Encuentro desfigurado

for ensemble, two organs, and electronics

(premiered in Orgelpark, Amsterdam, in a collaboration with NEE ensemble)

Juan Luis Montoro Santos

About the piece

This piece was composed during a week long meeting in Orgelpark, an international concert hall in Amsterdam for organists, composers and
other artists, which aims to integrate the organ into mainstreamed musical culture through a new presentation.

During one week, composers, four organists, and part of the NEE ensemble, were given the space to explore the acoustic possibilities of the
space and the wide range of possibilities that the organs there could offer in combination with the ensemble.

The special instrumentation used in this piece has to do with the aim of integrating as much as resources and possibilities that composers were
given during that week.

The idea of the piece deals with a translation from electronics into acoustics of a traditional electronic process, the Frequency Modulation (FM).



Instrumentation

Flute
Clarinet Bb

Viola
Violoncello
Double Bass

Guitar

Vibraphone

Piano

The Utopa Baroque Organ, played with the console

French Organ

Fixed electronics, quadraphonic

Notation

The bar lines serve mostly as a means of synchronisation, so bar lines and beats never mean an accentuation. The music should flow smoothly.

The time indicated above every bar is a countdown corresponding to the video-timer provided to be played individually in every stand with a mobile phone, iPad or
similar devices, that should be synchronise at the beginning of the piece with the beginning of the electronics (all timers and electronics should be started at the
same time,

When a pitch entrance is followed by “ ” , the pitch should be kept for the period indicated by that line.

General dynamics through the whole piece: the ensemble, organs, and electronics must be balanced in order to get a fusion of the general sound.

General marks

change very gradually from one sound or one way of

playing to another

diminuendo al niente

crescendo da niente

S.V. Senza Vibrato

P.V. Poco Vibrato

Strings

S.P. always estremamente sul ponticello

When playing long sustained tones the
S.T. sul tasto bow changes should always be made
imperceptible as possible and
D.P. Double Pressure: add bow pressure to produce a scratching independently of other players.
sound, in which the audible pitch is almost replaced by the noise

N Normal (ord.)
 Mute-unmute sound of the string, imitating a
sine waves beating

Piano

The piano lid should be placed in the highest position (open lid position).

The sustained pedal is hold from the beginning until the end of the piece. Only release it when all the reverberations inside the piano, after the end of the electronic
sounds, are gone.

Mute the string with the hand pressing the

string (inside piano)

Organs

Utopa Baroque Organ:

it should be played from the console, with the mode “infinite” ON (which maintains all the notes played softly)
The “MOTOR OFF” could be done from the console

French Organ:

The switch for the “MOTOR OFF” is away from the keyboard, so someone should assist the organ player to switch off the motor when indicated (while the organ
player still sustain the pitches on the keyboard)
Electronic part - fixed media

The beginning of the fixed-media must be synchronise with the beginning of the timers.

Stereo file thought to be played in quadraphonic set (stereo in the front and stereo at the back)

The amplitude (intensity-volume) of the electronic part should be always a step below the ensemble general volume/dynamic

The audio file already has an amplitude envelope with a crescendo through all the piece which fit the whole ensemble dynamic. For more accuracy, live control of the
intensity of the electronics by a dedicated person is highly recommended.
 Encuentro desfigurado
for ensemble, two organs and electronics
Juan L. Montoro
(timer)
10'' 25'' 20'' 15''
0'' 0'' 0''
synchronization
video-timer 0 1 2a
with fixed media
Flute & à bœ œ
œ o o
p o p mp

Clarinet in Bb & à œ œ
p o o bœ o
p p

ST ST N #œ
°B œ
Viola à œ
pp mp mp mf mp
ST
*) senza vibrato bœ bœ
Violoncello
? **) bow changes always
à imperceptable œO
pp mp mp mf mp
? Oœ Oœ
Double Bass
¢ à bœ
pp mp mp mf mp

bœ
Guitarra & à œ œ
œ bbœœ bbœœ
p mp
(without motor.)
nœ œ
Vibraphone
{& à œ bœ b œœ
p mp

bœ
& œ œ
Piano f
œ
p
bbœœ mp
?
{ b¿ muted string
° sempre
bœ bœ

sine wavy sound / fluty 25'' 20'' 15''

10" 5"
Use "infinite" from the beginning until the end 0'' 8" 0''
0''
œ #œ
& à œ
Utopa bœ #œ
Organ
?
{ Ã
bœ

