon in his mouth, he has had to make do with iron. He has always worked his way up with iron energy. No sooner did he reach the top than he lost everything again." Der Leidverweser was composed in June of 1998 for contrabassoonist James Rodgers. The work received the 1998 El Ruiseñor Grave Prize and was first performed by Monica Fucci on 13 August 1999, for the International Double Reed Society Conference at the University of Wisconsin, Madison.

- ii - Der Leidveweser ( The Woe-administrator )

The woe-administrator has seen a thing or two in his life and there are good reasons why he has monopolized all the woe in the world. Wherever any horror has taken place, he was there, he was involved. Others talk about it and feel sorry about it, but he experienced it personally. He does not talk, but he knows better. How poignantly he gazes whenever one of his catastrophes is mentioned. It began when the Titanic struck an iceberg. He leaped overboard, he floated in the water for sixteen hours. He never lost consciousness for an instant, he saw one person after another vanish into the water and he was the very last to be rescued.

The woe-administrator has lost all he had six times. He has known poverty and hunger ; and since he was not born with a silver spoon in his mouth, he had to make do with iron. He has always worked his way up again with iron energy. No sooner did he reach the top than he lost everything again. The woe-administrator has had several happy marriages and ought to have grandchildren and great-grandchildren by now. But all the members of his family, without exception, were snatched away from him by fatal illnesses. He had to accustom himself. His first wife, whom he cared for the most, entered medical history as the last case of the plague in Europe. And he can tell you a thing or two about leprosy, which no one around here would think possible. It happened right before his eyes : two of his daughters and half a son died of leprosy. But that did not turn him into a Weeping Willy, he took it like a man. One can understand, however, that he is not very impressed by other people’s woes. He complains about nothing, he takes it upon his shoulders, he holds his tongue and smiles. When others talk a blue streak, he does listen, but let no one expect him to open up to those people who live their lives in one great woe. The woe-administrator has a gentle way of noticing contradictions in the misery tales of other people. He does not ask a lot of questions, he keeps listening, but suddenly he corrects a date. It is quite presumptuous of someone to dare relate something that the woe- administrator has personally experienced from beginning to end. A light quiver of sarcasm will then play about his lips. Nothing at all can be sensed in his words when he expresses his condolences. It is not really mere politeness, it is stamped by his deeper knowledge, but one can guess what he is thinking. He knows them well, those robbers, who would like to pilfer each of his woeful experiences. Recently, however, he reached the end of his rope. The name Pompeii was dropped and a thief of extraordinary format tried to tell him about those events : tell him, who was in Pompeii on that single day and was the only one able to escape ! He shut that man up snidely. He simply would not stand for it. He rose to his feet and, overcome by the memories of that day, visibly excited, but not without dignity, he left the company. It did him good to perceive the awe-filled silence of the others all the way to the door.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

English translation 1979 by The Seabury Press, Inc. text used by permission© of Carl Hauser Verlag, München. - iii - Der Leidverweser character study after Elias Canetti for solo contrabassoon Joseph Klein (1998)

Melancholy n.v. ! ! ! m.v. o.v. " bœ ˙ B8 Ø ˙ œ ñ F

n.v. 2 ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ , ˙ B8 P

o.v. ! ! ! n.v. c.2" s 3 # " ˙ œ œ ˙ bœ bœ œ B8 #œ œ œ #œ F P F

o.v. ! ! ! m.v. o.v. " 4 U c.2" #Sœ ˙ œ ˙ B8 bœ bœ bœ P F

5 " s # U# ˙ bœ œ œ ˙ 8 bœ B Sœ bSœ S F F

n.v. 6 ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ˙ B8

o.v. ! ! ! n.v. 8 " # # > #˙- œ œ ˙ Sœ œ B8 #œ- F P F

(n.v.) ! ! ! m.v. 9 ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ , #˙ t B8 F P molto f waning... o.v. 10 s U œ œ #œ s bœ , X t S ˙ œ bœ s œ (poco morendo) ˙ bœ b˙ 4 f F P ñ

Tentative = 60 11 q 3 3 5 t X 4 s ‰ Œ s s ‰ s Ó ‰ s ‰ ‰. s Œ Œ s ‰ s Œ #œ œ œ œ #œ. secco . . #œ. #œ. #œ. . P Poignant (l'istesso tempo) 14 3 3 U , t Œ s s Œ ‰ s Ó bœ œ œ ˙ . œ #œ œ ˙ . #œ. #œ. P

3 16 5 , t œ bœ s bœ bœ b˙ œ œ . bœ . - œ œ œ bœ- œ ˙ œ P P - 2 - 5 3 18 , 3 , t bœ œ œ #œ œ- œ œ #œ œ œ œ œ- œ œ. œ œ œ œ œ F Tentative 20 3 3 U U U t œ œ Œ s ‰ s s‰ Œ s Œ œ bœ w poco œ - #œ. #œ œ. #œ. P Poignant 5 23 3 3 t Œ bœ œ Ø œ œ œ poco \\ bœ . œ œ œ- b˙ - œ w P becoming urgent... 25 s s s #œ s U U, t Ø œ #˙ n˙ X œ bœ bœ ˙ œ #œ œ 4 p (poco stringendo) P F f Tentative = 60 26 q 3 5 3 X t 4 s Œ ‰ s s ‰ Œ ‰ s ‰ s ‰ Œ ≈ s ≈ ‰ s ‰ Ó ‰ bœ. bœ œ œ bœ. bœ. œ P . . . Indignant = c.90 q # U 3 " s Ÿ~~~~~~~~~~~~~~ 29 >œ ˙ . œ ˙- œ œ- œ ˙- ˙ , œ >˙ œ t s s B8 ‰ Ø intense 3 3 furious œ bœ ƒ Ï sub.v f s 18 34 * œ œ U U , bœbœ œ t œ Ÿ ~~~~~~~~~~~~~~~~~~(~ ~ )~~~~~~~~~~~~~ [FREEZE] B8 œ#œbœ œ œœ œ#œ#œ œ ∑ 03/24/18 œ#œ œ bœ ˙> molto (key clicks only) ñ * If instrument does not have low A key, trill may be played one half-step higher (B b /C b ).

- 3 -

Joseph Klein

Die Müde

( The Tired Woman ) character study after Elias Canetti

for solo alto saxophone

(2004)

– to Eric Nestler –

duration : c . 4'

Performance Notes

pitch bend (of at least a senza misura Ø œ major second)

pause/breath (very short/short) ritardando metered notation: beat units are X fixed, measure units fluctuating 4 1 as fast as possible tr 2 semitone trill throughout ~~~~~~

Durational continuum within senza misura section: values arranged from shortest to longest (precise durations ad libitum)

Music within brackets should be interpreted as an aside, temporarily breaking the flow of the interrupted music.

• Accidentals apply only to the notes they immediately precede, with the exception of repeated pitches.

• Each line of music in spatial notation is between 10 and 20 seconds in duration, depending on the character of the music.

Program Note Die Müde (The Tired Woman) is the seventh in a series of short works for solo instrument based upon characters from Der Ohrenzeuge : Fünfzig Charaktere (Earwitness : Fifty Characters ), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti ( 1905-1994 ). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters, and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, percussion, bass saxophone, guitar, and piccolo, among others. In Canetti's depiction of this character, The Tired Woman "is no longer young, she is not all that old either, but old enough to sigh over too much work"; but when angered, "she flares up and starts yelping and screeching away in her language, and keeps yelping and yelping tirelessly… All her sentences end shrilly on a very high note… When she finally collapses on her seat, she peers around, her eyes begging for pity, and whimpers: 'Tired.'" Die Müde was composed in September of 2004 for saxophonist Eric Nestler, who first performed the work at the University of North Texas on October 19, 2004.

- i - Die Müde

( The Tired Woman )

The tired woman sits in her restaurant and watches out. She is no longer young, she is not all that old either, but old enough to sigh over too much work. She greets the steady customers entering the place. As the owner or as the owner’s wife, whichever, she has the right to be asked how she feels. "How are you today?" "Tired," she says, whether it is twelve noon or twelve midnight, and not without giving reasons for her tiredness. If it is noon, she says : "I worked eighteen hours yesterday"; if it is midnight : "I worked eighteen hours today." This sentence is the only thing that does not tire her, she has been reiterating it for years a hundred times a day. She accompanies it with a weepy face, stands up to show how close she is to collapsing, takes two steps, and really does collapse. She makes sure she falls upon a cushioned seat, she does not want to get hurt if she does collapse. As soon as she is properly seated, she casts beseeching glances around her and says : "Tired."

But a waiter has already done something wrong : failed to notice a guest, forgotten something in a dish. She flares up and starts yelping and screeching away in her language, and keeps yelping and yelping tirelessly. The cross she wears on her chest is affected by her excitement, it dances nastily to her words. All her sentences end shrilly on a very high note. Since there are many sentences, every conversation stops, no one can understand his own words anymore, the patrons go mute. Loving couples are seized with anxiety about their future and they no longer look into each other’ s eyes. Scolding, she gets up from her seat, staggers to the counter, personally takes hold of a plate, staggers through the restaurant, changes her mind, and carries the plate back to the counter, where, amid the shrillest squawks, she deposits it without smashing it. No one dares to order anything, who could possibly wish for anything except her silence? New customers may come, the tired woman nods by way of greeting and keeps scolding unswervingly. She yelps to make sure that everything is in order, that’s why she’ s there after all, the cross on her chest gives her strength, without the cross everything would be over after three sentences. When she finally collapses on her seat, she peers around, her eyes begging for pity, and whimpers : "Tired."

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

English translation 1979 by The Seabury Press, Inc. text used by permission© of Carl Hauser Verlag, München.

- ii - Die Müde character study after Elias Canetti for solo alto saxophone Joseph Klein (2004)

Languid s U , s s , s s Ø ˙ œ U˙ s & bœ œ bœ œ #œ bœ bœ œ #œ p P ñ p F ñ p

Fragile 1b o.v. o.v. o.v. o.v. , ˙ U , œ œ #˙ œ ˙ #˙ nœ #œ (non(non(non dim. dim. dim.) ) ) (non(non(non dim. dim. dim.) ) ) bœ œ & sub. F ñ p ñ π poco P

Anxious 2b s U s s #w , œ s œ #œ #Sœ bœ nœ s bœ & œ œ œ bœ bœ œ ñ p ñ F

waning... 3b s s s U , ˙ & œ bœ nœ œ #˙ œ œ œ bœ ˙ poco (playP without breaks, as aP single gesture)

4b #˙ ˙ #˙ & (sim.) ˙ ˙ P 2004 by Joseph Klein. All rights reserved. © - 1 - Agitated (interrupting) 5a ˙- b˙- #œ œ œ œ œ œ bœ bœ bœ #œ œ œ bœ œ & œ œ #œ œ œ #˙ ˙ #œ œ >sub. ƒ U- - 5b ˙ œ- #˙ œ #œ bœ bœ œ œ œ œ œ bœ &

U s - 5c œ- ˙ bœ > œ œ #œ nœ#œ œ & bœ bœ bœ bœ nœ nœ bœ bœ poco œ œ œ œ œ œ œ œ poco f > > > > ƒ ƒ ƒ ƒ ƒ

Frenetic = 120 1 q U 2 ~~~~~~~~~~~~~~~~~~~~~~ >- Ÿ 6b > ˙ , > > > bœ œ #œ œ bœ > #œ œ. >œ œ n>œ œ bœ œ œ bœ œ X #œ #œ œ œ & œ> œ bœ œ 4 ƒ ƒ ƒP fP fP fP fP ƒ ƒ

1 ( 2 ) ~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 8 > > > > œ œ #œ. œ œ œ >œ. bœ œ >œ >œ >œ œ. #>œ œ #œ œ >œ œ œ >œ. œ bœ œ

& (sim.)

1 ( 2 ) ~~~ Ÿ ~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 12 #œ>. >œ œ > b>œ >œ œ. (Languid) > > > #>œ. œ > œ Sœ œ œ œ #œ œ œ œ œ S Ø ˙ S & (sim.) Psub. fP fP fP

- 2 - 1 ( 2 ) ~~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 15 > > > > œ. bœ œ #>œ œ >œ œ. bœ œ >œ œ >œ œ œ >œ. œ #>œ œ #>œ. >œ œ n>œ &

1 ( 2 )~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~ ~~~~ Ÿ b˙- 19 b>œ > > > > œ > b>œ œ > > #œ œ. œ œ >œ œ bœ œ œ œ. œ œ> œ >œ. #>œ œ #œ œ> œ œ. #œ œ œ

& sub. (sim.) ƒ fP fP fP

1 Exasperated ( 2 ) ~~~ Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~ - , 23 œ œ > b>œ œ > (Languid) œ œ. œ œ. >œ œ >œ bœ bœ Ø œ œ #˙ & sub. Psub. ƒ

- - , - œ- ˙- 26b #œ , œ #˙ bœ #œ #œ œ bœ œ U, œ œ œ bœ œ œ œ & (non dim.)

Languid becoming somewhat anxious... (as before) 27 s U œ s s , ˙ œ bœ œ#œ s n˙ & œ œ bœ ñ P P

Fragile 28 U ˙ U , œ #˙ ,

˙ #œ 03/24/18 & π ñ π ñ

- 3 -

Joseph Klein

Der Schönheitsmolch

( The Beauty-newt )

character study after Elias Canetti

for solo bass saxophone

( 2000/2008 )

- for Andreas van Zoelen -

duration: c . 5 ' Performance Notes

senza misura slap tongue accelerando/ritardando Ø +

durational continuum within senza misura section: values arranged from shortest to longest (precise durations ad libitum).

continuum of rests /breaks within senza misura section: values arranged from shortest to longest (precise durations ad libitum).

• All written pitches sound two octaves and a major second lower than written.

• Accidentals apply only to the notes they immediately precede, with the exception of repeated pitches.

• Each line of music in spatial notation within the "Delicate" sections is approximately 15 seconds in duration; music within the "Grotesque" sections is paced somewhat faster.

Program Note Der Schönheitsmolch (The Beauty-newt ) is the eleventh in a series of short works for solo instrument based upon characters from Der Ohrenzeuge : Fünfzig Charaktere (Earwitness : Fifty Characters), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and include works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, percussion, and guitar, among others. In Canetti's depiction of this character, The Beauty-newt "is keen on all the beautiful things that have existed, do exist, or will exist in the world, and he finds them in palaces, museums, temples, churches, and caves… it would be ungentlemanly to describe his repulsive looks. Let it be said that he never had a nose. His pop eyes, his jughandle ears, his goiter, his black, rotten teeth, the pestilential stench he exudes from his mouth, his sometimes squeaky, sometimes croaking voice, his doughy hands… he never holds them out to anyone and unerringly finds his place in front of all beauties."

Der Schönheitsmolch was completed in October of 2008 for bass saxophone specialist Andreas van Zoelen.

- i - Der Schönheitsmolch ( The Beauty-newt )

The beauty-newt, called bewt for short by some people, is keen on all the beautiful things that have existed, do exist, or will exist in the world, and he finds them in palaces, museums, temples, churches, and caves. It does not trouble him that something considered beautiful for a long time has become slightly rancid for that very reason, for him it remains what it always was even though new beauties are being added daily, each one is beautiful in its own right, none excludes the rest, each can expect him to stand adoringly before it and admire it. One need merely see him in front of the Sistine Madonna or the Naked Maja, approaching the various sides, stopping at various distances, lingering for a very long time, or else a short time with rich variety, and regretting any impossibility of approaching from behind.

The beauty-newt or bewt makes sure to speak no words that might be detrimental to his adoration. He opens himself up wide and goes mute, he does not compare, he does not nitpick, he does not refer to periods, styles, and customs. He does not want to know how the beauty inventor felt and most certainly not what he thought. Each one lived somehow or other, it does not matter whether it was hard, and it could not have been too hard, otherwise the beautiful would not exist now, the very fact that he bore it within him was fortunate, and made him available if these subjective trivia were of interest.

Personally, the bewt is doing just fine : privately, he has no trouble finding and dedicating himself to beauties. He is careful not to buy them so as not to be partisan, and besides, it would be a hopeless undertaking for most beauties are in firm hands. The money he has is unimportant, he uses it economically for his non-stop traveling. He vanishes on trips, one never sees him en route, it is as though he traveled invisibly. To make up for it, he makes an appearance before the beauties, and once you have seen him in Arezzo or the Brera, you will be sure to see him again in Borobudur and Nara.

The bewt is ugly, everyone avoids him, it would be ungentlemanly to describe his repulsive looks. Let it be said that he never had a nose. His pop eyes, his jughandle ears, his goiter, his black, rotten teeth, the pestilential stench he exudes from his mouth, his sometimes squeaky, sometimes croaking voice, his doughy hands — who cares, who cares, since he never holds them out to anyone and unerringly finds his place in front of all beauties.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

English translation 1979 by The Seabury Press, Inc. text used by permission© of Carl Hauser Verlag, München.

