Beruflich Dokumente
Kultur Dokumente
!
!
ISABELLA NICOLE NESS!
!
!
!
!
!
2014
!
!
!
!
PROGRAM NOTE!
The use of a contrabass quartet for this setting is fitting. The size and wooden
weightiness of the instrument very much echoes the image of a tree
compounded with the stunning depth and timbral range of the bass, I found
myself with a new palette of colors to draw from filled with earthiness and the
ebb and flow of inner motion.!
The piece is presented in the four movements of birth, life, death, and afterlife.
Like the springs of water beneath the Yggdrasil, life replenishes itself in an
endless circle; our roots go much deeper than we may have thought, and our
echoes remain long after we are gone.!
!
!
!
!
!
!
!
!
* From The Poetic Edda, Volume 1 (Voluspo), st. 19
!
!
!
PERFORMANCE NOTE!
!
!
!
At the start of the piece and throughout the subsequent movements, there are markings
for instrument body percussion that translate as follows:!
!
!
An open x-head on the second line (in ANY clef; bass clef is included in
these images for visual orientations sake) indicates a dum, in which the
player strikes the bass between or near the f-holes with their hand to create
a bass drum-like hit.!
!
!
Title
An open x-head on the top space indicates a tek, in which the player
strikes the bass with the fingers of a flat hand on the inner curve of the Cbout to produce a higher-pitched, louder hit.!
!
!
"
~
An open x-head above the first ledger line with a tilde indicates a snare-like
roll, in which the player drums their fingers on a shoulder of the bass to
create a sound like rain. When the note only lasts for one beat, one roll of all
four fingers is sufficient. When it lasts longer, the player may drum their
fingers however they choose (if possible, it is preferred that the player
drums with the tips of their nailsfinger pads are fine in the case of very
short nails, but the goal is as much resonance as possible).!
!
!
Accidentals last through the measure.!
!
Score is transposed.!
!
Duration ca. 10:00
Transposed Score
I. Nascence
D=72
Bass I
Bass III
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Bass IV
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13
IV. Transcendence
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+ +
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!
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+8
+8
%
%
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+ ,+ + + + + + +
+
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+
+
54
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+ +
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%
49
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+ + + + + + + + ,+
45
BI
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+ + ,+ + + + +
5 6
-
+8
+8
+8
,+8
%
%
+8
+8
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A E
% + +
+8
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A
+8A % +8 +8E
% + + +
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+ + + + + + + +
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%
%
16
% + + +
pizz.
+8
+8
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+
% + + +
pizz.
% + +
+8
8 8
A
+8 % +8A %
+8
+8
%
%
,+
58
BI
B II
B III
B IV
!
!
B II
B III
B IV
+8
+
!
!
%
quasi
guitara
!
62
BI
,+8
DCC **
CC *
$
*
,*
DCC **
C*
DCC **
C ,*
*
+
1
,*
1
arco
+
1
barely dormant
,+
$
+=
6 5
''''
l.v.
.
+> 5
''''
9
(
9
(
9
(
l.v.
+=
6 5
''''
l.v.
9
$
Philadelphia, 2014
17