Echo de Baudelaire. Soprano and Bass Clarinet. Frederik Neyrinck. for

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1 Echo de Baudelaire or Sorano and Bass Clarinet Frederik Neyrinck

2 Text Fragment o «La Fin de la Journée», Ch. Baudelaire ( ) La nuit volutueuse monte, Aaisant tout, même la aim, Eaçant tout, même la honte, (Le Poète se dit) : «Enin! ( ) Over Echo de Baudelaire About Echo de Baudelaire Echo de Baudelaire is een kort werk voor soraan en basklarinet en kadert volledig in de ideologie van vorige Echo s. Enerzijds toont de echo de vele, vaak subtiele kleurmogelijkheden van deze twee instrumenten. Anderzijds verwijst de titel Echo ook naar een weerklank van een ander, groter werk. Hier dien ik te verwijzen naar enerzijds de werken Samsa Imressionen voor mezzosoraan en ensemble en Gestalt I voor luit, hobo, klarinet, agot, hoorn en iano. Het werk toont o vele vlakken een overgang van materiaal in drie staen. Het gebruik van de tekst, akomstig uit Les Fleurs du Mal van Charles Baudelaire ast eveneens volledig in dit idee. Bij het begin wordt de tekst als het ware uitgerokken, waardoor je langzame klinkertransormaties krijgt van de aanwezige woorden. Daarna vinden we het sel met de onemen nog steeds terug, alleen worden de combinaties grilliger en zijn de woorden zel niet meer te achterhalen. Naar het einde toe ontstaan er combinaties van onemen en (delen van) woorden, waardoor in de tekst als het ware een onbegrijbare dialoog ontstaat, om zo uiteindelijk uit te monden in een wazig, onduidelijk einde, waarbij de stem en de tekst quasi een instrumentale unctie gekregen hebben. Echo de Baudelaire is a short iece or sorano and bass clarinet and its comletely in the ideology o revious Echo s. At one hand, this echo shows a lot o (subtle) color ossibilities o this two instruments. At the other hand, the Echo reers also to other, bigger ieces. I consider here two ieces: SamsaImressionen or mezzo sorano and ensemble and Gestalt I or lute, oboe, clarinet, bassoon, French horn and iano. The iece shows at many levels a transition o material in three stes. The use o the text, which is based on Les Fleurs du Mal o Charles Baudelaire its also comletely in this idea. At the beginning, the text and words are stretched a lot, and you receive very slow vowel transormations o the resent words. Then, the use o the honemes is still there, but the combinations are more caricious and it is imossible to discover the used words. Near the end, there arises a combinations o honemes and (arts o) words, which leads to an incomrehensible dialogue. The end is very sot and unclear and the voice has reached an almost instrumental unction. Ino en vragen: o rederikneyrinck@gmail.com Ino and questions: or rederikneyrinck@gmail.com

3 irst erormance: Gershwin Hotel, New York, 26 May 2011 by the ensemble NOISE BRIDGE dedicated to the musicians o the ensemble NOISEBRIDGE (Christie Finn & Felix Behringer) and to the musicians o the ensemble Odysseia (Emilie De Voght & Dries Tack)

4 Notation General remarks Dynamics: Dynamics are always notated absolutely. For examle, it means that by the sorano (also the whisering) is as loud as by the bass clarinet. Crescendo rom silence Decrescendo to silence gradual transition Bass Clarinet Multihonics Gebruikte bronnen/used sources: Reheldt, Ph. New Directions or Clarinet, The Scarecrow Press Breaht Tone () & Very Breath Tone (V.): lay note and add breath. There are two subdivisions: "(normal) breath tone" and "very breath tone". This two instructions can be layed in other ways. "(Normal) breath tone" is obtained by a reduced liressure, "very breathy" is obtained by breath, escaing through the corners o the mouth. It is imortant to know or the whole iece that laying with breath is always associated with the evolution o the musical hras. The amount o breath can vary to obtain a better coherence o the musical material. Sla tongue So called "timbral trill", "trille de sonorité" or sometimes also called "bisbigliando". Little dierences concerning the intonation are ossible and are even advised. Normal trill By trills and bisbigliandi sometimes aears "trillo calmo" or "bisbigliando calmo". This means that the trill/bisbigliando should be layed on a natural, calm way, with a logical evolution in the given context or hra. lz. Normal Fluttertonguing K.C. Key clicks Toneless sound. This notes are toneless sounds o blowing with rescribed ingerigs through which the degree o brightness o the airsound is dierentiated. (always with closed embouchure)

5 Sorano The voice is used in dierent ways: seak whiser whistle con iato: add air whiser seak Fischio = whistle The whistle sounds at the end o the iece are notated in real itch. Nevertheless, it is allowed to change the octave range when the given range is not ossible. Text in brackets under the honemes is just an assistance. With this text in your mind, the ing o the correct honemes can acilitate. (vo lu) gradual transition o one vowel to the other All the used honemes are derived o the used textst. The words under the honemes indicates sometimes how it should be ronounced. Here you ind a little summary o the used honemes. as volutueuse [ø]as volutueuse [u]as tout as monte [a] as aaisant [ɛ]as aaisant [i]as nuit"(or ami) [ã] as aaisant [ε ]as aim [t]as tout [s]as volutueuse [z]as aaisant []as volutueuse [m]as même

6 SCORE IN C Sorano Bass Clarinet in Bb Temo Lento (q = ca.4) whisered (like a shar ricochet) [t]... (t sla to the Ensemble NOISEBRIDGE (Christie Finn and Felix Behringer) to the Odysseia Ensemble (Emilie De Voght and Dries Tack) Echo de Baudelaire music or sorano and bass clarinet based on an extract o the oem "la Fin de la Journée" o Ch. Baudelaire energico da lontano u (gradual transition) sla [ø] eu Frederik Neyrinck (2011) version whisered [z] se) sla R F R Eb F R Eb F tenuto da lontano [t]... (t tenuto da lontano [u] out) sla sla whisered [t]... [m] (m on whisered [t]... te) sla sz [t] (t sz u sla lz. [ø] eu) whisered [s] (s

7 2 con iato ant ant) ord. whisered [t]... tenuto da lontano 6 7 sla lz. whisered [t] 7 sla whisered [t]... [u] sla whisered [t] [s] sla lz. [t]... sla 6 6 ossibile tenuto da molto lontano sla lz. [a] R F# Eb legato oss. [ε] [i]

8 cresc. molto Bbtr suono distorto [o] (vo lu) cresc. molto [ã] soken sotto voce nuit [ã] (trillo calmo, oco a oco iù mosso) suono distorto tenuto da molto lontano soken nuit whisered [s] [] e soken a çant [] whisered tenuto da molto lontano [s] (trasormazione del rumore) (non decresc.) rit. al Meno Mosso [z] V. Meno Mosso (q=ca.44) (non decresc.), molto vago quasi rumore (imitatione delle voce) [m] (m (non decresc.)

9 4 bocca chiusa con iato [ε] ê bocca chiusa [m] aim la me) K.C. soken (don't whiser, but articulate little to obtain a mormorando sound) "immobile" in K.C. 9 "" "" en con iato tenuto da molto lontano, ma vago e distorto (non decresc.) [a] whistle K.C. 9 "" (closed embouchure) (toneless sound o blowing) rumore sla sla con iato [ε ] (aim) vago whistle (sim.) sla V. iù indistinto V. sla con (molto) iato iù vago [ε] whistle V. sla sla con (molto) iato molto vago in