- ii -

( 2000/2008 ) Delicate lunga U œ #˙ #˙- #œ- #˙ #œ- #œ Ø & πmolto espress. p p P

U s 1b œ #˙ œ- #˙ œ #œ œ nœ , #œ nœ S #œ & P p P lunga s 1c œ œ #œ #˙ , #œ #œ #œ œ œ œ #˙ , #Sœ S #œ & p F P F ñ

2a - #œ- ˙ #œ œ #œ- œ U #˙ #œ #˙

& sub. sub. p poco p poco p

s s 2b œ œ #˙ #œ #œ #œ #˙ #-œ nœ #œ œ #œ #œ #œ nœ #œ œ S S

& sub. P p poco Psub. p lunga

2c s nœ- , #œ #œ #˙ , ˙ S ˙ œ n˙ & sub. p π P p ñ

2008 by Joseph Klein. All rights reserved. © - 1 - Delicate Grotesque 3 s s #œ - , #œ- œ #œ œ bœ bœ +s ˙ ˙ S U˙ & œ œ bœ œ œ sub. v (moltop espress.) P p P moltoƒ ƒz s 4b U , #œ #œ #˙ #œ #œ #œ œ , S S œ #œ œ#œ nœ œ #˙ & poco p P p poco U 4c ˙ œ #˙ s œ #˙ œ #˙ , #Sœ #œ #œ #œ #œ & sub. poco p P p ñ p Delicate Grotesque s 5 + U - s , #œ #˙ bœ œ s œ œ œ #œ œ #œ & bœ œ #œ ˙ #œ œ œ bœ sub. sub. poco f molto v (moltop espress.) p P p P p ƒz

6b s œ œ s œ , + #œ #œ œ nœ #œ Sœ S #˙ s œ œ œ #œ #˙ & nœ v p P ƒsub.z p F Grotesque 6c s œ U , sbœ s + , #œ #˙ #œ #˙ œ œ bœ œ s & œ œ#œ œ P p v ñ f molto ƒz Delicate

7b s bœ #œ #œ U, #œ nœ œ œ +s #œ #œ & œ #œ œ Sœ œ œ œ œ nœ #œ #œ nœ bSœ bœ œ v pmolto espress. P f (sim.) ƒz - 2 - Grotesque

8b U s s #˙ , s œ s œ #œ œ #œ + , bœ œ bœ bœ snœ œ +s , œ#œ #œ #œ s bœ œ œ & œ #œ œ nœ bœ ñ v v f molto ƒz f (sim.) ƒz

s 9b s s s #œ s s nœ nœ #œ #œ + , s œ œ #œ #œ œ nœ œ s #œ bœ nœ œ #œ #œ nœ œ #œ œ #œ & œ œ œ bœ bœ bœ nœ bœ S #Sœ œ v bœ œ ƒz f

s 9c s s , sbœ bœ + , bœ nœ œ + , +s œ - sœ bœ s #œ œ s s œ œ #œ œ œ #œ œ œ œ œ #œ œ œ œ & nœ œ bœ œ v v v ƒz f f ƒz ƒ ƒz f Delicate 9d #˙ s U, , + , + , s œ œ #œ œ + Sœ s s bœ #œ œ œ s#œ s & œ #œ #œ #œ #œ œ poco v v v (pmolto espress.) ƒz ƒz f ƒz Grotesque + 11 s s s , œ s bœ s #œ œ nœ œ #œ nœ #œ œ Sœ & œ #œ #œ #œ #œ œ œ #œ œ œ œ #œ bœ œ #œ v v v f v #œv v f molto ƒz f (sim.) ƒz f ƒz ƒz ƒz ƒz Delicate lunga

12 + U ˙ , œ #œ œ bœ & œ bœ bœ v v nœ 03/24/18 v v v œ œ #œ œ œ v bœ ƒz ƒz ƒz ƒz v v v v v ƒz ƒz v p poco ƒzƒz ƒz ƒz ƒz ƒz (molto espress.) ñ

- 3 -

Joseph Klein

Die Königskünderin

( The King-Proclaimer )

character study after Elias Canetti

for solo trumpet

( 2006 )

– for John Holt –

duration : c . 5 '

Performance Notes

c.2” senza misura Ø accelerando (for the given duration, if indicated) subito dynamic change ƒ P continuous mode of play for open the duration of the broken line ˜

+ half-closed (plunger) ! ! ! gradual change from one mode ˜ of play to another closed (plunger) + rapid change from one mode → ! [FREEZE] freeze in place until next event of play to another

→ durational continuum → within senza misura section: values arranged from shortest to longest (precise durations ad libitum).

continuum of rests /breaks within senza misura section: values arranged from shortest to longest (precise durations ad libitum).

gradual crescendo with a sudden flare at the end (following contour of hairpin).

L swing trumpet dramatically from side to side for the duration of the tone; instrument should be directed toward R stage floor at approximately 45 degree angle, as if loosely swinging a golf club.

• Accidentals apply only to the notes they immediately precede, with the exception of repeated pitches.

• Each line of music in spatial notation is approximately 12 seconds in duration.

Program Note

Die Königskünderin (The King-proclaimer ) is the tenth in a series of short works for solo instrument based upon characters from Der Ohrenzeuge : Fünfzig Charaktere (Earwitness : Fifty Characters ), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti ( 1905-1994 ). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, trumpet, percussion, and bass saxophone, among

- i - others. In Canetti's depiction of this character, "The King-proclaimer has something majestic about her.... She is tall and stately and her supply of scorn is inexhaustible. She can tell underlings by the least gesture and keeps them away from the king before he is even proclaimed." Die Königskünderin was completed in April of 2006 for trumpeter John Holt, who first performed the work at the University of North Texas on October 17, 2006.

* * * * *

Die Königskünderin

( The King-Proclaimer )

The king-proclaimer has something majestic about her, she realizes what she owes to her mission and is known for her fine treatment of guests. But there is more to it than hospitality, and everyone senses that something special is in the offing, she does not say right off what it will be this time, it heightens the suspense. It cannot be under a king, she never proclaims less. She is tall and stately, and her supply of scorn is inexhaustible. She can tell underlings by the least gesture and keeps them away from the king before he is even proclaimed. But she has a good eye for courtiers too, she knows how to skillfully advance their careers and uses them for all courts. One can sense the way she gathers her exuberance and reserves it for the grand occasion. She is harsh and despises beggars, unless they present themselves when they are needed. She pays her respects with a whole score of them when the king is about to be proclaimed. Then all the doors in her house fly open, it expands into a palace, angels sing, bishops bless, in her new vestments she reads a telegram from God and jubilantly proclaims the king.

It is touching to see her with forgotten kings, she never forgets them, she retains even the worst has-beens among them, writes to them, sends them suitable small gifts, obtains work for them, and when the honor is long past, she is the only person still to remember it. Among the beggars with whom she pays her respects on grand occasions, one can find a former king or two.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

English translation 1979 by The Seabury Press, Inc. text used by permission© of Carl Hauser Verlag, München.

- ii - Die Königskünderin character study after Elias Canetti for solo trumpet Joseph Klein ( 2006 )

Jubilant s = c.150 q s s s , , >- œ 7 5 #œ 6 9 #œ. œ 7 & 16 œ. œ 8 >- œ œ. 8 #œ. œ. œ. 8 œ œ. œ. œ. 8 >- f poco (sempre) f 5 , s , >- 7 #œ œ. 8 #œ œ. #œ. œ 5 œ. œ #œ 10 & 8 œ œ. œ. 8 œ 4 œ. œ œ œ œ œ. 8 >- 8 , s , s . #œ œ 10 #˙ œ œ œ 7 Sœ œ > 6 S #œ 7 #œ. & 8 œ. œ. œ. 16 #œ- 8 œ S œ 8 #˙ œ. f f 12 , s #œ. , œ. œ. #œ & ˙ 108 œ. œ. 8 #œ œ. 85 #œ œ. 43 œ œ. œ œ #œ. œ. f >- f 16 nœ>- s , œ. #Sœ nœ s , #˙ s œ & 43 œ 89 #Sœ œ #œ 86 4 œ 43 œ œ #œ œ. œ. œ. #œ œ f f

20 œ , œ s s , 3 #œ œ. œ 2 s œ œ 9 . . 7 œ 8 #œ. œ 7 & 4 4 #œ 16 œ Sœ 16 œ. 8 s#œ 8 œ œ. œ œ. >- f

25 bœ>- ˙ . , #œ. . Sœ U 7 s œ 5 #œ œ œ ∑ 15 & 8 œ œ. 4 8 f più © 2006 by Joseph Klein. All rights reserved. - 1 - Harsh = c.66 q . L L L L [FREEZE] 28 w/ plunger R R R [FREEZE] + ! L , + ! L , + ! L , + ! L , + ! L , + ! L , 15 12 & 8 ‰ s s s s Œ 8 ‰ s s Œ Œ. #œ œ œ œ œ œ œ œ #œ œ œ œ v v v v v v ñ ß ñ ß ñ ß ñ ß ñ ß ñ ß Poignant L [FREEZE] 30 R R ! ! ! + L , + L , + L , U s s s s Ø ˙ œ & ‰ Œ œ bœ ˙ #œ œv œ œv œ œv p ñ ß ñ ß ñ ß Harsh = c.66 q . L L 31b R [FREEZE] ! ! ! s U , + L , + L , + L , s 15 s s s . 6 & bœ ˙ ˙ 8 ‰ Œ Œ 8 #œ #œ œ œ œ œ œ f v v v Agitated ñ ß ñ ß ñ ß [FREEZE] 33 R ! ! c.3" L + L , U , 6 ‰ s Œ Ø s s & 8 bœ #œ œ bœ #œ bœ #œ bœ #œ bœ #œ bœ#œbœ#œ œ œ v v f ñ ß p ß ! ! c.2.5" L 34b c.2.5" L , s U, s 18 & œ œ œ œ œ bœ œ #œ œ #œ œ #œ œ #œœ#œœ œ 8 #œ #œ #œ #œ #œ œv v p ß p ß Harsh = c.66 q . L L L Majestic [FREEZE] R R open ! , ! ! , ! ! , U + L + L , + L + L , + L U Ø #˙> , & 188 ‰ s s s s s Œ œ œ œ œ #œ œ œ œ œ œ œ œ œ < œ< < v v v v v < poco ñ ß ñ ß ñ ß ñ ß ñ ß f

36b U U b˙> , >˙ , œ œbœ œbœ bœ < < < & œ bœ < < #œ œ œ < bœ < œ < œ < < < < < poco < poco f f - 2 - Poignant 37a s , œ s s œ œ #œ S #œ Sœ nœ œ #œ s #œ S S & œ œ #˙ #œ œ œ p p Harsh = c.66 q . [FREEZE] 37b s R U ! œ , , + L , œ s 12 s . 9 & bœ bœ œ œ n˙ 8 ‰ Œ Ó 8 bœ #œ œv p ñ L [FREEZE] Poignant ß R ! ! + L , + L ,U s s 9 ‰ s s Œ Ø s s s s œ & 8 bœ œ œ bœ œ bœ œ œ #œ œ œ œ bœ bœ bœ v v ñ ß ñ ß p F p F becoming increasingly exuberant . . . ! ! ! ! ! L 40b s >- > #œ œ ˙ bœ œ ˘ s #œ œ#œ Sœ œ S #œ > œ & Sœ œ #œ bœ ˘ ^ 42 molto #œ ^ œ poco - cresc - en - do œ ƒ c.2.5"

41 Jubilant s = c.110 q s > , s œ #œ œ #œ œ œ s #œ œ œ s 2 #˙ 5 œ œ #œ œ #œ œ œ S 2 œ #œ S œ 7 & 4 8 S œ3 #œ œ 4 3œ 8 #œ 3 #œ sempre ƒ F f 3

3 3 45 3 s s #œœ s s œ s s œ #œ #œ œ s 7 #œ œ œ 3 œ s#œ œ œ œ 5 #œ œ œ & 8 #œ œ œ œ œ œ 4 œ #œ œ œ 8 œ. #œ œ œ 3 3 3 3

48 s U s n>˙ , œ #œ s œ. #œ s œ , #>œ > >œ #œ œ œ #œ œ œ œ 3 > #œ & œ œ S 4 > œ 03/24/18 3 #œ 3 #œ. #œ poco molto f q - 3 -

Joseph Klein

Die Sternklare

( The Starry Woman ) character study after Elias Canetti

for solo percussionist

(2006)

– for Christopher Deane –

duration : c . 6 ' Performance Notes

, distinct break in sound senza misura dead stick (secco) Ø

Durational continuum within senza misura section: values arranged from shortest to longest (precise durations ad libitum)

• Accidentals apply only to the notes they immediately precede, with the exception of repeated pitches. • In mm. 5-16 and 41-52, the Thai gongs and vibraphone should blend as if one instrument, though the former must maintain rhythmic regularity while the latter should flow in a freer and seemingly random manner. The change in intensity in the vibraphone part throughout these sections should be persistent but almost imperceptible.

• In m. 31 and m. 40, the events should seem to emanate from one another, as if a single gesture. • Durations in the "Suspended" sections (mm. 2, 17, 26, 31, 40, and 54) are approximate, and should allow adequate time for the performer to make any necessary mallet changes.

• Striking implements : soft yarn mallets (3), hard plastic mallets (4), bass bow, metal rod (triangle beater).

Suggested Instrument Setup

Thai gongs cymbals tam-tams crotales crotales

vibraphone stick tray glass chimes

- i - Program Note

Die Sternklare (The Starry Woman) is the ninth in a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere (Earwitness: Fifty Characters), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, trumpet, percussion, bass saxophone, piccolo, organ, basset horn, and violoncello, among others. In Canetti's depiction of this character, The Starry Woman "shuns the crude light of the sun. [She] sighs in relief when the sun is gone and she wishes it would never come again... Her skin is as pure as the light of the sun. But she does not realize this in herself. Her only mirror is the illuminated night, and this mirror consists of so many dots that it has no unity."

Die Sternklare was completed in June of 2006 for percussionist Christopher Deane, who first performed the work at the University of North Texas on February 20, 2007.

- ii - Die Sternklare (The Starry Woman)

The starry woman shuns the crude light of the sun. It is indiscreet, it is tactless, it is painfully bright; there is a great deal within, waiting for its moment, but it is ruthlessly yanked forth, spread out, lit up, and heated, until it is no longer to be recognized, just where was it really — in him, in her, in all? The starry woman sticks to crystals, which cannot be opened. Even the transparent ones among them are certain of their hardness; and if you like to see a thing, you should not have it. The starry woman desires closure, on which weak and tested light falls. It may have found its way to her from the stars, but it knew nothing about her before finding her, and she listened in her reclusion for a long time until it came, and was herself uncertain and dark. She has peered through a telescope only once in her life. How ashamed she was ! She felt as if she were brazenly hurtling towards a star and forcing it to shine brighter than it cared to. She did not forget how lonesome it suddenly was, separated from the others, which gave it its stillness and equilibrium. She had plucked it out from all the heavens; her eye, ordinarily slow and quiet, glared at it, the way the sun glared at her in the daytime, she was afraid the star was destroyed now and lost from the sky. She tore herself away, she cursed the instrument, she did penance in her own way for weeks by making her eyes evade that cursèd star. Then, when she dared to seek it again and found it, she was so happy that she purchased the telescope of her shame, smashed it, and scattered the parts and splinters in the night. The starry woman sighs in relief when the sun is gone and she wishes it would never come again. She spends her days in dark places. She works only to make the days go by. Her skin is as pure as the light of the sun. But she does not realize this in herself. Her only mirror is the illuminated night, and this mirror consists of so many dots that it has no unity. Where can it start? Where can it stop? Can it be so clear without having seen itself? The starry woman has thoughts, she keeps them to herself, she is afraid of losing them upon uttering them. But they do not freeze within her, they wax and wane, and when they have become so small again as to vanish from her, they awake in others.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

- iii - Die Sternklare character study after Elias Canetti for solo percussion Joseph Klein ( 2006 )

Brazen s= 180 Suspended q c. 8" CROTALES bœ & VIBRAPHONE œ w/hard plastic (4) > 3 Ø ß w/bow 4 8 ¿ ¿ œ> U 2 bœ ¿ ¿ ¿ œ bœ œ & ÿ œ œ ÿ ÿ ˙ f ÿ bœ ÿ ñ F ÿ ° THAI GONG 3 Ethereal = 40 h sempre P & motor ON (moderately slow) ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w/soft yarn (3) -(sempre -l.v.) ------\ motor OFF 4 - 5 2 ˙ b˙- 2 & ˙ bœ- bœ- bœ- b-œ bœ- - b˙ œ- œ- œ- œ- p( ) - poco cresc. (quasi impercettibile) ° p

& ˙ ˙ ˙ ˙ ˙ \ ˙ ˙ ˙ ˙ \ ˙ ˙ ˙ ˙ \ - - - - - 4 ------2 - - - - bœ- bœ- bœ- bœ- bœ- bœ- b-œ & œ bœ œbœ œ bœ œ bœ œ œ œ œ œ œ œ œ -(poco cresc.-) ------( ) ° 9

ã & ˙- ˙- -˙ \ ˙- ˙- -˙ \ ˙- ˙- -˙ \ ˙- ˙- \ ˙- ˙- Ø 3 ------2 œ- œ- œ- & 2 œ œ œ œ œ œ œ 2 #œ #œ #œ #œ #œ #œ #œ #œ #œ (poco- cresc.-) ------#œ- #œ- ( ) F Suspended° c. 10" s CROTALES w/hard plastic (4) Brazen = 180 17 GLASS CHIMES q ~ ~~ ~~ ~ ~ U ~~ ~~ ~~~ ~~ ã ~ ~ ~~ ~~ & ˙ Ø P >˙ ß 7 ´ 3 7 > 16 œ bœ´ , 8 bœ´ , 16 #˙ ´ . & # ˙ ¿ b¿œ ¿ œ´ ‰ ¿ œ´ ‰ ‰ ( ) ¿ ¿ 20 ° [Suspended (in tempo)] f >w & w ß 7 bœ´ ´ 4 > 7 ´ 9 ´ 5 ´ 4 16 bœ´ œ´ œ 4 w 16 œ ´ , 16 œ ´ , 16 œ ´ , 8 ´ w ¿ ¿œ ‰ ‰. ¿ ¿œ ‰ ‰ ‰. ¿ ¿œ ‰. & œ ´ ¿ bœ´ ¿ ¿ œ ¿ ¿ f ¿ ° Suspended c. 12" 25 > >œ œ > w/bow & œ bœ œ ã Ø ß ß œ 4 ´ œ´ œ> ß b˙ 4 8 œ ´ bœ´ >œ bœ #œ> 2 ¿ œ ´ œ & ¿ ´ ´ ¿ bœ ¿ œ´ # œ bœ ¿œ ¿ ñ F ¿ ° Ethereal = 40 27 h CYMBALS p 3 3 > > > > ∑ Œ Œ Œ Œ Œ ˙ Œ Œ ˙ œ Œ Œ Œ ˙ Œ Ó ã TAM-TAMS ˙ 3 œ œ 3 motor ON (moderately slow) > > > 4 w/soft yarn (2) 2 - b˙- - ˙ b˙ ˙ #˙- & - #˙ #˙ ˙ ( ) ˙ ˙ - - ˙ - p - - - ˙- ° - 2 - Suspended c. 10" 30 3 3 GLASS CHIMES ~ ~~ ~~ ~~ ‰ œ Œ Ó Œ Œ Œ ~~ ~~ ~ ã > ˙ ~ ~~ > Ø w/bow P motor OFF 5 - - U 8 #˙ b˙ #˙ & -˙ ( ) -˙ ° ñ F Brazen s= 180 ( = 90) 32 q q

