9. Maderna, Piéce pour Ivry For this collection, I have chosen four from among the seventeen the composer calls them, of this work which is enorm feresting from an artistic point of view as well as from that technique. The performer is free to combine them a5 he pleases, whereby he can repeat various sections and thus construct his own” work according to his taste. ‘The composer provided the following instructions: The order of the siracures is if to the performer, who is thus fre to put the composition together as desired. Repetitions are possible. ‘The possibilty of modifying the form from performance to per- formance makes the work all the more interesting, The fragments are ‘composed in an open style, without bar lines. In order to play with rhythmic precision, itis necessary, at least at the beginning before ‘one has become safficently acquainted with the work, to divide the larger units into smaller ones, thus e.g. quarter notes into eights triplet eights or even sixteenth notes. In these fagments, there are 2 considerable number of fee entries ‘on high notes which can present considerable difficulties for those ‘who do not have perfect pitch. It is recommended to play these passages on the piano at fist so that the ear can get accustomed to the sounds. Only when the performer hears exactly what he wants to play before playing it, itis possible for the hand to find the right notes and, f necessary instantly to correct a note which is not quite in tune. Explanatory notes: 4) Here as well as at other points, the composer recommends the use of harmonics of the third, Since these are particularly dificult toproduceon certain instruments and in certain positions, recom- ‘mend changing them to the usual harmonics of the fourth which are more dependable and sound better because of the longer vibra- ting string. And since they give the same sound as the harmonies of the third, I do not consider it a serious violation of the com- posers intention. by The hamonic-pizicato produces a very dull sound which, however, is precisely the sound intended by the composer. «Here it will sound better if this harmonic is taken as a harmonic of the fourth on the D string despise the specification of the G string 2) As with all harmonics and particularly with double harmonics ‘which contain a harmonic of the third, the performer should choo a sounding point very close to the bridge and should not forget to apply the bow finaly, thus practically playing “sul pont- cello” and almost *forte” in order to produce a good “piano” sound. b) Lean with the bow firmly on the G string in order not to let the “csharp" on the D string come through too strongly. 10. Lehmann, Arco Special notation symbols: ° Too litle pressure from the ft hand harmonic cen at “inappropriate” points om the string) SHE eartertone notation: rate one quarertone LIA (leo) kite bow pressure TV ordinario LY (00) much bow pressure [PIV] 00) lite suse of the bone oo) meh us of te bo OO Various bor pressure and Bors quantities used a be comtnation. setiato Let the bow fall om the seri ae once back seit ma pressare or zat ile (4) pres The composer also provided detailed performance instructions which, however, allow considerable room for variations, so that each performer can work out “his” version which he can then modity from Cone performance to the next. The quartertone alterations appearing in the second section are to be played with the same finger and ‘with a vibratodike motion of the finger which thus produces the ‘quarte-tones in a rapid tempo. 11. Lachenmann, Toccatina 1 un : 1 py The singin sod exact bic sound too octaves higher Notes with tr tails pointing uproards: 1 be performed with he right hand. [Notes with ther tas pointing downeoards: to be per formed cots tele hand. ——Dimpite” — mating signs the sing) sub _prevenied from vibrating by placing te fingers lightly on 4 (be) I ost cases, all four sings are mated in this gy, even tose which are not aecualy Being played on, thus preveming every vestige of resonance. he Albough the exact stoping postion of te mating fingers ge on the rd it not siulated, it is nevertheless nd by am ope diamond-shaped note as big eter lt fasourabeor ven ext positon in lation tte ober Sounds that are be produced. The open circle means thatthe mating isto be related i.e ° the fingers are to be removed from the strings. = “Tipher mit Spannschraube” ~ “dabbing withthe serew ofthe bro”: hss performed bolding te bow ina vertical postion and dabling the ring indicted wit the srw of ‘he bow from above, either staccato or toto. The pitch indicated shows the approximate place where the sing 8 1 be dabbed (tis shouid be followed as accurately as posi) Tis is he place her the string woud be stopped ‘by the lf hand in normal playing. Tose nots ae only ciudite when the string is “ofecated(or “rote” fy the ‘ntng stop. When his i read, booever, the longer (part ofthe sing which is touched and subodivided by the Sure of the bow is ancl. Towards the middle of the string, both parts ofthe sing vibrate equal strong. In bots cats, sounds other than those notated rout The precondition forthe production of the sounds described ist thatthe screw of the bora is not applied in a stacato “fashion but ress firmly on thesring. As soon as its Uifed rom the string, the open sting it wil sound. When tan eft of this hind is intended, the resling open string Sounds are indicated i brackets (tals pointing upward) Tall adver places te open string mest not be alee to sound and the mating sop described above mast be app- lied in good time32 da ca.56 GB Spannichrsube getup Helmut Lachenmann (1986) Vibrato mit Spunnichraube 2 okaven tehal BEE a Zoociaves higher Sppelon eta Phe bow vi mh denen th bow ts gil A _ om oS oi r foe = = distinto Sfluido be pie —__ bet fen iG = ten. a bas 8 >>> > ff Po ipl or A te rae ESS + cs = = (fluido) pe ae, bso» ten pia = = Ss ta “OF + y ie OF f FEES 3—_____o recta — t ae — eo oe | | ehh bye 2 * oO be Tosa sim. gee = bess Hee eee iE peer EEE 2a ah da — wo. 1878 © 1986 by Breitkopf : Hartel, Wiesbaden*Y” Dampfgaif niche 2u locker, damit die Tonhhen der Schrauben Pizicat™ hérbar sind Ming stop, not to loose, frm enough f enable the pitch of the “screw pizzicat”to be heard I ey 1 1 ie — i. um. Ww. uw 7 aly £ Saiten inter dem Steg, Surngs behind the badge Ty pin. S. m1, nL nts My: a 10 wo.1878