Iannis XENAKIS Theraps OEPAY pour contrebasse a cordes don 20 Bibliothek der Hochschule fir Musik und Dorstellende Kunst Frankfurt 0. M, EDITIONS SALABERTPERFORMING NOTES TO THERAPS ‘Phe notes are written in C. All harmonics are natural. Are given in the score the string nunber and the number of he natural harmonic under an’ , example mes. 21 1 fl, means fourth string, eleventh harmonic. The "ponticello" sound should he filled with high harmonics so that the fundamental should barely emerge. The “arco normale" should produce a thick noisy (complex) sound far from a pure one. Starting from measure 4, the chromatic lines (scales) should be played as much as possible with just one finger, which slides abruptly from a note to the following one without leaving the string, while respecting as much as possible the duration of the note during each momentancous stop of the finger. The bow should not arti- culate each note of the scale. Instead a legato execution should be used changing where necessary at suitable points in the music, taking care not to break the line. The pp to fff intensity range should be as large as possible. The metronomic indi- cations are minimal and approximate. PROGRAMME NOTES TO THERAPS In communication with Iannis Xenakis, we spoke about the technical problems of Theraps, as well as the possibility of projecting the piece via an amplification system, although reference to this does not appear in the score. In my request for program notes, Iannis Xenakis suggested that I write them myself and that I mention the dedication to Fernando Grillo, the eminent Italian double bass soloist. One further sentence from his letter went as follows : "You might also accelerate the movement (metronomic indications) and exaggerate the dynamic range pp to fff everywhere in order to obtain both a sensitive fineness and a savageness of the piece". My own addition to these notes now continues (rightly or wrongly) Theraps oscillates netween two contrasting areas : 1) where the music is in a constant state of flux (glissandi); 2) pairs of static natural harmonics that often exploit the upper partials of the series related to each open string. ‘The work is based upon Xenakis' "Random Walk, Brownian Movement” theory which is related to stochastic principles. Two particularly interesting points arise from the work. The first is the use of an Italian technique of fingering (now almost defunct) where the string is pulled to the side rather than pressed onto the fingerboard thereby creating the possibility of a constant glissando up into the highest registers beyond the fingerboard. the second point is that pushing to the ultimate limit of Xenakis’ demand for savageness an fineness provokes a serious and interesting physical problem concerning muscular read- Justment-~ such extremes are rarely encountered. I have found that this piece draws one into the very depths of the instrument in both mental ahd physical commitment-- more so than any other solo work that I have performed. Withdrawal to the ethereal harmonics is in many ways a pain- ful process, but ultimately rewarding. Here lies a possible paradox, for the Physical limitations of the human frame can all but cope with the intensity of the music leaving an area of instability in the ongoing music. Is this the in- tention ? If so, how does the performer equate this with the thoroughness in the compositional workings, for on paper it is all possible, but when overba~ lanced in favor of the final result, a new philosophy has to be reckoned with. To enter fully into Theraps the performer must take the plunge, for Xenakis takes the player to the edge... and beyond. Barry Guyébié & FERNANDO GRILLO Bibliothek der Hochschule flr Musik und Dorstellende Ki Frankfurt A "S=] OEPAY-THERAPS = POUR CONTREBASSE A CORDES SEULE oeuns entein $b tet bo pgm Cemrhriony the sheng JE sam fon seosont), Sia: (ones oom) Smite he, stu. _® — hu] (© 1976 Editions SALABERT Tous aot réservés Paris, France FAS17430p pour tous paysos shu ile. ahs Mth @ | eee! Py babe | ee Pout A ti iz — 6a.s.pboLy ir Font fea aa] be ty Bibliothek der Hochschule fr Musik und Darstellende Kunst Frankfurt nM ea 5AA. at —— 6 jot yoices sama Loudness Jaton (iat cn shad ala @ Hf. : ee = (ze) ® =f —=f >? # al i] ete (OE [pecking he f{ = Ss OS _ aha © mal [ees eas st480(Gp ston (lesa aban le ow ba.s11m0== ae —e #Ss, deo Boyt oh ate tocdMion, Mt ah | tes aces) &, Lasso ats = fu laa Gil | = <2 : uf eis aay pod 7 ey = a sh me aa pe * Pf a ——— irl Jeane ‘a