ã w/hard plastic (4) 5 ´ ´ ´ ´ 3 ´ ´ ´ ´ ´ ¿ ¿ œ´ 4 8 œ ´ bœ œ ´ bœ 4 œ ´ bœ œ ´ bœ œ ¿ ¿ bœ ¿ œ ´ 4 ¿ œ ´ œ ´ ¿ œ ´ œ bœ´ ´ œ ¿ bœ ÿ ¿ ¿ ÿ œ ¿ bœ´ & ¿ ¿ œ ´ ¿ ¿ œ ´ ¿ ¿ œ ´ ¿ ¿ œ ´ ¿ ÿ ÿ œ ´ ¿ b¿œ ¿ ¿ bœ ¿ b¿œ ¿ ¿ ¿ b¿œ ÿ œ bœ ¿ ¿ bœÿ ÿ ÿ b¿œ f CROTALES 35 > > œ. #œ œ> ã & bœ. # œ œ ´ ´ ´ ´ 4 ¿ ¿ ¿ nœ ´ bœ´ 3 . nœ ´ bœ nœ´ bœ 4 bœ ¿ œ ¿œ ¿ bœ œ´ 4 œ bœ œ´ #œ œ´ œ ÿ ¿ ÿ ÿ œ ¿ ¿ bœ´ ´ ¿ œ. ¿ bœ´ ¿ œ bœ´ ¿ œ & œ ÿ ´ ¿ œ ´ ´ ´ ´ ¿ ´ ¿ ´ ¿ ´ ¿ ´ ´ ÿ œ bœÿ œ ¿ ¿ œ ¿ bœ œ ¿ œ bœ ¿ œ œ ÿ bœÿ ¿ ¿ b¿œ ¿ ¿ ¿ b¿œ ß ß ß ° Suspended c. 15" 38 GLASS CHIMES TAM-TAM w/bow > > > U P ~~ ~ #œ nœ > œ. > ~ ~ œ. bœ. œ. ã ~~ ~ & # œ b œ œ. œ. ˙ ´ ´ ´ ´ Ø ñ F bœ ´ nœ bœ ´ œ 10 bSœ nœ. œ. œ #œ ¿ œ œ 16 S #œ. b Sœ. œ. & ´ ¿ ´ œ ´ # œS. S œ ¿ œ œ ¿ ¿ ¿ ß ß ß ( ) ß ß Ethereal = 40 ° THAI GONGhw/soft yarn (3) 40b CYMBALS w/metal rod on crown sempre P ~~ œ ~ ~ œ & ˙- ˙- ˙- ˙- ã ~ ~~ P poco (sempre l.v.) w/bow 4 2 2 2 & ˙ ( ) ñ ° F - 3 - 42 ------& ˙ ˙ \ ˙ ˙ \ ˙ ˙ ˙ \ ˙ ˙ ˙ \ ˙ ˙ ˙ \ 2 - - 3 4 2 bœ- bœ bœ 2 b-œ b-œ b-œ bœ- bœ- bœ- bœ- bœ- 2 & œ œ œ œ œ œ œ œ- œ- œ œ- - - - poco dim. (quasi impercettibile)- - - - F( ) 47 ° ˙- ˙- ˙- ˙- ˙- ˙- ˙- ˙- ˙- ˙- ˙- ˙- & \ \ \ 4 2 bœ- bœ- bœ- œ- œ- -œ œ- œ- œ- -œ & œ- œ- -œ œ- œ- œ- -œ bœ- bœ- b-œ bœ- (poco dim.) ( ) ( ) P 50 ° ˙- ˙- ˙- ˙- ˙- ˙- ˙- -˙ ˙- ˙- ˙- ˙- -˙ & \ \ \ 5 2 - œ- œ- -œ œ- œ- œ- œ- -œ œ- œ- -œ œ & bœ bœ bœ bœ- bœ- b-œ bœ- bœ- bœ- bœ- bœ- (poco- dim.) - - ( ) Suspended ° c. 12" 53 GLASS CHIMES (noticeably slower and gentler rustling than before) ~~~ ~~~ ~~ ~~ ~~ - - - - - ~~~ ~~~ ~~~ ~~~ ~~ & ˙ ˙ ˙ ˙ ˙ ã ~~ ~~~ ~~~ ~~ ~~~ & Ø ñ p - - - - œ œ œ œ & bœ- bœ- bœ- bœ- bœ- ( ) p ° lunga poss. c. 5" c. 7" 55 55 > >˙ > b˙ & b˙ ˙ ˙ ß ˙ ß >˙ ß >˙ b˙ b>˙ b˙ ˙ & w/hard plastic (4) 03/24/18 ( ) ° - 4 -

Joseph Klein

Die Silbenreine

( The Syllable-Pure Woman )

character study after Elias Canetti

for solo glass harmonica

( 2000 )

– for Thomas Bloch –

duration : c . 5 '

Performance Notes

senza misura , distinct break in sound sustained pause Ø

finger substitution Long fermata (approximate duration indicated)

c.2.5”

accelerando for the duration indicated

• Accidentals apply only to the notes they immediately precede, with the exception of repeated pitches. • Broken slurs delineate individual lines : pitches are to be sustained through to the next attack within each slurred group. Tied pitches are sustained to the end of each measure. There should be no more than four pitches sounding simultaneously at any point during the piece. • Metered sections are to be played strictly in time, i.e., precisely and deliberately; by comparison, senza misura sections are to be realized in a freer, more impulsive manner.

Program Note Die Silbenreine (The Syllable-Pure Woman ) is the fifth in a series of short works for solo instrument based upon characters from Der Ohrenzeuge : Fünfzig Charaktere (Earwitness : Fifty Characters), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, trumpet, percussion, bass saxophone, piccolo, organ, basset horn, and violoncello, among others. In Canetti's depiction of this character, The Syllable- pure Woman "speaks so unshakably correct that others listen to her with open mouths. Perhaps they hope to swallow the words themselves and keep them for the right moment. Absurd thought ! Words do not fit into every mouth, they bounce back from some like marbles." Die Silbenreine was completed in April of 2000 and was composed for Thomas Bloch.

- i -

(The Syllable-pure Woman)

The syllable-pure woman has a golden scale, she removes it from her bag and puts it aside. Then she takes a word from her mouth and quickly lays it on the scale. She knows its weight from before, but she has a fastidious conscience. She will not use the word before weighing it. She makes sure that every syllable pulls its own weight and she takes care that none is swallowed. When each syllable lies in its place, not too wide, not too narrow, clearly outlined and without airs, she nods and grants herself permission to read off the total weight of the word. It scarcely changes, but the confirmation decides. Words whose weight vacillates too much will not pass her lips.

The syllable-pure woman speaks so unshakably correct that others listen to her with open mouths. Perhaps they hope to swallow the words themselves and keep them for the right moment. Absurd hope ! Words do not fit into every mouth, they bounce back from some like marbles. It is gratifying to know that they cannot be held where they do not feel suitable. Syllable-pure people are rare and can be counted on the fingers of one hand. A life of self-denial is required, and an incorruptable attitude. Such a person must know how to keep words unalloyed and never misuse them for selfish ends. It does not matter what one says, but it must be said purely. The safest thing is being content to say nothing with pure words.

The syllable-pure woman sometimes takes hold of a book merely to inspect it. If there are words that are not fully lost, she detaches them from their degenerate milieu and places them in a golden vat. There she cleanses them carefully with noble acids, and when all traces of their besmirchment are gone, she plucks them out with ice-cooled tweezers, carries them to a wellspring whose waters have been tested, and she lets them lie in the moonlight for seven nights. It has to be an out-of-the-way wellspring so that the process of purification will not be disturbed by nature freaks.

The syllable-pure woman has a mouth in which words do not fester. Supposedly, she never uses it for eating, so as not to endanger her protégés. She feeds on aromatic liquids, which are beneficial to them. Her life is virginal like that of a vestal. Yet this holy life is not difficult for her : she lives it in honor of speech as speech ought to be ; and so long as the scale and the vat are golden, she remains undaunted and will not be thwarted by any gross corrupter.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

- ii - lunga

lunga

character study after Elias Canetti for solo glass harmonica Joseph Klein (2000)

c. 7" Impulsive c. 10" 1 2 , œ œ ˙ #œ #œ ˙ & c. 2.5" #œ ˙ Ø c. 2.5" 8 8 œ ˙ & bœ3 bœ4 1 ˙ œ1 œ ˙ p F p F Deliberate s = c.84 c. 7" q Impulsive c. 13" 3 2 5 5 1 s œ œ , 1 5 , œ œ œ œ & œ #œ œ œ ˙ 8 Ø c. 2.5" 7 8 8 s œ & #œ1 5 bœ œ 1 bœ5 œ #œ5 ˙ P p F Deliberate s = c.84 q 3 5 5 5 4 5 œ œ 1 2 s œ bœ œ s œ #œ œ œ œ œ nœ œ & 1 œ œ œ 7 s 6 s 8 7 8 œ bœ bœ 8 #œ 8 s 8 œ nœ & 4 œ bœ2 5 œ1 œ #œ1 œ bœ œ #œ4 #œ P

c. 5" Impulsive c. 7" 8 5 1 U 1 1 œ œ œ , bœ ˙ & œ bœ œ ˙ 7 Ø c. 2.5" 8 s #œ œ & #œ3 2 œ œ ˙ #œ5 œ5 ˙

c. 5" c. 10" 10 3 1 U œ #œ ˙ œ œ ˙ , & c. 2.5" c. 2.5" 6 8 œ ˙ bœ #œ ˙ & #œ4 1 œ ˙ 2 #œ5 1 ˙ p F p F 5 Deliberate s = c.84 5 12 4 q 3 s 2 1 4 s œ œ œ œ œ œ œ & bœ 1œ œ œ 6 5 7 s 6 8 8 8 œ s 8 bœ 1 bœ œ & œ œ #œ œ 5 1 4 5 #œ œ œ œ œ bœ5 œ #œ

P 5 4 15 1 3 2 s #œ #œ #œ œ #œ #œ œ s œ œ #œ œ & #œ œ œ 6 5 6 s 5 8 8 8 s 8 œ œ & œ œ 1 œ2 œ #œ1 œ œ œ5 œ œ œ 5 5 s 2 s 5 18 2 1 1 #œ œ #œ 1 #œ œ œœ #œ œ œ œ & 5 7 1 5 6 8 8 s 8 8 œ bœ œ œ bœ œ œ œ2 1 S œ œ5 œ1 œ & 3 bœ œ œ œ

5 21 5 s 5 2 1 1 #œ œ #œ s œ #œ œ #œ œ œ #œ & œ 6 4 6 8 8 8 8 s 8 #œ œ œ #œ #œ œ & œ1 œ 3 4 œ œ œ 1 1 5 5 - 2 - 5

c. 7" 5 s 1 5 24 2 s #œ 1 œ 1 nœ U œ #œ œ œ œ , & œ 1 1 œ 8 7 5 8 s 8 8 œ #œ œ #œ œ bœ œ bœ œ & 4 3 œ 1 bœ5 4

5 26 1 5 2 5 œ s œ s #( œ ) œ œ #œ œ & #œ 1 #œ 5 œ 6 5 8 8 8 8 8 œ #œ1 1 #œ2 5 œ & 5 #œ2 œ œ œ 1 #œ œ #œ œ œ

1 29 5 5 2 1 œ s œ œ s œ #œ œ œ #œ œ œ & 8 7 5 8 8 8 s œ œ 2 & #œ1 nœ5 #œ œ 1 œ5 #œ œ œ5 #œ

31 5 5 5 1 3 s 1 #œ œ œ #œ œ œ #œ œ & s œ œ s 5 œ 7 6 œ 7 8 8 8 8 1 #œ1 œ #œ1 & #œ œ nœ4 œ 5 #œ2 œ #œ œ 3 #œ œ

34 2 1 5 s 1 s 1 1 œ œ #œ œ œ œ œ œ œ œ œ œ œ & 1 2 7 1 4 5 s 7 8 s 8 8 #œ nœ œ 8 & 2 bœ œ œ bœ5 œ #œ5 œ

- 3 - 5 1 37 5 1 1 3 3 s 5 s ( ) œ œ œ 2 5 s œ œ œ œ œ œ œ & œ œ bœ œ œœ 1 7 6 s 5 7 8 8 ( ) œ œ 8 8 œ & bœ1 bœ œ bœ1 5 5 œ bœ1 œ bœ5 bœ #œ bœ

5 5 5 2 1 40 œ œ 1 œ œ œ œ œ #œ œ œ #œ œ & 1 7 8 s 5 7 8 s 8 s 8 s 8 œ œ œ œ œ & bœ œ bœ5 1 2 #œ1 œ #œ #œ5 œ bœ5 œ #œ5 œ

c. 7" c. 10" 5 5 43 2 1 5 1 œ œ œ 1 U œ œ œ œ s œ , & œ bœ œ 1 7 s 9 s Ø 8 8 bœ œ œ œ nœ œ & 1 1 2 bœ 2 bœ5 1 5 bœ5 bœ œ œ5

c. 17" Impulsive c. 5" 45 1 3 #œ œ ˙ U & #œ œ #œ ˙ c. 2.5" Ø c. 2.5" œ ˙ #œ1 03/24/18 & 1 œ #˙ #œ œ ˙ p F p F

- 4 -

Joseph Klein

Der Saus und Braus

( The Fun-runner )

character study after Elias Canetti

for solo piano

( 2017)

- for Redi Llupa -

duration : c . 6 ' Performance Notes

Gradual change from one Silently depress all keys mode of play to another within range indicated

accelerando/ritardando (duration indicated)

• The Restless sections that characterize the majority of the piece serve as "excursions" to the various contrasting sections ("destinations") throughout. The transitions between these sections should generally be smooth, though the character of each section should be distinct from the others. • The arpeggiated figures in the Restless sections should be played fluidly and with a seemingly effortless quality throughout; a slight rubato may be applied at the discretion of the performer, typically at the beginnings of measures. The Wooly and Brittle sections should seem erratic by comparison: to achieve this effect, the tempo should not be strictly maintained. The tremolos in the Wild sections should seem to be on the verge of losing control, though the attacks at the beginning of each measure should be crisp and clearly defined. The Obsessive sections should be played very mechanically — in sharp contrast to the Restless sections — as if the arpeggiated figures have been temporarily caught in a vortex. • Pedaling is left to the discretion of the performer, except where specifically indicated in the score (e.g., in the Wild sections). • Accidentals apply only to the notes they immediately precede, except in the case of repeated pitches.

Program Note

Der Saus und Braus (The Fun-runner ) is the sixteenth in a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere (Earwitness : Fifty Characters), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, trumpet, percussion, bass saxophone, piccolo, organ, basset horn, and violoncello, among others. In Canetti's depiction of this character, "the fun-runner would once have come with the wind, now he comes faster… [he] lives in the tempest of towns… [and] has his own language. It consists of names of cities and currencies, exotic specialties and clothes, hotels, beaches, temples, and nightclubs." Der Saus und Braus was composed in 2017 for pianist Redi Llupa, who premiered the work on 29 April 2018 at the New World Center in Miami, Florida.

- i -

Der Saus und Braus ( The Fun-runner )

The fun-runner would once have come with the wind, now he comes faster. No sooner has his airplane landed in Bangkok, than he checks the take-off times for Rio and instantly makes a mental reservation for Rome. The fun-runner lives in the tempest of towns. There is something to buy everywhere, there is something to experience everywhere. He enjoys living today, for what was it like in the past? Where did people really get to and how dangerous and bothersome travelling was ! Now you can travel without the slightest effort. You name a city and you’ve already been there. Perhaps you get there again at some point; if it works out in the fun-runner, then anything is possible. People believe that he’s been everywhere, but he knows better. New airports are built, new airlines spring into life. Doddery old men may dream of calm ocean voyages, he hopes they have a good time in their deck chairs, but that’s nothing for him, he’s in a hurry.

The fun-runner has his own language. It consists of names of cities and currencies, exotic specialties and clothes, hotels, beaches, temples, and nightclubs. He also knows where a war happens to be taking place, that can be bothersome. But if you’re near it, life can be extremely wild, and if it’s not too dangerous, he gets wooly, he goes to see the war for two or three days, and then hurries off somewhere else for contrast, where there is the opposite of war.

The fun-runner has no prejudices. He finds that people are alike everywhere, for they always want to buy something. Whether it’s clothes or antiques, they crowd into shops. There is money everywhere, even if it’s different, it is exchanged everywhere. Just show him a place anywhere in the world without manicurists or slums. If it doesn’t take too long, then nothing human is alien to him, he feels sympathy for and interest in everything. A fun-runner is not interfered with has no ill-will towards anyone; the world would be a much better place if everybody were like him. Everybody will be like him, but it is better to live in the meantime. The mass fun-runner will be no picnic. He sighs quickly, forgets all about it, and hops the next plane.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

English translation 1979 by The Seabury Press, Inc. text used by permission© of Carl Hauser Verlag, München.

- ii - Der Saus und Braus character study after Elias Canetti Joseph Klein

for solo piano ( 2017 )

Wild ( ) Restless ( ) q = 120 q = 132 bœ œ >œ œbœ œ #œ œ œ ^ s œ œ #œ œ bœ bœ œ œ œ. w bœ œ œ œ bœ & #œ #œ. #w bœ œ œ 6 b œ b œ. b w 9 8 fP 7 >fP 14 ? 4 Sœ œ. w 16 œœ P 16 ∑ 16 ∑ 16 #œv çF molto ç ° 5 > > bœ œ bœ œ œ œ œ bœ bœ & œ bœ bœ bœ œ bœ œ 14 fP œ 12 fP bœ 11 fP œ 6 ? œ bœ œ bœ 16 œ œ 16 œ œ 16 bœ bœ 16 bœ bœ bœ bœ œ œ œ œ > 8 œ >œ bœ œ œ œ œ ∑ ∑ œ bœ œ bœ & fP œ œ bœ œ 6 fP œ œ 5 b>œ 13 fP bœ œ 15 fP œ œ 10 ? 16 bœ œ 16 œ œ 16 bœ 16 œbœ 16 >œ bœ œ bœ >œ œ bœ œ œ œ

12 œ œ >œ bœ œ œ œ œ bœ bœ œ bœ & bœ b œ œ bœ œ 10 fP 13 œ 11 fP 9 ? œ bœ œ bœ fP bœ œ œ œ 16 œ œ œ œ 16 > bœ bœ 16 œ bœ 16 bœ bœ œœS œ œ bœ poco ‰>. 15 œ bœ bœ b>œ œ œ œ œ bœ œ bœ œ & bœ œ œ œ œ bœ 9 fP bœ 12 15 fP œ 6 ? 16 > œ bœ 16 fP œ bœ bœ 16 œ œ 16 œ œ bœ bœ œ œ œ œ œ > 18 > œ bœ bœ œ >œ poco œ œ bœ œ bœ œ œ #œ bœ œ œ œ >œ bœ #œ #œ œ bœ & œ œ >œ 6 fP 5 14 fP œ œ 8 fP 14 ? 16 16 fP 16 ‰. S #œ œ #œ œ ≈ 16 16 #œ #œ œ#œ œ œ © 2017 by Joseph Klein. All rights reserved. - 1 - 22 >œ bœ bœ bœ œ œ œbœ >œbœ œ œ œ œ bœbœ molto & bœ bœ bœ bœ œ œ 14 fP œ 11 fP bœ 15 fP œ ƒ 7 ? 16 œ œ 16 > œ œ 16 bœ bœ 16 œ bœ œ bœ œ œ œ v bœ bœ 25 v v bœ bœ œ >œ œ œ œ œ bœ & ∑ ∑ œ œ bœ œ 7 fP 5 fP 13 fP bœ 9 10 ? bœ > bœ fP œ œ 16 bœ bœ 16 œ œ 16 œ œ 16 œ 16 œ œ œ bœ bœ œ œ bœ œ > v v > 29 > bœ bœ œ œ ≈ œ bœ bœ œ œ œ bœ œ bœ bœ œ œ œ bœ œ bœ œ ≈ œ œ & bœ bœ > œ œ œ œ bœ bœ 10 fP> œ 12 fP 13 fP 10 ? 16 œ 16 œ bœ bœ 16 bœ œ 16 poco œ œ œ