0 1 2a
sine wavy sound / fluty
#œœ
& à nœ
French œ bœ #œ
Organ
? Ã
{ bœ

mantain this pitch always

(foot pedal)
 40'' 15''
0''
0''
2
5 2b 3a
Fl. & œ œ
mp o mp
o

#œ
Cl. &
bœ o
mp o mp

N SP
#ST
œ N
°B œ
Vla.
mp f mp
ST N

Vc.
? bœ bœO
mp f mp

Db.
? Oœ
¢ bœ
f mp

bœ bœ
Guit. & bœœ nœ
bœ b œœ
æ bœ
œ œœ
Vib.
{ & b œœ
æ

bœ b œœ
& œ nœœ
mf
Pno.

b œœ
{ ?
bœ

40'' 15''
0'' 15" 10"
bœ 0''

& œ
Org.
?
{
2b 3a
#œ b#œœ
& œ
Org.
? #œœ
{ & œœ
# œœ
 10''
30''
0''
0''
4 3
7 3b œ
Fl. & œ
mp
o mf o

#œ œ
Cl. &
mf o mf o
N SP SP N
°B œ bœ
Vla. & B
mp f mf mp

N ST
Vc.
? bœO & nœ
mp f mp
+o +o +o +o +o +o +o N SP N
+o +o +o +o +o
?
Db.
¢ bœ bbœO
mp f mf mp

bœ b œœ
Guit. & nœ nœœ
b œœ
æ
bœ bœ
Vib. & œ œ nœœ
{ æ
mf

œ
b œœ nbœœœ
& nœœ
Pno.

? b œœ
{ & nœœ
b œœ
?

10''
30'' 0''
10" 5"
0'' œ œ
œ
&
Org.
?
{
3b 4
b#œœ “”
& b#œnœœœœ
Org.

{ & œœœ
#œ
œœ
# œœ
 30'' 10''
0'' 0''

4 5 6
9 #œ
œ
Fl. & o
mf f o
bœ #œ
Cl. &
mf o mf o
SP N
°B Oœ œœ
Vla. &
mp f mf f mf

N SP D.P. N
+o +o +o +o +o +o +o
#œ ? b œœ
Vc. & &
mp ff f mf

Db.
? Oœ
¢ bœ
mp f f mf

bœ œ
Guit. & œœ n#œœ

mf
æ
#œœ b#nœœœ
Vib. & nœ
{ b œœ
æ
mf

“” “”
& œœ
b œ ##œœœœ

Pno. mf
nœœ
{ ?
bœ &
œœ

10''
10" 5"
30'' 0''
0'' “”
#œ #œ
&
Org.
?
{ &

5 6
“” “”
nœ b##œnœœœœ
& b#œœ
Org.

{ & œœœ
#œ
& œœ
# œœ
 20''
50'' 0''
0'' 8a 5
7 fr.
œ
11 œ
ææ
Fl. &
f o f o
nœ bfr.œ
Cl. & æ
f o f o
+o +o +o +o +o +o +o +o
SP D.P.
° bN
œ bb œœ
Vla. &
mf ff ff
N SP D.P. D.P.
Vc. & nœ
mf f ff b œœ
ff
+o +o +o +o +o +o +o +o
N SP D.P. D.P.
Db.
?
¢ bœ bœ
ff
mf ff

œ bb œœœ
œœ œ
Guit. &
f f
æ æ
n œœ bb œœ
nnœœ
Vib.
{ & b œœ æ
æ f

“” “”
œ nb œœœœ
& bœœœ bœ

Pno. f

{ #œœ
& œœ nœœ
b œœ

20''
50'' 15" 10" 0'' 5"
“” n“œ” œ
œ #œ
&
Org.

{ &

7 8a
“” “”
nœ b##œnœœœ
& b#œœœœ
Org.

{ & œœ
# œœ
œœ
# œœ
 25'' 10'' 15'' 10'' 15''
0'' 0'' 0'' 0'' 0''
0''
6
8b 9 10 11 12
13

Fl. &

Cl. &
D.P.
SP N ST
° bb œœ
Vla. &
ff o
D.P. SP N ST
Vc. &
b œœ
ff o
D.P. SP N ST
Db.
?
¢ bœ
ff o

bb œœœ bœ
Guit. & œ nœ œœ
b œœ bbmp
œ œ
mf p
bb œœ bœ
Vib. & nœœ œœ nœ
{ bœ œ
mf mp
p

“”
bbœœœœœ b œœ
& nœœ œ
bbœœ œ
wait until all the sounds from
mf mp p the organs are gone
Pno. p

{ & nœœ
b œœ b œœ
?
bœ b¿
muted string

25'' 10''
0'' 0''

&
TURN OFF
Org.
MOTOR
{ &

8b
“n”œ 11 12
& #œœœ
b#
TURN OFF
Org.
MOTOR
{ & œœ
# œœ