32 œ œ >œ bœ #œ#œ bœ œ œ œ bœ & œ #œ œ œ bœ bœ > bœ œ 10 fP œ œ 8 fP œ bœ 5 bœ 11 fP œ œ 14 ? 16#>œ #œ 16 16 > 16 œ bœ 16 fP bœ œ œ œ > 36 œ œ bœ bbœœ bœbœ bœ œ bœ œ & œ œ ≈ œ bœ bœ œ 14 œ 7 œ 8 fP œ œ 9 > œ 15 fP fP poco ≈ fP ? 16 bœ bœ œ 16 16 bœ œ 16 œbœ bœ 16 œ œ bœbœ bœ œ œ œ œ œ œ > > 40 > œ œ b>œ bœbœ œ bœ œ #œ#œ bœ bœ œ œ œ œ œ œ œ >œ œ œ bœ & œ œ bœ œ 15 fP 5 fP 6 13 fP 7 ? 16 œ#œ #œ 16 16 fP 16 œ œ 16 œ œ œbœbœ #œ œ > 44 bœ œ œbœ & œbœ œ œ bœ œ œ œ 7 fP œ 10 > 11 fP bœ 12 fP 8 ? 16 bœ œ 16 fPœbœ 16 œbœ 16 bœ œ 16 b>œbœ bœ œ œ œ œ œ œ bœ ≈ œ bœ œ œ bœ bœ bœbœ œ œ œ bœ bœ bœS œ >‰. poco > - 2 - 48 bœ œ bœ bœ >œ œ œ & œ œ œ bœ œ bœ œ 8 œ bœ 5 œ 9 > œ 15 fP bœ 13 16 fP bœ 16 œ 16 fP œ bœ 16 bœ 16 ? œ œ œ bœ bœ œ œ > œ œ bœ bœ œ fP œ > 52 b>œ poco bœ bœ œ >œ œ œ bœ œ œ bœ bœ & œ bœœ bœ bœ ≈ >œ bœ bœ œ 13 fP ‰ b œ bœ bœ bœ 6 12 œ 15 ? bœ œ fP œ bœ 16 œ œ 16 fP ∑ 16 bœ bœ 16 bœ œ œ . ^ ‰ 55 ^ ^ œ œ^ ^ s bœbœ œ bœ b>œ bœ bœ œ œbœ œ bœ œ œ œ œ œ œ bœ bœ bœ œ & bœ œ bœ bœ fP œ > œ œ 15 fP molto 9 10 5 œ 6 16 bœ bœ ƒ 16 16 bœ œ œ 16 fP 16 ? œ œ molto bœ bœ œ œbœ > > 59 œ œ œ œ œ >œ bœbœ œ œ œ bœ ≈ œ œ & bœbœ bœ œ œ œ bœbœ 6 > 11 œ 14 bœ bœ 8 fP 7 ? 16 fP 16 fP œ œ 16 œ bœ œ bœ œ bœ ? 16 œbœ 16 ∑ bœbœ œ œ & œ bœ ≈ œ œ œ > œ bœ bœ fP poco > 63 Incisive (l'istesso) Restless ^ ...... ^ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ bœ œ 7 >œ bœ 10 fP œ 13 poco 9 œ bœ 8 fP bœ œ ßF bœ ? 16 œ œ 16 bœ bœ 16 ∑ 16 fP œ œ 16 œ œ bœ œ œ > œ^ 67 bœ^ œ^ œ^ bœ^ > œbœ bœ bœ bœ œ œ œ œ & œ bœ bœ œ bœ œ œbœ 8 œ 5 > œ 12 bœ 15 molto bœ 7 fPbœ œ fP œ œ œ ƒ P bœ œ ? 16b>œ bœ 16 #œ 16 > 16 œ œ 16 fP bœbœ 71 œ œ > bœ œ œ œ bœ bœ œ bœ & fP bœ œ fP œ œ bœ œ 7 bœ 6 >œ bœ 13 fP œ 11 fP œ œ 10 ? 16 œ œ 16 bœ œ 16 bœ bœ 16 œ bœ 16 œ œ œ œ >œ bœ bœ > - 3 - 75 poco rit. ! ! ! Wooly (poco meno mosso) œ bœ >œ œ œ œ œ molto 3 & bœ bœ bœ bœ q 10 fP 14 œ ƒ 3 œ bœ fP œ œ bœ nœ ? 16 > œ 16 œ 4 œbœ S nœ S œ œ bœ bSœœnœ œ œ bœ v v v œ œ œ v bœ œ v v v v v v v œ œ v v v v v ` 78 ! ! ! Restless (a tempo) bœ œ 3 3 q molto bœ bœ & q œ œ 15 P 10 ? œ bœ nœ œ bœ bœ œbœ bœ nœ bœ bœ 16 bœ œ 16 œ œ#œ #Sœ S nœ S œ bœ Sœ S œ œ S œnœ bœ v Sœ nœ œ v v v v nœ œ œ bœ v v v v v v v v v v v v v v v v v œ œ v v v v v #œ œ > (`) v #œv v v 81 > > bœ œ œ œ bœ bœ & œ œ bœ œ bœ œ œ bœ bœ œ fP œ 10 fP bœ 9 fP bœ 11 fP œ 7 bœ œ 6 ? 16 œ œ 16 > œ œ 16 bœ bœ 16 œ bœ 16 œ œ bœ œ œ œ œ > ! ! ! Obsessive (l'istesso) 85 bœ >œ 7x œ œ œ > > fP œ œ œ bœ bœ & > bœbœ œœ bœbœ . œ bœ bœ . bœ œ œ œ bœ bœ bœ œ bœ œ 6 bœ 13 fP 9 fP 5 œ bœ bœ œ 6 ? 16 œ 16 bœ œ œ 16 16 œ œ œ . œ œ œ . 16 œ œ bœ b>œ . . > fP > ! ! ! Restless f P 90 > œ > œ œ bœ œbœ >œ œ bœ œ bœbœ œ œ œ œ & bœ œœ bœ œ bœbœ 6 f P 13 fP 12 fP 11 10 ? 16 œ œ 16 œbœbœ 16 œ bœ 16 fP bœ œ 16 œ œbœ bœ œ œ œ œœbœ bœ œ œ bœ œ bœ > > 94 œ œ bœ œ bœbœ œ œ & 10 œ bœ 7 > œ 5 œ œ 6 >œ 9 bœbœ 8 œ fP œ œ bœ œ œ bœ fP bœ ? 16 œ 16 œ bœ 16bœ 16 bœ œ 16 > œ œ 16 bœ bœ œ > œ œ > fP fP 99 Incisive (l'istesso) Restless œ & > œbœ ∑ œ œ œ 8 bœ 19 7 bœ œ 9 > œ 12 16 bœ œ 16 16 bœ 16 fPœ bœ 16 ? 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 poco v ...... v œ ßF poco fP œ œ - 4 - poco rit. ! ! ! Wild ( ) q = 120 103 >œbœ 6:5 > bœ œ bœbœ œ œ œ œ œ s & œ bœ œbœ moltoœbœ bœ bœ 12 fP œ 11 bœ 9 fP bœ œ 3 bb œ b œ bœ 7 ? 16 bœ œ 16 fP bœ œ 16 œ œ ? œ 8 œ œ 8 bœ bœ œ œ & ≈ œ bœ œ œ œ œ& œ œ bœ bœ bœ œ v > çF ° 107 s s bœ b˙. ^ bœ b˙ s ^ s œ ˙. œ œ œ ˙ œ ˙. & #œ #œ bbœ bbœ #œ #˙. bbœ bbœ 7 2b œ b œ 5 3 b œ bœ 7 b œ b ˙. 2 bœ bœ 5 8 ? 8 œ œ œ 8 ? 8 œ œ 8 œ ˙. ˙. 8 œ œ 8 & #œ #˙. S & #œ #˙ œ œ œ S œ œ œ& # œv #˙. # œv #˙ v v çP çF çP çF çP çF

Restless (a tempo) 113 s œ > s bœ œ bœ bœ bœ b˙ œ bœ bœ œ œ œ œ ˙ œ œ œ & b#œœ œbœbœ bœ bœ œ 5 6 14 fP 11 13 8 ? 16 œ P 16 bœ œ 16 fP œ œ 16 œ ˙ v œ > œ œ & ##œ #˙ #˙ œbœbœ bœ çv P ç 117 œ bœbœ >œbœ œbœ bœbœ bœbœ œ œ œ œ & œ œ fP œ œ > œbœ bœbœ 13 fP œ 10 œ 7 fP bœ 12 fPbœ 8 ? 16 bœbœ 16 bœ bœ 16 œ 16 œ œ 16 bœ œbœ œ œ œ œ œ > >

poco rit. ! ! ! Brittle (poco meno mosso)

121 ¤ ^ >œ œ^ ^s ^s ^s ^s ^ œ œ ^ ^ œ^ ^ ^ bœ nœ œ bœ œ ^ ^ œ^ œ bœ bœ œ bœ #œ œ nœœ bœ bœ bœ bœ œ bœ^ bœ . œ & œ œ molto 3 œ > q 8 fP 9 fP 3 ? 16 ∑ 16 ∑ ƒ 4 . ∑

Restless (l'istesso) Brittle ¤ ^ bœ^ ^ (124 )^ ^ ^ ^s ^ ^s 2x ¤ ^ ^s ^ ^s ^ ^s ^ œ bœ ^s ^ ^s ^ #œ ^ #œ ^ œ œ œ bœ^ #œ ^ ^ œ ^ #œ ^ œ œ œ bœ^ #œ ^ ^ #œ œœnœ #œ œ œ #œ œnœ œ #œ œœnœ #œ œ œ #œ œnœ & . ‰ 3 3 q 7 √ 3 q œ^ œ F ƒ 16 #œbœ s 4 ? ? ∑ &. bœ ‰ ∑ . 5:4 œ F - 5 - (a tempo) ! ! ! Restless

127(¤) ^ ^ ^ ^ ^ ^ s ^s ^s ^s ^ ^ ^ ^s ^s ^ ^s bœ > ^ ^ œ^ ^ ^ bœ nœ ^ œ œ œ^ ^ ^ bœ œ ^ œ^ œbœ bœ œ bœ #œ œ nœœ #œ#œ œ nœ #œ œ^ #œ œ #œ bœ#œ œnœ^ ^ œ œ œ œ œ^ œ œ bœ & 3 3 q q bœ 13 molto œ 8 ? ∑ ∑ 16 P œ œ 16

Restless Incisive (l'istesso) 130 œ œ œ bœ œ b>œ bœ bœ œbœ bœ œ œ & œ bœœ bœ œ œ œ. œ. œ. œ. œ. œ. œ 8 œ 11 œ 9 fP bœ 7 v poco 8 v 11 16 bœ œ 16 fP œbœ 16 œbœ 16ßF 16 fP 16 ? > bœbœ œ œ ∑ ∑ fP œ bœ bœ œ > 135 >œ bœ bœ bœ bœ œ œbœ œ œ bœ bœ œ œ œ & 11 bœ bœ 5 œ œ 10 > œ œ 13 fP bœbœ 9 16 fP bœ œ 16 œ 16 fP œ bœ 16 œ bœ 16 ? > bœ œ œ œ fP œ œ bœ bœ œ >

! ! ! Obsessive (l'istesso) ! ! ! 139 4:5 > 4x > > 3x > 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 œœb#œœ . #œ œ bœ . #œ œ bœ œbœ . #œ œ bœ . #œ œ# œ 9 œbœ 5 œ 7 œ 5 œ 6 œ 7 ? 16 16 œ bœ 16 œ bœ 16 œ bœ 16 œ bœ 16 fP . . . . 5:3 > > > > f P f P f P f P

Restless poco rit. ! ! ! Wild ( ) 144 > 6:5 q = 120 bœbœ œ bœ bœ s bœ^ bœ bœ œ ˙ œ œ > œ œ œœ œ#œ œ ˙ œ & œ œbœbœ œ œ œ ˙ 7 15 fP œ 9 5 2 7 ? 16 fP 16 œ 16 bœ œ bœ œ 8 8 œ œ? 8 ∑ œ œbœb œ œbœ & bœ b˙ ##œ #œ œbœbœ œ œ œ ˙ ˙ S #œ œ > v fP p molto çP çF ° 149 s s bœ^ bœ bœ^ bœ œ œ ^ œ œ œ ˙. œ œ œ^ ˙. œ œ œ ˙ œ ˙. œ^ ˙ & 7##œ #˙ #˙. 3 5##œ #˙ #˙ 2 7 3 5##œ #˙ #˙ 2 8 œ ˙. 8 ? 8 œ ˙ 8 œ œ 8 8 œ œ ? 8 œ ˙ 8 ? Sœ ˙. & bœ bœ Sœ ˙ & #œ #œ bœ b˙. #œ #œ Sœ ˙ & œ œ œ # Sœ#œ œ ˙. ˙. # œS#œ v v çP çP çF ç(Psim.) çF çP çF

- 6 - Restless (l'istesso) Wild

156 s s 7:6 bœ^ bœ bœbœ œ bœ^ bœ œ œ œ œ œ œ œ. œbœ nœbœ œ œ œ œ œ œ œ œ^ ˙. œ œ. œ. œ bœ#œnœ & 2 7##œ #˙. #˙. 3 4 10 5:4 2 7 8 ? 8 œ ˙. 8 œ œ 8 ? 16 œ œ bœ œ 8 œ œ? 8 bœ bœ Sœ ˙. & #œ #œ bœ bœ. œ bœ bœ & bœ #œ #œ & œ œ œ # œS #œ œ œ. œ. œ œ # Sœ #œ v çP v çF çF ( )çP f çF ° ° 162 s bœ^ bœ s bœ^ bœ œ œ œ œ œ œ ˙. œ œ œ œ^ ˙. œ œ œ œ^ ˙ œ ˙. ˙. & 7##œ #˙. #˙. 3 5##œ #˙ #˙ 2 7 3 6 8 œ ˙. 8 ? 8 œ ˙ 8 œ œ 8 8 œ œ ? 16 ? Sœ ˙. & bœ bœ œS ˙ & #œ #œ bœ b˙. #œ #œ œ œ œ # œS #œ œ ˙. ˙. # Sœ #œ çP v v ç(sim.F) çP çF çP çF

Restless (a tempo) 168 s > s bœ œ œ œ bœ œ bœbœ œ bœ bœ œ œ œ & #œ nœ œ bœ bœ > œ œ 6 œ 9 fP œ 8 fP bœ 12 fP œ 7 ? 16 œ 16 œ œ 16 >œ œ 16 bœ bœ 16 v P bœ œ œ ( )ç œ œ ° bœ Incisive (l'istesso) Restless 172 poco rit. ! ! ! bœ > poco bœ œ œ & ∑ ∑ œ œ œ bœ ßF fPœ 7 fP œ 11 bœ^ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 7 bœ^ œ 14 bœ bœ 3 ? 16 bœ œ 16 16 16 œ œ œ œ 4 bœ moltoœ v v œ œ bœ bœ œ bœv ` > ƒ 176 Wooly (poco meno mosso) 2x

. 3 3 . 3 & . q q . q s 3 s s ? 4 bœ œ #œ œ#œ bœ bœ œ nœ bœ œ #œ . Sœ #Sœœ bœ #Sœ œ v v œ #œ #œ v nœœ œ v . Sœ #Sœœ bœ #Sœ œ . œ œ œ v v S nœ nœ œ œ œ v œ œ . œ œ œ v v S nœ nœ v v v v v v v v v v v v v v v v v v v v v v v v v v v v v (`) v v v ! ! ! Restless (l'istesso) 5:4 179 ! ! ! Wooly #œ 3 ? œ #œ q œ Œ & . 3 & 9 œ F 3 q s s ? œ#œ bœ œ bœ œ # œ 16 4 bSœ œ #œ v v œ #œ #œ v œ nœ v v ‰ œ . œ œ #Sœœ bSœ nœ #Sœ œ œ v œ v œ #œ v œ œ œ v v v v v v nœ v v #œ œ bœ bœ v v v v v v v v v v > F v œ ` v (`) ƒ v - 7 - 182 ! ! ! Restless 2x (a tempo) œ > 3 . œ œ bœ œ & q . bœ bœ œ œ s s 15 10 8 s œ œ bœ ? œ#œ #œ bœ œ bœ œ nœ . 16 œ œ œ œ 16 fP bœ 16 v v œ #œ œ v œ nœ v œ v œ œ . œ v bmoltoœ œ œ v v v v v v v v bœ P œ œ v v v œ (`) v > 185 Incisive (l'istesso)

& œ œ œbœ œ bœ œ > bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œpocoœ œ œ œ œ 8 fP 9 fP 7 fP 23 v ...... 5 ? 16 œbœ 16 œ œ 16 bœ œ 16 ßF 16 >œ œ œbœ >bœ bœ O bœ œ O Sost.◊

Obsessive (l'istesso) Restless Obsessive 189 > 5x s > 3x > > 4x .#œ œ . #œ .#œ œ . #œ .#œ œ . & . #œ#œ bœ . # œ F . #œ#œbœ . #œ#œ . #œ#œ bœ . 5 œ bœ 11 œ f œ 5 œ bœ 3 œ 5 œ œ bœ 7 ? 16 . œ œ . 16 œ œ bœ œ œ 16 . œ œ . 16 œ œ 16 . œ . 16 . . v œ bœ œ bœ . . . . > ç bœ > > > (Sost.) f P f P f f P

Restless 194 > > 5x > > 3x œ œ bœ œ œ œ #œ œ œ .#œ œ . #œ œ .#œ œ . #œ^ #œ œ & #œ#œbœ œ . #œ#œ bœ . #œ . #œ#œ œ . # œ œ bœ 7 œ 5 œ 3 5 œbœ 11 œ f 5 ? 16 œ œ bœ œ 16 œ œ bœ 16 œ œ bœ 16 œ œ bœ 16 œ F 16 . . . . Sœ > > > > (Sost.)f P f P f f P ç

Obsessive Restless 199 > > > > s #œ œ . #œ œ œ #œ œ œ #œ œ œ #œ œ œ . #œ bœ #œ œ bœ & 5 . #œ #œ #œ #œ #œ #œ #œ #œ . 6 # œ œ 7 > bœ œ 9 f œ bœ œ œ b œ œ œ bœ œ bœ œ bœ nœ fP œ œ ? 16 . œ œ œ œ œ œ œ œ . 16 œ P 16 œ 16 . . v (Sost.) > > > > > ç

205 bœ bœ b>œ œ œ b>œ œ œ œ œ œ œ bœbœ & œ œ bœbœ fP bœbœ œ œ 9 fPbœ 12 fP bœ 10 œ 11 fP 5 ? 16 >œ bœ 16 œ 16 œ œ 16 œ bœ 16 œ œ bœ œ bœ bœ bœbœ > œ œ - 8 - molto rit.

3 209 > bœ bœ bœ > œ œ œ >œ œ & ∑ ∑ bœ œ molto œ œ fP molto bœ 5 fP 8 > ƒ 14 2 ƒ 5 ? 16 bœ bœ œ 16 bœ œ 16 œ bœ œ 4 # >œ ? 8 > bœ œ œ œ œ & #œ œ œ #œ bœ bœ œ œ bœ molto P œ b œ œ bœ bœ bœ 5:3 bœ3 bœv œ v > > > v ° Wild ( ) 213 q = 120 s s s s s bœ b˙. s bœ b˙ œ œ ? b œ b ˙. . ? b œ b ˙ œ œ œ ˙ œ œ œ œ ˙ & œ œ œ ˙ & œ œ œ & 5 ##œ#˙ #˙ 2 7 3##œ#œ #œ 5 2 7 8 bœ b ˙ 8 ? 8 8 bœ b œ 8 8 ? 8 ? œ ˙ & œ ˙. œ œ œ ˙ & v # #œ ##œ #œ #˙. ˙. v #œ #˙ ˙ # #œ ##œ ç # œv #œ v P ç v P # œv #œ P çF ç F(sim.) ç çF 219 s s s s bœ b˙ s bœ b˙. œ œ ? b œ b ˙ ? b œ b ˙. . œ ˙. œ œ œ œ ˙ & œ œ œ ˙ & & ##œ #˙. #˙. ##œ #œ #œ 7 bœ b ˙. 3 5 2 bœ b œ 7 3 ? 8 œ . ˙. 8 ? 8 8 œ œ 8 . 8 œv ˙ & #œ #œ œ ˙ œv œ œ ˙. & ## œ #œ # œ #œ #˙ #œ #˙. ç v v P ç v P F çF ç F ç Restless (a tempo) 224 s bœ œ b>œ s œ bœ œ œ œ œ œ^ œ œ œ bœ œ œ œ œ ˙ œ bœ bœ & ##œ #˙ #˙ bbœœ œ œ 3 5 bœ b ˙ 7 b œS P 15 fP œ 8 8 ? 8 œ ˙ ˙ 16 S 16 bœ bœ 16 & # #œ ##œ v bœ œ # œ #œ ç ç œ v ( ) P çF ° ! ! ! 228 œ œ >œ bœ œ œ bœ bœ nœ œ & œ bœ bœ bœ œ œ bœ #œ œ 8 bœ œ 5 >bœ 10 œ œ 11 bœ œ œ 5 bœ fP bœ œ bœ œ fP 4:5 ? 16 œ œ 16 œ 16 > 16 16 œ œ > fP fP ! ! ! Restless Obsessive (l'istesso)

232 > 3x > > > > > > bœ bœ œ œ œ œ œ œ œ œ bœ . œ#œ œ . œ#œ œ œ#œ œ œ #œ œ œ#œ œ œ#œ œ œ#œ œ & . œ bœbœ . œ bœ œ bœ œb œ œ œ bœ œ œ bœ œ bœbœ œ 5 9 f P 8 bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ œ œ ? 16 . . 16 Sœ ‰. 16 > > > > > > > > 4:5 f P f f P f molto p - 9 - 239 b>œ œ œ > > œ bœ œ bœ œ œbœbœ œ bœ œ œ bœbœ bœ & œ œ bœ bœ œ œ > œ œ 8 fP 5 fP 9 fP bœ 6 œ 10 fP œ 13 ? 16 16 16 œ œ 16 œ 16 bœbœ 16 > bœ œ fP œ œ

poco rit. ! ! ! 244 bœ > œ œ ¤ ^ œbœ œ œ bœ œ ^ bœ^ œ œ œ œ œ bœ bœ bœ bœ^bœ & bœ bœ œ molto 13 fP bœ 11 fP œ 16 œ 3 16 œ bœ 16 œ 16 bœ œ ƒ 4 ? œ œ œ bœbœ bœ bœ œ bœ > > fP Brittle (poco meno mosso)

(¤) ^ ^ ^ ^ 247 ^ ^s ^s ^s ^ ^ ^ ^s ^s ^ ^ ^ ^s ^s ^s ^ ^ s œ ^s ^ s œbœ^ ^ ^ bœ ^ nœ ^ #œ bœœ bœ œ bœ nœ bœ^ #œ ^ ^bœ^ œ bœ^ ^ ^ bœ ^ nœ ^ #œ bœœ œ#œ œ œ^ œ nœ #œ nœ œ nœœ#œ œ^ œ^ nœ œ œ#œ œ œ^ œ nœ #œ

& 3 3 3 3 q q q 12 ? 4 ∑ ∑ ∑ 16

! ! ! Restless (a tempo) 250 >œ (¤) bœ bœ œ^ œ^ ^ œ œ > bœ >œ bœ œ œ œ œ œ bœ bœ bœ & bœ bœ bœ œ œ œ bœ 12 molto P œ 7 bœ 11 fP œ 8 œ 10 ? 16 16 fP 16 œ bœ 16 œ 16 ∑ ∑ bœbœ bœ bœ œ œ > fP

254 Incisive (l'istesso) bœ œ œ œbœ >œ bœ & œbœ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 10 >fPbœ 13 fP 6 fP œ 17 bœv . . . œ. . . . œ. . . . œ. . . . . 10 ? 16 bœ œ 16 bœbœ œ 16 16 ßF poco 16 œ œ bœ œ œ ∑ bœbœ œ œ > Restless 258 b>œ p 7:4 œ œ œ œ œ œ bœ ‰ bœbœ & > bœ fP œ œ œ œ œ 10 fP œ 7 œ 8 #œ #œ œ ‰ 14 fP œ 11 ? 16 œ œ 16 bœ bœ 16 # œ œ #œ #œ 16 œ œbœ 16 œ bœ œ bœ œ œ bœ bœ > > œ #œ œ fP poco

- 10 - poco 262 bœ >œ œ b>œ œ bœ bœ bœ œ œ œ & œ œ œ œ b>œ œ œ œ bœ 11 bœ œ 6 œ 5 10 bœ 9 ? 16 fP œ bœ 16 fP 16 16 fP bœ bœ œ 16 >œ œ fP œ bœ œ œ bœ p 5:3 œ

266 > > bœbœ œ œ œ bœ œ bœ œ œ œ œ œ bœ œ bœ œ ≈ œ œ œ œ & bœ bœ œ œ œ œbœ bœbœ œ 9 > 15 fP 12 fP œ 6 bœ 11 ? 16 fP 16 œ bœ 16 œ 16 16 bœ œ bœ bœ œ fP poco œ œ œ œ 270 œ > bœbœ bœ œ bœbœ œ œ & œ œ œ œ bœbœ > œbœ 11 œ 14 ƒ 12 bœ 5 fP 8 ? 16 bœbœ 16 fP œ bœbœ 16 œ œ 16 bœ œ 16 œ œ bœœ bœ œ P œ œ œ bœ bœ molto > v #œ œ œ v > fP v#œ v v 274 v œ œbœ > bœ œ œ œ bœbœ œ œ œ œbœ bœbœ bœ œbœ œ œ 4:5 bœ & œ œ bœ fP bœ œ œ œ 8 10 œ 13 > bœ 9 > 7 ? 16 bœ œ 16 fP œ œ 16 œbœ œbœ 16 fP ? 16 > œbœ œ œ Sœ œ & œ œ bœ ∑ fP ‰. œ poco 278 > > bœ œ bœbœ œ œbœ œ œ œ œ bœbœ bœbœ œbœ œ œ œ œ œ œ & bœ œ œbœ œ œ 7 fP 8 > 14 fP bœ 11 bœ 12 ? 16 16 fP 16 bœ œ 16 fPœbœ 16 ∑ ∑ œ œ bœ >œ œ 282 bœ >œbœ œ bœ bœbœ ∑ ∑ œ œ & 12 œ œ 5 6 13 bœ bœ 15 fP œ bœ bœ œ œ œ bœ ? 16 bœ 16 bœ 16 > œ 16 œ 16 bœ œ œ bœ œ bœ bœ bœ bœ œ œ > œ > fP fP fP dissipating . . . 286 > bœ œ U bœ bœ bœ bœ bœ ¤ bœ nœ , œ ? bœ œ œ œ bœ œ & œ œ > œ bœ & œ œ œ bœ œ œ œ 15 fP 12 bœ œ 10 bœ ¤ bœ

bœ 05/16/18 ? 16 bœ œ 16 > œ bœ 16 œ œ œ moltoœ œ & œ bœ œ œ œ bœ bœ bœ nœ nœ bœ œ bœ bœ œ œ œ œ ◊ molto dim. ƒ π - 11 -

Joseph Klein

Der Gottprotz (The God-swanker) character study after Elias Canetti

for solo organ

(2014)

– for Jesse Eschbach –

duration : c . 5 ' Performance Notes

fermata continuum: arranged from shortest to longest

pause/break in sound: arranged from shortest to longest

• Accidentals apply only to the notes they immediately precede, with the exception of repeated pitches.

• This work is based on a non-octave scale, which repeats at the perfect fourth and consists of a repeating pattern of whole/whole/half steps throughout:

Program Note Der Gottprotz (The God-swanker ) is the thirteenth in a series of short works for solo instrument based upon characters from Der Ohrenzeuge : Fünfzig Charaktere (Earwitness : Fifty Characters) by Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters, and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, percussion, bass saxophone, guitar, piccolo, organ, basset horn, and violoncello, among others. In Canetti's description, "The God-swanker is a handsome man, with a voice and a mane.... [He] never has to ask himself what is correct, he looks it up in the Book of Books.... He does not have to worry about contradictions, they stand him in good stead.... When the God-swanker waxes furious... [he] stations himself erect with a bloated voice-sack as though standing personally on Mount Sinai and thunders and threatens and spews and flashes and shakes the riffraff to tears." Der Gottprotz was completed in December of 2014 for organist Jesse Eschbach.

- i - Der Gottprotz ( The God-swanker )

The God-swanker never has to ask himself what is correct, he looks it up in the Book of Books. There he finds everything he needs. There he has a moral support. There he leans, assiduous and powerful. Whatever he plans to do, God will endorse it. He finds the sentences he needs, he could find them in his sleep. He does not have to worry about contradictions, they stand him in good stead. He skips anything not useful to him and dwells on an indisputable line. He absorbs it for all time until, with its assistance, he has achieved what he wanted. But if life then goes on, he finds another sentence. The God-swanker trusts the pluperfect and calls upon its help. The tricks and gadgets of the modern age are superfluous, you get along much better without them, they only make everything more complicated. Man wants to have a clear answer and a consistent one. A wavering answer is useless. There are different sentences for different questions. Let anybody give him a question to which he could not find a suitable answer. The God-swanker leads a regular life and wastes no time. The world may cave in around him, but he has no doubts. He Who created the world will save it from destruction at the very last moment; and if it cannot be saved, He will rebuild it after the annihilation so that His Word may survive and be right. Most people shall perish because they do not heed His Word. Those, however, who do heed His Word do not really perish. The God- swanker has been saved from every danger. Thousands have fallen all about him. But he is still alive, nothing has ever happened to him, doesn’t that mean something? The God-swanker, in his humility, takes no undue credit for it. He knows the stupidity of human beings and feels sorry for them, they could have an easier time of it. But they do not wish to. They think they live in freedom and do not realize how greatly they are enslaved to themselves. When the God-swanker waxes furious, he threatens them, not with his words. There are better words to scourge people. He then stations himself erect with a bloated voice-sack as though standing personally on Mount Sinai and thunders and threatens and spews and flashes and shakes the riffraff to tears. Why did they refuse to listen to him again, when will they finally listen to him? The God-swanker is a handsome man, with a voice and a mane.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

- ii - Der Gottprotz character study after Elias Canetti for solo organ Joseph Klein ( 2014 )

s Imposing = c.180 ( = c.60; = c.90) q q . q 9 8 ˙>. œ œ#œ > ˙ . #œ#œ œ œ#œ#œ #˙ . œ #˙ . #œ#œ œ 5 nœ. œ #œ#œ#œ 8# ˙ . œ 6 #œ#œ 13 & 8 œ. œ 8 8 # ˙ . œ 8 8 16' Princ. œ. œ Chorus > œ 9 bœ œ#œ#œ bœ. œ œ œbœ b˙ . ? ? 5 b œ. œ & 8 6 b ˙ . bœ bœ œ 13 8 bœ. œ 8 #˙ . œ 8 ˙ . bœbœ œ 8 > # ˙ . œ > bœbœ œ ƒ n>˙ . œ ? 5 8 . 6 . 13 8 ∑ 32' Principal8 ChorusŒ œ. 8 Œ 8 16' Reed œ. œ œ. ƒ

Pious ( = c.40) 4 h @ > 13 #˙ . œ. ˙ 3 b˙ . bœ ˙ ˙ b˙ . . bœ ˙ & 8 # ˙ . œ. ˙ 2 b wsub. b˙ ˙ . bœ ˙ bœ ˙˙ bw 8' Flute p > w . bw . b˙ w . ? 13 b˙ . œ. ˙ 3 ˙ bw w w b˙ 8 bn˙ . œ. ˙ 2 bœ. ˙ ? 138 Œ. ‰ œ œ 23 ∑ ∑ ∑

8 @ 31/2 & ˙ bw b˙ 2 ˙œ bw bœ 23 w b˙ ˙ . bœ ˙ w b˙ œ ˙ . Ò (non˙ cresc.bw) bw b˙

œ bœ w 1/ w w . ˙ ? w . 3 2 ˙ w b˙ . œ 3 ˙ . œ ˙ w bw œ bœ 2 Ò 2 8' Flute 31/2 ? ∑ 2 ∑ ˙ . 3 . ˙ . ˙ . Ò 2 bcresc.˙ poco a˙ poco œ P ©2014 by Joseph Klein. All rights reserved. - 1 - 12 / , 312 & b˙ w 2 86 w˙ . bœ ˙ œ œ w b˙ b˙w . b˙ ˙ . Ò œ , w . ˙ 1/ ? ˙ w w . bw 3 2 ˙œ . œ w œ ˙ . œ 6 3 2 Ò 8 + 16' 3 / ? bœ 312 s 6 ˙ œ œ ˙ . œ b˙ ˙ œ œ bœ 2 œ Ò 8 (cresc.) œ. œ ˙ œ ˙ s Imposing = c.180 ( = c.60; = c.90) q q . q 8 9 15 ˙>.. @ > #œ > ˙ .. œ #œ#œ #œ #œ œ #˙ . œ. #˙ .. œ#œ#œ 6 . #œ #œ œ 9# ˙ . œ. 7 œ#œ#œ 10 & 8 ˙ . #œ 8 8 # ˙ . œ. 8 8 16' Princ. ˙ . Chorus ƒ œ 9 bœ œ #œ #œ b˙ . œ œ bœ ? 6 b ˙ . 9 7 b˙ .. bœ ? 10 8 b˙ . & 8 8 b ˙ bœ œbœ 8 ##˙ . œ. ˙ .. bœ œbœ 32'> Principal Chorus n˙ . œ. > bœ œ 16' Reed > s ? 86 89 bœ. œ 78 108 œ œ œ œ. œ. œ œ. œ œ œ ˙

ƒ 8

18 8 9 œ > œ #œ œ b˙ . > #œ#œ œ > ? b ˙ . #œ #˙ . œ @ 10 #˙ . ˙ nœbœ bœbœ 6 ˙ . #œ #œ œ # ˙ . & & 8 8nœbœ 8 bœ œ#9œ # ˙ . # ˙ . ˙ bœ œ œ bœ 8 bœ bœ œ b˙ . ˙ bœ œ œ œ œ bœ #œ ? 10b ˙ . ˙ bœ œ œ 6 . œ œ bœ bœ bœ nœ#œ 8 bœ 8 ˙ bœ & bœ œ bœ n˙>. ˙ ˙ . b˙ . > b ˙> bœ ˙ œ. bœ. ? 10 œ œ 6 œ. œ. . œ. 8 œ. œ. 8 bœ

9 9 8 21 > > ˙ . œ nœ>. n˙ . 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 9 #˙ . #œ œ 6 5 & 9 8# ˙ . 8 8 9 8 > > #˙ . > #˙ . #œ œ ˙ . #œ#œ œ bœ bœnœ#œ #œ. ˙ . #œ #œ œ bœ ˙ . bœbœ œ 9 œbœbœ # œ 6 ˙ . bœbœ œ 5 & bœ bœ 8 n˙ . bœbœ #œ. 8 8 n ˙>. œ ? œ bœ 89 bœ. 86 bœ œ 85 œ. œ. œ. œ. œ. œ œ. - 2 - 8 Pious ( = c.40) 24 8 >. h nœ œ #œ#œ > 5 # œ. œ œbœbœbœ 10 œbœ bœ nœ# œ. ˙ 3 & 8 œbœ 8 bœ. bœ bœ œ #œ. ˙ 2 bw b˙ 8 b œ. œ b ˙ w b œ>. 8' Flute sub. bœ 8 p œ œ bœ . ? œ œbœ ˙ bœ ˙ 5 œ 10 œ. œ œ bœ 3 w . & 8 bœ. œ 8 œ. œ œ œ bœ. ˙ 2 bbœ. œ >œ œ œ œ. ˙ > >œ ˙ ? 5 10 3 8 œ. . 8 2 ∑ œ œ œ œ œ œ. œ. ˙

4'+8' Reed ^ @ (unenclosed) œ œ^ œ^ œ^ ^ , bœ œ #œnœœ 1/ ∑ ‰ #œ ‰ ∑ ∑ 3 2 & 6 2 ƒ 1/ bw œ bœ w 3 2 & w˙ . b˙ b˙ LHw˙ b˙ ˙ bw 2

bœ ˙ . / ˙w. bœ œ˙ w . 12 ? & 3 bœ ˙ w . b˙ 2 3 8'+16' Flute 3 1/ ? ∑ ∑ Œ œ Œ 3 2 bœ œ œ bœ œ ˙ . 2 f œ

^ @ œ œ^ œ^ œ^ ^ ^ ^ 1/ bœ œ nœœ#œ ^ œ ^ ^ , 3 2 3 #œ#œ œ##œœ ##œ#œ # ^œ œ^ & 2 ∑ 2 ‰ #œ # œ# œ œ‰ Ó ∑ ƒ 12:8 / 12 . . 3 ˙ . bœ ˙ bœ 3 bw˙. bœ ˙ b˙w. bœ œ bœ & 2 bw Ò LH 2 / 312 & 2 23 wœ bœ w ˙ . Ò œ ˙w bw b˙ w˙ w b˙

/ ? 312 3 bSœ œ œ 2 ∑ 2 Ó Ó ‰ œ œ bœ œbœ ˙ . f 3

- 3 - 33 ^ ^ (Reed) œ œ^ œ^ œ^ ^ ^ ^ œ œ^ œ^ œ^ ^ ^ ^ bœ œ nœœ #œ ^ œ bœ œ nœœ#œ ^ œ ^ 1/ #œ #œ œ##œœ #œ #œ œ##œœ ##œ 3 2 ∑ Œ ‰ 3 #œ #œ & 9:6 2 ƒ 6:4 / ˙˙. bœ ˙ bw˙ bw b˙ 312 & bLHw 2

/ 312 & bw . b˙ œw . œ w 2

1/ ? ∑ Ó. 3 2 ˙ . 2 f

@35 1/ ^ , 3 2 #œ##œ^œ œ^ 3 & 2 œ œ Œ Ó Ó Ò Œ 2 ∑ ∑ (6:4) + 4' - 8'

/ 312 œ˙. b˙ . bœ b˙ . 3 bw˙ bw b˙ ˙w bw b˙ & 2 Ò 2 dim. poco a

/ 312 3 . & 2 b˙w . bw Òbœ 2 ˙w. œ ˙ bw˙ . bœ œ˙ bœ 3 / ? 312 bœ œ 3 ˙ . 2 bœ œ ˙ œ œ Ò 2 Œ Ó ∑ œ œ œ œ œ 3

* + 1' - 2' + 2' - 4' 38 @ w . n˙ w b˙ b˙w nw . " U b ˙ bœ ˙ œ bœ w 4 bw 2 ∑ 9 & poco 2 quasi 2 16 ñ . U & ˙w . bw b˙w bw 42 bWœ b˙ bœ w 2 ∑ 169 U ? ∑ ∑ 42 ∑ 2 ∑ 169 * Ossia: disregard if 1' stops are unavailable.

- 4 - Hurriedly ( s = c.156; s. = c.104) q q 42 œ #œ œ œ œ #œ#œ " #œ#œ œ œ#œ " & 169 #œ œ#œ ∑ 1611 œ#œ œ#œ œ ∑ 165 8' Princ. (Great) p bœ 9 bœbœbœ ∑ 11 bœ ∑ 5 & 16 bœ œ œbœ 16 œ œ bœ bœ bœ 16 8' Principal bœbœ bœ bœ bœ bœ œ bœ ? 169 œbœ bœ œ ∑ 1611 bœ œ œ œ ∑ 165 œ œ nœ œ œ œ œ œ œ œ p

46 #œ #œ œ #œ œ#œ #œ#œ œ œ#œ œ œ #œ #œ#œ œ œ#œ @& 165 œ 167 #œ #œ œ#œ#œ#œ 166 #œ œ#œ œ 167 #œ nœ 5 bœ 7 6 7 bœbœ & 16 bœ bœ bœ 16 bœ œ bœ bœbœbœ bœ œ 16 œbœ 16 bœ bœ bœ bœ bœ bœ bœ bœ œ bœ bœbœ œ bœ bœ bœ ? 5 bœ 7 6 7 bœbœ 16 œ œ œ 16 œbœ œ œ œ bœ œ bœ 16 bœ œ 16 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

51 œ œ œ #œ#œ œ œ œ#œ #œ #œ œ #œ #œ#œ œ #œ#œ œ œ œ #œ#œ @& 166 œ#œ #œ 167 #œ œ#œ#œ œ#œ 166 #œ 167 bœ 6 7 bœ bœ 6 7 & bœ œ bœbœbœ œ 16 œ bœbœ 16 œ œbœbœ bœ œ 16 bœ bœbœ œbœ 16 bœ bœ bœ œbœbœ œ bœbœ œ ? œ 6 7 bœ œ 6 7 œbœ œbœ œbœ 16 bœ œ œ 16 bœ bœ œ œ œbœ 16 œ bœ œ bœ œ 16 œ œ œ œ œ œ œ œ œ œ

56 #œ (Swell) œ œ œ bäœ @ 7 œ #œ #œ#œ œ#œ #œ œ#œ #œ #œ 6 #œ #œ#œ ? 2 b œ 7 & 16 œ#œ œ œ#œ#œ 16 #œ œ œ8' Princ.16 S & 16 Chorus f s bœ ? 7 bœ bœ bœ 6 2 œ & 7 & 16 bœ bœ bœ œbœbœ bœ bœbœ œ bœ 16 œ œ bœ 16 œ 16 bœbœ bœ bœ bœ œ bœ bœ bœ â ? 7 bœ 6 2 7 16 œ œ œ œbœ œ œ œ bœ œ bœ 16 bœ œ 16 ∑ 16 œ œ œ œ œ œ œ œ œ œ œ œ œ

- 5 - 61 ä (Great) #œ œ (Swell) nœ. œ œ #œ #œ ä #œ #œä # œ. #œ 7 œ #œ 3 #œ. #œ œ 2 # œ 5 œ #œ œ 3 S œ 5 & 16 8' Princ. 16 16 #œ 16 #œ#œ 16 16 8' Princ. # Sœ. (sim.) S Chorus p f p p f ä. f s p ä 7 bœ bœ ? 3 bbœ. 2 5 3 bœ. bœ ? 5 & 16 bœ bœ bœ œ 16 nœ. & œbœbœ 16 bbœ 16 œ 16 b œ. bœ bœ 16 bœ S nœ bœ bœ œ bœ S â ? 7 bœbœ 3 2 5 3 bœ 5 16 œ œ œ bœ 16 ∑ bœ œ œ 16 ∑ 16 bœ 16 ∑ œ œ 16 œ œ œ œ œ 68 äœ #œ ##œ ä s s #œ œä. œ #œ #œä. nœ œ. @& 165 bœ. œ 162 #œ 163 ##œ. 108 ## œ. # œ œ. 78 b œ œ S cresc. b œ. œ f f âs s p f p bäœ ? 5 œ. œ 2 3 s bœ 10 bbœ ? 7 16 œ. œ & 16 œ 16 œ. bœ bœ 8 œ. bbœ œ. 8 â œ œ. bbœ. bœ œ. œ. â â â bœ ? 5 ∑ 2 3 ∑ œ 10 ∑ 7 16 16 œ bœ 16 œ 8 8 s Imposing = c.180 ( = c.60; = c.90) q q . q 9 8 @73 n˙>. œ œ#œ > ˙ . #œ#œ œ œ#œ#œ #˙ . œ. #˙ . #œ #œœ 7 ˙ .. #œ#œ#œ 9 # ˙ . œ. 6 #œ#œ 13 & 8 ˙ .. 8 8 #˙ . œ. 8 8 16' Princ. ˙ .. Chorus > ƒ bœbœ 9 > bœ œbœ b˙ .. œ œbœ b˙ . ? ? 7 b ˙ .. & 9 6 b ˙ . bœ bœ œ 13 8 b˙ .. 8 b˙ . œ. 8 ˙ . bœbœ œ 8 b ˙ œ > bœbœ œ n˙>. œ. ? 7 9 . 6 . 13 8 ∑ 32'8 PrincipalŒ Chorus œ. 8 Œ 8 16' Reed œ. œ. œ. ƒ Hurriedly ( s = c.156; s. = c.104) q q 76 @ > #œ œ#œ œ 13 #˙ . œ. ˙ 7 ∑ 7 #œ œ #œ 6 œ#œ#œ œ ≈ 3 & 8 # ˙ . œ. ˙ 8 8' Princ. 16 16 #œ 4 (Pos.) > p ? 13 b˙ . œ. ˙ 7 7 6 3 8 b ˙ . œ. ˙ 8 ∑ & 16 bœ bœbœbœ 16 bœ 4 n˙ . œ. ˙ œbœbœ bœ bœ œbœ 8' Principal bœ œ ? 13 . bœ. ˙ 7 7 bœ 6 3 8 Œ ‰ œ œ 8 ∑ 16 œbœ œ œ œ œ 16 œ œ bœ 4 p œ œ œ - 6 - 4'+8' Reed (unenclosed) 80 ^ ^ œ^ ^ ^ ^ , #œ œ œ œ^œ#œ^ ^ œ^ bœ œ œ œ nœ^œ œ œ œ œ œ 3 #œ#œ œ##œœ #œ#œ 8 #Sœ #œ#œ 7 œ #œ 8 #œ#œ œ#Sœ 4 (Great) #œ ≈ S#œ œ#œ œ #œ œ ≈ & 4 9:6 8' Princ.16 16 16 4 ƒ (Pos.) p 3 8 7 bœbœ 8 bœ bœ 4 & 4 ˙ . 16 œ œ bœ 16 bœ bœbœ 16 bœ œ bœbœbœ œ 4 ˙ . œ bœbœbœ œ bœ bœ bœ bœ ? 3 8 7 bœbœ 8 œ 4 4 16 bœ œ 16 œ œ œ 16 œ bœ œ bœœ bœ 4 ˙ . œ œ œ œ œ œ œ œ œ

(Reed) Pious ( = c.40) @ œ^ ^ œ^ ^ h bœ œ œnœ^œ#œ^ ^ ^œ ^ ^ , 4 #œ#œ œ##œœ#œ ##œ #œ##œ^œ œ^ #œ^ # ^œ 2 3 &(Great)4 # œ # œ œ 2 ∑ 2 ∑ 12:8 œ ƒ (RH) & 4 w b˙ . 2 ˙œ bœ b˙ 23 ˙ . b˙ . bœ ˙ bœ LH Œ π 4 Ó Œ 2 3 & 4 œ 2 w 2 bw . b˙ w w w 3 3 ? 4 2 ∑ 3 Œ 4 2 8'+16' 2Flute bœ bœ œ œ ˙ w dim. n œ œ œ f

(Reed) ^œ ^ ^ @ œ œ œ^ ^œ , bœ #œ#œnœ 3 & ∑ Ó ‰ 6 ‰ Ó ∑ 2 ƒ 1/2 ˙˙. bœ ˙ ˙ bw 3 ˙ bw 3 & bw LHw b˙ 2 œ b˙ œ ˙ . Òbœ 2 3 1/2 ? w b˙ . œ & 2 23 w . b˙ wœ. bœ w w˙ Ò

1/ ? bœ 3 2 œ œ bœ 3 ∑ Ó Ó Œ 3 œ 2 œ bœ œ Œ 2 3 ˙ . Ò f

- 7 - poco rit. 90 + 16' - 8' 3 b˙ ˙ . 4 & 2 w˙ bw bw bœ b˙ w˙ . bœ b˙ œw œ w b˙ 2 . ? 3 w˙ . œ ˙ w˙ bw œ bœ ˙w . w w˙ . bw 4 2 dim. 2 3 3 ? 3 ∑ Œ bœ s Œ Ó Œ Œ Ó 4 2 ˙ œ œbœ œ. œ 2 f œ œ œ œ ˙ . Hurriedly ( s = c.156; s. = c.104) q q (rit.) lunga 94 œ. . . . U œ œ œ œ œ. #œ. @ 4 "2 7 #œ#œ œ 6 7 ∑ œ #œ 9:6 ∑ & 2 W 2 8' Princ. 16 #œ 16 8 b˙ b˙ w (Great) poco p . œ. . . œ . œ w . U bœ bœ #œ. #œ nœ œ. ? ? 4 ˙ œ w 2 ∑ & 7 6 ∑ 7 2 quasi 2 16 œbœbœ 16 9:6 8 n œ bœbœ U ? 4 ∑ 2 ∑ 7 bœ 6 ∑ ∑ 7 2 2 8' Principal16 bœ œ œ 16 8 œ œ œ s p Imposing — Poco meno mosso = c.150 ( = c. 50; = c.75) 9 q q . q 99 8 œ œ #œ >˙ @ œ#œ > œ #œ #œ œ #œ #œ #œ. œ >˙ . œ#œ#œ #˙ 7 ˙ .. #œ#œ #œ 5 # œ. œ 6 4 5 & 8 ˙ .. 8 8 #œ. œ 8 ##˙ . 8 8 16' Princ. ˙ .. Chorus > +Reed bœbœ 9 ƒ bœ œbœ > >.. œ œbœ b˙ . ? 7 b˙ 5 ? 6 b ˙ bœbœ bœ 4 b˙ 5 b ˙ .. & . b˙ . & bœ œbœ 8 b˙ 8 bbœ. œ 8 bœ œ bœ 8 bb˙ 8 32' Princ. Chorus nœ. œ > 16'+32' Reed > 3 ? 7 b˙ 5 œ. bœ. 6 4 5 8 ‰. Sœ. 8 œ 8 œ œ bœ œ. 8 œ bœ 8 lunga œ ƒ 8 103 > U #œ œ œ #˙ . œ. w . #œ œ œ # ˙ . œ. w . @ 5##œ>. œ œ #œ 9 12 & 8 # œ. œ 8 8 8 bœ bœ œ bœ bœ > . . . ? œ œ bœ b ˙ . œ. w . & 85 89 ˙ . œ. 128 w . bœ. œ b œ> œ U ? 5 œ 9 12 8 8 bœ œ œ œ. 8 w . 03/24/18 œ œ œ œ. œ. w . - 8 -

Joseph Klein

( The Humility-forebear ) character study after Elias Canetti

for solo guitar

( 2008/13 )

- for Matthew Elgart -

duration: c . 5 '

edited by Joseph Mirandilla Performance Notes

senza misura allow the sound to Ø œ resonate (laissez vibrer)

, brief pause/break in sound left-hand pizzicato + hammer on fermata continuum -

(short to long) + string numbers

play as fast as possible II VII fret numbers

arpeggiated chord (up/down)

accelerando/ritardando block chord

durational continuum within senza misura section: values arranged from shortest to longest (precise durations ad libitum).

• Accidentals apply only to the notes they immediately precede, with the exception of repeated pitches.

• With the exception of measure 16b, the de-tuning of the guitar strings should be achieved quickly and subtly so that the pitch change is not apparent until the following measure. In each case, the pitch alteration should be as close to 25 cents as possible in order to create the greatest discrepancy in tuning between the strings.

Program Note Der Demutsahne (The Humilty-forebear ) is the tenth in a series of short works for solo instrument based upon characters from Der Ohrenzeuge : Fünfzig Charaktere (Earwitness : Fifty Characters ), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti ( 1905-1994 ). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, trumpet, percussion, and bass saxophone, among others. In Canetti's depiction of this character, The Humility-forbear "twists from one submission to another… He knows that a person who is eager to die will practice submission early on, and the trick is to live in the teeth of this insight.... [He] practices bearing up under his hardship... [and] does it so well that he is sometimes pricked by malice; then he succeeds in intercepting a hardship before it properly arrives." Der Demutsahne was composed in September of 2008 for guitarist Matthew Elgart, and first performed on 26 May 2012 at the Sichuan Conservatory of Music (Chengdu, China) by guitarist Joseph Mirandilla. - i -

( The Humility-forebear )

The humility-forebear nestles with destiny, the inevitable is his bliss. It is useless saying no to the inevitable, so he says yes before it even knocks. He walks about somewhat bent, thereby proclaiming his willingness to bear any yoke. But he strives not to look around too much, to keep from being noticed by yokes. For each yoke wants to be borne in its own way; if there are too many, they use their identity, and nothing is more dismal than routine. The humility-forebear twists from one submission to another. He feels what good it does, he can rationalize it with deep-felt words. He is convinced that man exists for the inevitable: that is the very thing distinguishing him from animals. They do not know, they are always fleeing, as though they could escape their destiny. Eventually, they are eaten, and the poor things have no inkling that this is the way they have to be. Man, however, incessantly waits for his destiny and welcomes it.

"Do you want to live forever?" he says to his child after it has barely learned how to speak, and he prepares it at an early age for submission; let it become like him and not go through life blindly, let it increase the number of humility-forebears. He knows that a person who is eager to die will practice submission early on, and the trick is to live in the teeth of this insight. This trick consists in doing absolutely nothing against what must be. "And how can one distinguish what must be from other things?" One is born with an instinct for that, he says, and a man’s consists in never losing that instinct. One is well-advised never to hear about struggles for freedom, rebellions, uprisings, or even mere protests. If one does hear about them, however, one should go all the way and also learn how useless they were. Either they fail or they do not fail. If they do not, then everything remains as before. A man who sees everything and takes it as it is and always was will maintain his dignity. The worst is good if only it comes as destiny, for it is the hardest. The humility-forebear practices bearing up under his hardship. He does it so well that he is sometimes pricked by malice; then he succeeds in intercepting a hardship before it properly arrives. Thus one burden is supplanted by the other, he too has a sense of variety. Each new burden increases the sublimity of man. The humility-forebear is bursting with experience. He scatters advice right and left. It is always the same.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

English translation 1979 by The Seabury Press, Inc. text used by permission© of Carl Hauser Verlag, München. - ii - character study after Elias Canetti for solo guitar Joseph Klein ( 2008/13 )

Deliberate (senza misura) sul pont. U U œ œ œ œ Ø œ bœ bœ œ œ V œ œ œ #œ œ bœ nœ œ œ œ bœ œ bœ F

(ord.) 2 IX 3 U 1 U #· U ^g œ bœ ( ) ^ œ bœ g b˙ œ #œ #œ œ #œ g b˙ g b ˙ V nœ bœ œ g 3b ˙ poco poco bœ bœ œ 4 œ p espress.F F

1 XXI 3 XIX sul pont. (ord.) 4b 2 U #· ^ ˙ ‚ ( ) g U #œ g b˙ ˙ #œ #œ ( ) g b œ b˙ œ œ œ œ V u œ œ bœ œ œ bœ (non dim.) bœœ œ œ p F F œ

1 XX 3 XXI 4 XXI sul pont. 1 6 U 2 (ord.) ‚ U U U ( ) #· nœ ‚ œ g b˙ U U œ œ ( ) ( # œ ) g V œ œ #œ œ œ v4g bœ bœ œ #œ #œ nœ #œ p œ Fespress. F

(non dim.) F 7b g ˙ U ˙ U g ˙ U g ˙œ œ vg bœ bœ bœ bœ œ g b˙ V œ œ œ bœ bœ vg b˙ 6 bb˙ u b˙ bœ bœ Fsub. ˙ F F P p 2008 by Joseph Klein. All rights reserved. © - 1 - 2 XX (ord.) 8 sul tasto sul pont. · 3 U , , œ ( ) V œ œ œ œ œ œ œœœ bœ œ œ œ œ ...... bœ bœ bœ p π #œ œ bœ p F 1 XXI

3 XIX 4 XX sul pont. U 9b (ord.) b· 1 3 sul tasto U U‚ U ( ) U , bœ b‚ bœ ^g œ bœ . . . . . œ œ ( ) ( ) g b˙ V œœ œœœ bœ œ œ bœ g3b ˙ œ bœ 4 œ œ p espress.F π œ œ F

2 5 XVII 2 3 XXIV 1 XII XIX U 4 X- 5 IX- 11b 6 XVI ‚ p 2 #‚ ‚ ^ œ ‚ ‚ ‚ g bœ bœ b‚ bœ ^ ˙ ( ) U #‚ g b˙ œbœ œ g b˙ œ ˙ V g b ˙ g b œ b˙ 26 sub. u p F P F P

Sublime = c.50 4 VI- 2 h 3 V 1 XII 2 IV- 5 IX- 12 n· IV- U √ 3 VII √ 3 #· · #· · #· Ø , , V 26 · œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 132 p sul tasto π 4 XVI 4 lunga ( = c.50 ) III- 2 XVI 4 XVI h 1 XII (ord.) 5 XVI 2 XII 1 14 3 XII · 3 XII 5 XII U 6 XIX 4 XII √ #· · #· #· (# · ) · #· n· · #˙ 13 · · s 8 V 2 6 · 2 bœ p nœ

3 V 5 IX 5 IV- 2 XII 4 XIV 1 15 5 XII 6 IV- 4 XVI 4 XII n· 6 V s.p. 5 VII 3 2 #· #· s · #· #· 8 · ( ) 11 · ( · ) ˙ · ˙ ˙ V 2 bœ · #˙ 2 ˙ œ œ œ œ bœ (.s.t.. ). . 6 œ

- 2 - sul pont. 1 16b 5 XIX 4 XIV 3 1 nœ nœ œ œ (˙ · ) · ( · ) ˙ ˙· Ø œ œ œ V ˙ ˙ 5 VII œ œg bœ œ œ l œ 6 XXIV ! œ jœ œ quickly de-tune 5 bœ #œ (~25¢ low) F

18a sul tasto p œ œ œ œ œ œ œ(sim.) bSœ bSœ Sœ V Sœ S #Sœ S S #œ œ#œ > >sul pont. > > > f >

18b bœ #œ #œœ nœ #œ V #Sœ œ œ œ bœ œ œ œ ↓g ↓g bœ œ S œ bœ œ œ œ ! #œ œ quickly de-tune 4 > (~25¢ high) > >

1 (sul pont.) 2 (ord.) 19 n˙ U U g ˙ U gn ˙ wU gnn˙œ g˙ œ #œ œ g wn˙ w g wœ œ g w ˙ œ œ 4g œ vg g ˙ 3 V œrœg g rœ vg œ poco poco vg œ œ ! (non dim.) œ quickly de-tune 3 Fespress. F F F (~25¢ low)

sul pont. 21 bœ bœ œ œ j l œ œ rœ g g rœ V œ y j y œ œ wœg rœ œ œ œ jœ œ ! œ jœ ! #œ quickly de-tune 2 œ quickly de-tune 1 F (~25¢ high) (~25¢ low)

23 jœ w jœ j y j r œ r œ 03/24/18 rœ j j œ œ j w j œ œ j V œwœg j rœ œ œ œg j wœ œ œ rœj œbœ œ ! œr œ œr quickly de-tune 6 œ œ (~25¢ high) f - 3 -

Joseph Klein

Die Tischtuchtolle

( The Tablecloth-lunatic )

character study after Elias Canetti

for solo violin

(1997/2010)

duration: c . 5 '

Performance Notes

senza misura portamento (with measured

Ø tremolo ) œ port.

X X metered notation: beat units are allow sound to resonate fixed, measure units fluctuating 4 2 c.2” grace note accelerando accelerando (for the given duration, if indicated) left-hand pizzicato

durational continuum in senza misura sections : arranged from shortest to longest (precise durations ad libitum).

continuum of rests /breaks within senza misura section: values

arranged from shortest to longest (precise durations ad libitum).

• Accidentals apply only to the notes they immediately precede, with the exception of repeated pitches.

• Each line of music in spatial notation is approximately 20 seconds in duration.

• Broken slurs indicate note groupings while broken ties delineate connections between common tones ; in both cases, bowings are not implied, but are ad libitum unless otherwise indicated.

Program Note

Die Tischtuchtolle (The Table-cloth lunatic ) is the twelfth in a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere (Earwitness: Fifty Characters), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters, and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, percussion, bass saxophone, guitar, and piccolo, among others. In Canetti's depiction of this character, The Tablecloth Lunatic "is dazzling white and breathes in linen. Her fingers are strict, her eyes angular." However, when she happens upon a spot in the linens she obsessively inspects, "she turns dangerous, like a poisonous snake. Now she opens her mouth and shows dreadful fangs. Now she hisses before striking, the tiny spot takes its life into its hands." Die Tischtuchtolle was composed in October of 1997 and revised in 2010. The work was first performed by violinist Nagina Stoyanova on 17 November 2001 in Sofia, Bulgaria.

- i - Die Tischtuchtolle

( The Tablecloth-lunatic )

The tablecloth-lunatic is dazzling white and breathes in linen. Her fingers are strict, her eyes angular. As far back as she can remember, she has never had a cold, and yet her voice is slightly hoarse. She says she has never had a dream, and people believe her.

Some people come to her to get order. She is irresistible. She says little, but whatever she says has the dogmatic force of an entire church. It is not certain that she prays, she is her own church. When she celebrates the dazzling white, one is plunged into shame for living so long in filth. Compared with her, everything is filth, denials are futile. She opens her angular eyes wide, trains them undimmed on someone, and one senses a radiance from within. It is as though one had all her tablecloths inside, strictly folded, never spread, on a dazzling white heap, forever, forever.

But she is never fully satisfied, for even she finds spots in the dazzlement. One ought to see her when she unexpectedly stops short upon noticing a tiny spot. Now she turns dangerous, like a poisonous snake. Now she opens her mouth and shows dreadful fangs. Now she hisses before striking, the tiny spot takes its life into its hands. At times, it was so frightened of her that it vanished and she hunted it doggedly for hours on end. But at other times it does not vanish. The result is a hurricane. She grabs the dazzling white, she does not grab it alone, she grabs it together with twenty other dazzling whites, where it was stacked and she sets about rewashing the entire lofty pack at once.

At such moments, one is well-advised to leave her in peace, for her fury knows no limits. Anything within reach is also washed. Tables, chairs, beds, people, animals. It is like the Last Judgement. Now nothing finds grace in her angular eyes. Now animals and people have already been washed to death. Now it is like the time before the Creation of all beings. Now light and darkness are separated. Now God is no longer sure of what to do next.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

- ii - Die Tischtuchtolle character study after Elias Canetti Joseph Klein for solo violin ( 1997/2010 ) Pure ≥ I U I ≤ ≤ ˙ U, Ø II˙ ˙ œ II ˙ & ˙ ∏ﬂautando; senza espress.p ñ π p

2b ≥ ≤ ≥ U˙ U, I U U , œ II ˙ #˙ & ˙ ˙ ˙ ñ π p ñ

3b ≥ ≥ I ≤ œ œ U, œ ˙ œ œ œ II #œ œ #˙ œ & ˙ œ ˙ œ œ œ œ ˙ œ ord.;F espress. subito ñ ﬂautando;p P senza espress.

strin - gen - do - - 4b U o II œ œ œ œ ˙ U, , U #œ œ ¥ III & œ œ œ œ œ œ b˙ #œ #œ #˙ œ œ œ œ f ñ ord.; espress. F 5b U, , U U, II U œ œ œ œ œ #˙ & #œ III Ò œ œ b˙ œ œ ˙ ñ F ñ ﬂautando;π senza espress.

7b II III #œ #œ ˙ & IV œ III poco #œ ˙ bœ œ œ œ n˙ p ˙

7c I œ œ œ ˙≤ U, œ #œ œ œ œ œ nœ œ & œ œ œ II œ œ œ œ #œ ˙ molto 1997, 2010 by Joseph Klein. All rights reserved. F © - 1 - c. 2.5" Furious = 100+ q 8 ≥ , ≥ , ! ! ! #œ œ ≤ #œ œ œ œ œ œ œ X nœ! ! œ bœ nœ ! #œ bœ! ! !nœ bœ! bœ ! & nœ œ œ b œ œ œ œ œ œ œ 4 œ ! ! bœ ! ! œ ! ord.; espress. œ œ bœ œ œ œ œ œ œ- œ- œ- (al tallone)œ f >- >- >- >- > >> ƒ

10 ! ! !bœ œnœ #œ! ! œ! ! !bœ! ! ! ! œ ! ! ! !bœ œ #œ œ ! œ! ! ! bœ nœ !nœ & ! ! ! ! œ bœ ! ! œ ! ! ! ! nœ ! bœ ! bœ œ !nœ œ œ#œ œ bœ nœ nœ œ bœ œ bœ

12b ! ! ! œ !bœ! ! !bœ !nœ! ! ! ! œ œ ! ! œ! ! œ œ ! œ! ! ! ! ! ! & ! œ bœ bœ !#œ ! !nœ bœ bœ nœ nœ bœ œ #œ nœ ! ! ! ! ! bœ œ œ bœ œ bœ bœ nœ nœ

15 ! ! ! ! œ ! œ ! œ œ bœœbœ œbœ œbœ !#œ ! ! œ ! ! !bœ! !bœ! & !#œ !nœ œ ! œ ! ! ! ! ! ! œ œ !œ! ! œ! !œ! ! ! ! ! ! ! ! ! ! ! œ bœ bœ #œ #œ #œ œbœ œ bœ œbœ œ bœ œ bœ

17 ! ! œ ! ! ! ! œ! ! ! ! ! !bœ! ! ! œ #œnœ ! ! œnœ ! œ ! ! œ ! !bœ nœ œ ! ! & !œ bœ !nœ œ ! ! #œ ! !bœ œ #œ nœ ! ! ! ! ! ! ! œ ! bœ œ œbœ œ œ œ œ œ bœ#œ œ œ nœ #œ

19b port. œ bœ œ nœ œ bœ #œ bœ nœ œ ! ! ! œ œ #œ ! ! ! ! œ œ ! ! bœ ! œ & œ!#œ œ #œ #œ œ ! ! ! ! ! ! ! ! bœ bœ ! ! ! ! nœ ! œ bœ ! ! ! ! ! ! ! ! bœ ! !

21 œ bœ ! ! ! ! œ !#œ !bœ œnœ œ œ nœ bœ ! ! ! ! ! ! ! œ !bœ œ ! ! ! ! #œ ! ! ! ! nœ œ ! !#œ œ ! ! & !bœ œ bœ !nœ ! ! ! bœ bœ œ œ ! œ ! ! œ œbœ œ œ œ ! bœ ! #œ - 2 - 23b

! ! ! ! ! ! ! ! ! ! ! bœ œ bœ œ & ! ! ! ! ! ! ! ! ! ! ! ! ! !œ bœ ! ! ! ! œ bœ œ bœ nœ ! ! ! œbœ œbœ œ ! ! ! ! œ bœ œ bœ œ bœ œ bœ bœbœ œ bœ bœ bœ œbœ bœbœ œbœbœbœ ! !

26 ! œ #œ #œ œ œ! ! ! œ œ nœ œ! ! œ bœ œ ! ! bœ œ ! ! #œ ! ! ! #œ œ ! ! œ œ & œ ! !bœ œ bœ bœ bœ ! ! œ œ ! ! ! œ bœ ! ! ! ! ! ! bœ œ ! ! ! ! ! ! œ œ bœ

28 III ! port. IV #œ! ! ! bœ! ! nœ!! ! œ œ œ ! ! !bœ œ ! œ ! ! !bœ ! ! ! ! ! & nœ bœ œ ! nœ ! ! ! ! ! œ! !bœbœ ! ! ! !#œ ! ! ! ! ! bœ bœ bœ #œ œ œ bœ œ

31 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! œ ! œ œ! ! œ #œ ! #œ ! ! œ ! ! œ#œ ! œ ! bœ œ ! œ ! Ø & ! œ ! œ ! #œ ! œnœ ! œ ! #œ ! bœ ! ! bœ œ bœ bœ œ #œ œ œbœ nœ œbœ œnœ œ > feroce > > > > > > > > Ï Calm, fragile = 25 h 32 ≤ III ≥ , #˙≤ , #≥˙ , ˙ , ß+ , ≤ , ˙ ˙ Ø s X ˙ ˙ ˙ ˙ & #œ 2 œ ˙ molto ˙ p p p p > p (sim.) 33b ˙ , ˙ , ˙ , #˙ , #˙ , ˙ , ˙ , ˙ , #˙ #˙ ˙ ˙ ˙ ˙ #˙ #˙ &

33c ≤ #˙≥ ˙ , #˙ , #˙ , #˙ , ˙ ˙ ˙ & 03/24/18 P ñ

- 3 -

Joseph Klein

Die Schadhafte

( The Defective ) character study after Elias Canetti

for solo violoncello

( 2015)

- for Madeleine Shapiro -

duration : c . 6 '

Performance Notes

harmonic glissandi clb coll legno battuto

left-hand pizzicato ÒÒÒ gradual change from one + → mode of play to another T left-hand pizzicato (with thumb) accelerando/ritardando (duration indicated) + muffle strings with left hand

highest pitch possible overpressure/distorted tone

continuum of pauses/breaks, from very short to moderately long.

rapid, short glissandi between pitches; when notes are connected with a slur, the second note must not be re-articulated.

tap with fingertips on different parts of the cello body (ad libitum : relative placement of noteheads represents physical/visual gestures more so than pitch contours)

(a) irregular glissando : pitch in continuous flux; (b) smooth, unidirectional glissando

sub-ponticello : play between the bridge and tailpiece as close to the bridge as possible

• Scordatura tuning : The C string is to be tuned a semitone high (to C-sharp); the A string is to be tuned a semitone low (to A-flat). Specified pitches on scordatura strings ( e.g., the F- sharp in m. 85 ) are notated at sounding pitch.

• With few exceptions (where pitches are specifically indicated), it is crucial that the pitches are diffused throughout the work; this is typically achieved by muffling strings, playing sul ponticello, glissandi, bowing with excessive pressure, or some combination of these and other techniques.

- i - • X-shaped noteheads indicate playing on particular strings without regard to resulting pitch, usually related to a particular technique (e.g., muffled strings, harmonic glissandi, coll legno battuto). • Tempo should also be very fluid throughout rather than rigid and metronomic. The resulting effect should be a speech-like fluidity in both rhythm and pitch contours, not unlike a vocal Sprechstimme. • The performer is encouraged to emphasize or exaggerate any physical gestures inherent to the musical material, thus further illuminating aspects of the character represented in this work.

Program Note

Die Schadhafte (The Defective ) is the fifteenth of a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere (Earwitness : Fifty Characters), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, trumpet, percussion, bass saxophone, piccolo, organ, basset horn, and violoncello, among others. In Canetti's depiction of this character, "The Defective keeps examining herself, on and on, and always comes across new defects. She nitpicks on her skin, locks herself up with it, and never tackles more than a tiny area at one time… if she were done with her entire skin, she would be bound to collapse under the weight of her knowledge, she is kept upright by the realization that there is so much still to do ." The musical gestures in Die Schadhafte are based entirely on the rhythms and pitch inflections of the Canetti text in its English translation, resulting in a speech-like quality throughout the work. Die Schadhafte was completed in September 2015 and composed for ‘cellist Madeleine Shapiro, who premiered the work at the University of North Texas on 19 September 2016.

- ii -

Die Schadhafte

( The Defective )

The defective keeps examining herself, on and on, and always comes across new defects. She nitpicks on her skin, locks herself up with it, and never tackles more than a tiny area at one time. She examines it with magnifying glasses and tweezers, she peers, pricks, and tries the same place several times. For something that appeared intact at the first examination turns out to be defective at the very next one. When she first began, after a deep disappointment, she did not realize how many deficiencies she had. Now she is covered with them and is still far from knowing them all. Once she has discovered one, she makes a mental note of it and examines it painstakingly when its turn comes up again.

The defective suffers greatly from her knowledge about herself; after all, nothing ever improves. Once she has found something, it never changes, it remains and can be found over and over again. It is good that there is so much left to explore, for if she were done with her entire skin, she would be bound to collapse under the weight of her knowledge, she is kept upright by the realization that there is so much still to do.

It is a task that would drive some people to despair. But she enjoys it, for she lives for her own truth. She speaks to no one about it, whose business is it anyway, and she would like to be done with it before dying. As for doing her back, she dare not think about it. She is leaving it for last and hopes for some inspiration enabling her to examine her back.

The defective dreams that her skin is being flayed off, every tiny spot, the whole skin, and hung up secretly for her in the attic. There, where the wash is hung for drying, the skin could be kept quite inconspicuously; if it were done right, no one would notice. That would make some things easier. The problem of the back would be solved and you could proceed more calmly and more justly. The work would be more even and you would not always have the feeling that this part or that were taking exception to your dwelling on the other parts.

The defective suspects that all women do the same thing. For once a woman has really looked at her skin, how can it ever give her any peace again? That is why it itches, that means it wants to be looked over and taken seriously. The defective envies no one, she knows what's what, she is not taken in by a radiant face, other areas look entirely different, she is astonished that men can be deceived and marry without an utterly meticulous examination, which would have to last years and years.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere

( translated by Joachim Neugroschel )

- iii - D i e S c hadhafte character study after Elias Canetti for solo violoncello Joseph Klein ( 2015 ) Obsessive ±

pont. q = 84 ord.! ! ! pont. molto ! ! jete 5 [5x] pont. . . flaut. s ^ ^ ^ œ- . œ . . . -· B œ œ-. - 3 II œ^ S 5 4 II S > > 8 Œ ≈I 3 . · I ‰ . ‰ ≈ 3 œ & 4 3 8 3 Œ .II - . 4 III 8 e · molto poco - F poco molto P P F ñ clb T arco flaut. 3 molto pont. 5 ! ! ! pont. ord. ord. + -· ·- 3 ? b¿ b¿. B s S B 8 . S 7 >œ. ^ ^ 5 >œ > 9 3 IIœ 3 8 Œ ¿ ¿ ¿ Œ 8 œ Œ & IIœ 8 œ 8 I - Œ 4 S . ¿ ¿ ¿ III 3 IV III- . IIIœ œ . v v v poco < < poco < - #¿ ¿ poco p F P . .F f π 4 = arco arco 9 5 q 3 pizz. pizz. [3x] molto pizz. pont. pont.! ! ! ord. s ! ! s , 3 II œ 7 . 3 - ^ 8 . - . . œ-. . 7 & 4 ‰ œ œ - I poco 8 œ II œ . ‰I Sœ 8 œ II Sœ 8 . ≈ œ ≈IIIœ IV . 16 < > - œ II 3 @S œ P molto F P S P F P

molto 13 (pizz.) [7x] T arco pont. ! ! ! at frog s ? b¿ b¿ + B œ . s - ^œ^ ^ 7 . ‰ III . 2 ‰ ¿ ¿ ¿ 7 ¿ ≈ 3 œ ≈‰& 5 œ. - ≈ II & 16 . œ IV. . 4 S 16 5 4 3 œ 8 œ œ 3 ¿ I II 3 I #¿ poco P P F F F poco rit.P a tempo f pizz. 3 3 18 3 , arco ¯ tasto , ord. ? B ,? ¿ œ B œ œ ? . s 7 IIœ . III III¿ 2 ¿ œ 5 II . œ 7 poco Œ ‰ œ ≈ ≈ ‰ & ¿ 8 IV¿ 4 5 8 3 III 8 < #¿ F F P < pont. P pont. ord. poco ! !molto jete 5 flaut. (ord.) 6 22 mart., frog ord. —>. . ¯ ¯ œ. . ? 7 œ B 3 œ. . ^ ^ 4 œ œ œ- . . 3 · · . B 6 IIIœ ‰ 5 Œ& œœ 5 II S Œ I II ‰III 8 poco< . 4IV 3 4I I 4 = 4 5 œ - . 16 IVœ v II q v sub.v > F F F f p F ƒ pont.

ord. pont. ord. molto ! ! ! poco ! ! ! ! pont. molto (ord.) ! ! ! 26 5 3 5 3 [5x] ! ! > - U > œ œ . . - s , ^^ ^ ˘˘ B 6 œ 7 3 œ 2 2 II œ ^ 7 œ ^ ^ 4 IV‰.œ ‰II & . ‰II I ‰ . Œ Œ ≈ I œ 16 8 4 œ œII . . 8 4 3 16 4 = 4 π æ . . > q f p P molto F 2015 Joseph Klein. All rights reserved. © - 1 - ! ! clb 32 pont. 5 3 pont. ! ! tasto ! !pont. pizz. arco 5 ^ 4 ? 7 s b¿ 3 œ ? s 6 ^b¿ B 7 I œ œ œ ≈ ‰ ¿ s ‰ ¿ >¿ ‰ Œ & IIœ. ‰ ¿ ¿ ¿ & 4 > - . > ¿ 8 ¿ poco ¿ 4 - . ¿ 16 ¿ ¿ ¿ 8 #¿ #¿ poco #¿ #¿ f f P F . F v v v meno mosso a tempo f 36 arco (ord.) ¯ [6x] - ·¯ 3 5 ¯ - B 7 œ - œ. ? 5 - - –. – 4 – – s B s ‰III ≈ ‰ . #·· ‰ . Œ – – – – . –. – ‰ III‰ 8 3 8 III poco 3 4 – – œ IV P P P p F P meno mosso a tempo ! ! ! pont. molto 40 3 5 3 5 tasto 5 6 II (ord.) 3 ´ æ ? b¿ ´ ´ b¿ B œ œ œæ œ Œ 7 ≈ ¿ ¿ ‰ ¿ ‰ 2 ¿ ≈¿ ¿ ‰ 7 ‰II ≈œœ œ 4 œ â 8 ¿ ÿ ¿ ¿ ¿ 4 ¿ & 8 œ . . œ . . 4 â ÿ ÿ ÿ ÿ 3 ÿ ÿ Í Í F ÿ#¿ÿ ÿ#¿ÿ ÿ P rit. a tempo pizz. 44 6 5 arco ! ! pont. arco (ord.) U, (ord.) . pizz. >œ - s B œ . - ? B œ 4 ≈II œ œ œ 2 œ œ 7 œ œ IV 2 ≈ - 9 œ - œ . - œ III ‰ Œ ‰ œ ‰ II ≈ & 4 . . - œ. œ 4 III 5 8 ( ) 4 œ 16 F - æ œ # œ 3 III f P P F P F f poco rit. meno mosso a tempo F 3 ! ! pont. 48 3 > ord. œ ·- - s -. . - œ ? s - - s ? œ œ B 9 œ . œ 2 7 . 7 III œ 2 7 Œ & . - ‰ œ œ ‰ 5 3 16 II III II 4 I 16 8 œ 4 III 8 @ @ @ b·· poco œ > II - - f P poco p ñ F F f rit. a tempo 5 pizz. 5 arco 53 3 · 3 , , œ œ . , ? 7 B 6 œ IIIœ ? 5 s s b¿ 3 œ 9 œ ‰ IV Œ II Œ ¿ >¿ ‰ ‰ 8 œ œ . 16 8 ¿ ¿ II 3 4 III ¿ ¿. ¿ ¿ 16 - poco ¿ #¿. #¿ F #¿ ¿. ¿ ¿ F S P F P- - pont. ord. 4 = 3 sul tasto ! !molto e 3 58 · 5:3 U II ord. - clb pizz. s , ^ ^ - - ? 9 b¿ ¿ ¿ ¿ B 5 œ œ- 2 œ œ ? s 3 œ^ ^. b·. 7 œ ? 16 ¿ ¿ ¿ ¿ ‰IIIœ 8II ‰œ 4 . ‰ 4 Œ& I 3 8III œ Œ 3 ¿ 3 IV . . ¿ poco - ¿ . . v #¿ F P molto v S F P F Z Z arco a tempo jete poco rit. meno mosso arco 63 molto pont. ord. - pizz. >œ . > b¿ B œ- œ - s œ. ? B œ œœ œ. >œ ? . ¿ ¿ s Œ IIIS œ 7 ‰II œ 4 œ œ. œ œ ‰ Œ ‰ I 6 ≈& 9 3 16 4 . 5 œ II 8 . . ¿. œ 3 . æ p poco #¿. P F #œ F F F pâ - 2 - 5 jete arco 3 5 67 pont. pizz. (ord.) . . œ 3 ¯ œ- . . ¯ . œ . . ? b¿ b¿ s – – ? 9 Œ I Sœ II ¯ . 6 ‰ ‰ ¿ ‰ 3 . ¿ ¿ ‰ Œ ã 7 – – – –. 3 & 8 3 5 œ 3 I 8 4 8 – – 4 ¿ . ¿. . P FP F P #¿ π #¿. P meno mosso (subito) # a tempo 3 # pizz. 71 arco · 3 " œ . œ ·------œ S œ II ? b¿ ¿ ¿ ¿ ¿ ¿. B œ œ , ? 3 Œ 3 œ œ 7 6 ¿ ¿ ¿ ¿ ¿ ¿. ‰ 7 ‰ II S œ œ 5 4 III 5 8 ‰ 8 S 8 5 8 ¿ ¿ ¿ ¿ ¿ ¿ 5:3 III II III # ¿. F #¿ ¿calm¿ ¿ ¿ ¿ P F S P------p

! ! ! pont. 3 (pont.) 75 arco . [7x] ˘. [3x] U - — - œ . — . . . . . , B 5 IIœ 3 œ - œ 2 œ- œ œ 3 . . 2 œ . 3 III . . Œ & S œ . . ≈ ≈ . I Œ . ‰ 8 œ . 4 . II I . 4II 5 4 . 7 = 2 . 4 5 ≈ S 4 3 III æ 3 q F P SP F f P P 80 ! ! molto ord. arco 3 pont. pont. ! ! ! 3 ! ! ! (ord.) ^ ^ ^ ¯ œ- II œ^ ^ s . ? b¿ B œ¯ - > . œ ? 3 7 - œ 3 III œ œ œ 7 œ œ œ œ II & 4 Œ 3 ≈. œ 8 œ ¿ Œ 4 ‰ S 3 S 8 ‰ ≈ ‰ 5 œ ¿ II 3 5 < 3 #¿ III P molto v F F F ß ß F F f molto meno mosso (subito) poco accel. pont. a tempo 84 3 3 3 · 3 · ^ pizz. · · -. - - - - œ #œ>. s > b¿ ¿ ¿ B - œ II œ œ. - >œ ? ¿ ¿ ¿ 3 Œ III œ - I 9 ‰ S IIIœ œ œ . 5 - - - ¿ ¿ ¿ 3 4 II æ 8 - II 3 œ 8 delicate - - - p #-¿ -¿ -¿ P S F P F F poco rit. meno mosso pont. clb 3 3 (arco, ord.) 87 molto arco ! ! · 3 · ˘ 3 · , · · · , ^ ^ ? œ ˘ ˘ ˘ · s b¿-. ¿-¿- b¿--¿ ¿- B 5 III 4 II œ^ ^ 7 s 4 - 2 œ ‰ œ ‰ & Œ 3 . IV 3 Œ ‰ ¿ ¿ 5 ¿. ¿ ¿ ‰ã 8 4 8 ¿ ¿ - - 4 - ¿ ¿ 3 S 4 poco - - - - F F Pmolto F #-¿ delicate #-¿ a tempo p 3 5 5 pizz. 3 91 s s – – ? b¿ 2 – – . – 3 – – –. – 7 ≈ ¿ ≈ ¿ ≈ 5 ‰ ¿ Œ 2 ã 4 – –. 4 –. 8 ¿ ¿ ¿ ¿ 8 3 ¿ 4 P #¿ #¿ #¿ #¿ #¿ P F meno mosso [8x] 5 pont. molto 3 ord.! ! ! pont. flaut. [3x] * 95 arco clb - ä - -· , - · U, œ b¿ B ä- ^ b -·. ? Bb -·. ? . - · . · · . · 03/24/18 ? 2 œ 5 . @ @ . II œ - 2 #· . . #· . 4IV≈ ‰ ¿ 8 @ @ œ œ ‰ . ‰ ‰ 4I 5 III . . 5 . III 6 ¿ IVœ œ- moltoœ - 5 = II IV .#¿ - - â e. poco dim. a niente... F F . p P f P * NOTE : slightly increase duration of fermata with each iteration in the final measure. - 3 -

Joseph Klein

Der Leichenschleicher

( The Corpse-skulker )

character study after Elias Canetti

for solo contrabass

(1997)

– for Michael Hartt –

duration : c . 5 ' Performance Notes

senza misura ! ! ! gradual change from one mode Ø of play to another

metered notation : beat units are smooth, even portamento/ fixed, measure units fluctuating → glissando

pause/break in sound → erratic portamento/glissando (very short/short) → (molto vibrato )

quarter-/eighth tone above/below indicated pitch.

c.2” c.2”

accelerando/ritardando within the duration indicated.

durational continuum in senza misura sections : arranged from shortest to longest (precise durations ad libitum).

fermata continuum : arranged from shortest to longest.

• Accidentals apply only to the notes they immediately precede, with the exception of repeated pitches. • The recurring descending portamenti (beginning in measure 38 ) may be executed by de- tuning the fourth string with the peg on those instruments not equipped with a fifth string or low C extension; in either case, the final occurrence (in measure 62 ) must be executed in this manner.

Program Note

Der Leichenschleicher (The Corpse-skulker ) is the first in a series of short works for solo instrument based upon characters from Der Ohrenzeuge: Fünfzig Charaktere (Earwitness: Fifty Characters), written in 1974 by the Bulgarian-born British-Austrian novelist Elias Canetti (1905-1994). Canetti’s distinctive studies incorporate poetic imagery, singular insights, and unabashed wordplay to create fifty ironic paradigms of human behavior. This collection of works, begun in 1997, was inspired by the vividly surreal depictions of Canetti’s characters, and includes works for contrabass, violin, bass flute, ocarina, contrabassoon, glass harmonica, alto saxophone, trumpet, percussion, bass saxophone, guitar, and piccolo, among others. In Canetti's depiction of this character, the Corpse-skulker "goes from bar to bar, looking for acquaintances.... The moment he spots one, he walks over solemnly, greets him, stops, remains silent, and then says in a lamenting, rather sing-song

- i - voice: 'Have you heard, N.N. has died'.... [H]e infects them with his funeral lusts and invites them so emphatically that some people come even though they would never have dreamt of it, but fearing his next announcement could be about them."

Der Leichenschleicher was composed in June of 1997 for contrabassist Michael Hartt. The work was first performed by Todd Markey on 22 November 1999 at the University of North Texas.

* * * * * Der Leichenschleicher ( The Corpse-skulker )

Now and then, the corpse-skulker appears in a bar. He's been known here for years, but he doesn't come often. If people don't see him for a few months, they wonder about him, slightly worried. He always carries a bag from some airline, Air France or BEA. He seems to travel a great deal, since he often vanishes for long stretches. He is always back again in the same way. He appears and halts earnestly in the doorway. He scours the bar, looking for acquaintances. The moment he spots one, he walks over solemnly, greets him, stops, remains silent, and then says in a lamenting, rather singsong voice : "Have you heard, N.N. has died." The acquaintance is startled, for he did not know, and the corpse-skulker is wearing black, which you only notice after his announcement. "The funeral is tomorrow." He invites you to the funeral, he explains where it is, and gives detailed and precise directions. "Do come," he adds. "You won't regret it." Then he sits down, orders a drink, toasts your health, says a few words, never tells where he has been, never tells what his plans are, he gets up, walks solemnly to the door, turns around once more, says "Tomorrow at eleven," and vanishes. Thus he goes from bar to bar, looking for acquaintances, who were also acquaintances of the deceased, he makes sure that there are not too few of them, he infects them with his funeral lusts and invites them so emphatically that some people come even though they would have never dreamt of it, but fearing his next announcement could be about them.

— Elias Canetti, Der Ohrenzeuge : Fünfzig Charaktere (translated by Joachim Neugroschel)

- ii - Der Leichenschleicher character study after Elias Canetti for solo contrabass Joseph Klein (1997) = c.72 q 5 3 5 arco !1 1 1 1 1 8 " 8 ! 8 ! 4 ! 8 X I s V 4 II#œ œ œ œ œ œ œ. œ œ œ #œ œ œ œ œ. œ œ 1 1 1 S 1 " 8 " 4 " 8 ! 8 IIIƒ + t X pizz.4 œ> ß = 60 5 5 = 3 3 pizz.q h . !1 3 s 8 s œ U t œ œ Sœ bœ œ Ø V #œ œ. œ œ œ œ œ.. œ bœ bœ Œ bœ bœ ‰ ‰ Ó ‰ #œ Œ V 1 S S œ " 8 sub. p F ≥ 6 ≥ arco b˙ U˙ , bœ ˙ ≤ œ≤ ˙ U˙ Ø b· b· 5 V · · b ˙ b˙· b œ b˙· 8 œ ˙ II · πdelicato (portamento) p = 60 q 7 ≤ pizz. 3 œ˜ . œ˜ . œ˜ . œ˜ . œ˜ . U ≥ S S S S t 5 · . Sœ œ. Sœ œ. Sœ œ. Sœ œ. 4 Sœ œ 3 #œ #œ ‰ ‰. s Œ 5 V 8 S 8 4 œ 4 p p p p p P = c.72 qarco, sul pont. (molto); agitato 13 , , X t 5 bœ œ œbœ œ œ bœ œ nœ 5 . œ . œ 3 œ 9 . œ 3 . 4 @ @ @ @ @ œ bœ œ œ 8 Œ œ Œ œ 4 Œ Œ œ 8 Œ Œ Œ œ 16 ‰ V 4 @3 @ æ @ @ @ p @ @3 æ æ æ æ 19 5 3 5 5 arco 1 1 1 1 1 1 1 ! 8 ! 4 ! 8 " 8 ! 8 ! 8 ! 4 X s s V 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 Sœ œ œ œ 1 1S 1 1 1 1 S 1 " 8 ! 8 " 8 " 4 " 8 " 8 ! 8 ƒ+ t X pizz.4 œ > © 1997 ßby Joseph Klein. All rights reserved. - 1 - = 60 q 1 3 22 1 5 " 8 1 ! ! 8 pizz. > 8 s #œ , U s - -s s t œ œ œ Ø V #œ œ œ œ Sœ œ œœ#œ. œ œ œ œ bœ Œ V 1 S 1 S S1 " " " 8 5 = 8 4 h . poco ß molto

25a b≥œ arco ≤ U≥ , œ , bœ ˙ , bœ≤ ˙ ˙ Ø b· b· V · · · b œ œ bb œ· ˙ bb œ· ˙ ˙ πdelicato (portamento) π p = 60 I q 25b ≤s b≥˙ ≥s œ U≤ ˜ ≥˜ ≥˜ œ b˙ œ ≤ Sœ œ. ≤ ˙ ¥ b· b· · 5 œ. 3 Œ ‰ 3 œ 2 Œ Ø V IIœ b ˙ œ 8 S 8 4 8 II (echo) p b· p ∏delicatissimo 30 ( ad lib.) # v ≥# # molto vib. # # # , ≥ , ≥ ≥ ≥s Ø ≤ bœ œ bœ U > ≤ ≤ t ˙ #œ œ #œ œ ˙ Sœ s #œ V > > bœ > p molto ƒ quasi delirante> >˙ = c.72 qvib. ord. # # # sul pont. (molto); agitato 31 ≥ œ> œ> œ> > œ. , œ , X t œ. œ #œ œ nœ. bœ. 9 Ó Œ ‰ bœ 3 ‰. æ @ @3 œ œ 8 16 4 4 @ @ @ @ æ q @ F p = 60 q pizz. 6 = 35 h . #œ X œ #œ œ œ bœ t Sœ #œ œ bœ œbœ S œ œ s bœ œ 4 œ œ œ ‰ ‰ Œ bœ Œ ‰ ‰ Œ ‰ œ 3 3 ˙ #œ 3 P> p P p 41 3 nœ #œ t bœœ œ s Ó s Œ Œ s Œ ‰ V b˙ œ ˙ #œ bœ œ 5 = > > > h . P P P - 2 - # # # sul pont. (molto); agitato = c.72 3 q 3 46 1 arco !1 1 ! (I) 8 ! 4 8 h @ s t œ @ V #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œœ œæ. @ @ œ Œ ‰ 1 1 #œ œ " 8 ! 8 pizz.ƒ p + t œ > ≤˜ ß -œ 48 s ≥˜ #œ œ bœ œ œ nœ U -˜ U t X t œ #œ #œ nœ #œ œ @ ‰ Œ V 3 #œ · Œ Œ œ @ @ @ @ æ @ @ bœ III4 2 I 3 · 4 @ @3 @ @3 @ @ # · p nœ œ t X t V 3 Œ Œ 4II 1 · · 4 3 = 60 delicatissimo qpizz. π 50 #œ œ œ X #œ #œ œ t S œ œ Sœ œ . 4 3 Œ Œ ‰ nœ Œ ‰ bœ. Ó V 5 = P h . p P = c.72 q 3 54 5 5 3 1 1 1 1 1 !1 ! arco ! 8 ! 4 ! 8 " 8 8 8 s V #œ œœ œ œ œ œ #œ œ. œ œ. œ œ œ œ œ œ #œ œ œ œ œ œ œ. œ 1 1 1 1 1 S 1 " 8 ! 8 " 8 " 4 " 8 " 8 pizz.ƒ+ t >œ ß 57 5 3 3 5 !1 !1 1 1 1 !1 1 4 8 " 8 ! 8 ! 8 4 ! 8 , s V #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 1 1 1 S 1 1 1 "1 ! 8 " 8 " 4 " 8 " 8 ! 8 8

= 60 60 q pizz. (w/ tuning peg) t V ∑ ∑ s ∑ 03/24/18 ˙ ˙ P> > ‡ - 3 - P ñ