boulez on the tube - jackcoleman.co.ukjackcoleman.co.uk/jack coleman - musician/works_files/boulez...
TRANSCRIPT
Boulez on the Tube
for 10 performers, 3 actors and tape
1. Piano Lesson 1 2. Books/Interlude 10 3. You are here 15 4. Litost 16 5. Boulez on the Tube 22
Scoring: Soprano/Mezzo-Soprano 2 Clarinets in Bb 3 Trumpets in Bb Piano Electric Guitar Electric Bass (doubling Melodica) Percussion (Drum kit, Vibraphone, Suspended cymbal) Tape Actor/Mime (Pierre Boulez) Actor (Olivier Messiaen) Actor/Mime (Messiaen’s assistant)
Duration: c. 37” General Clarinets and Trumpets in Bb. Guitar and Bass sound one octave lower than written. +37c Play 37 cents sharp, or as near as possible. 100 cents = 1 semitone. n. Crescendo from niente, or as near as possible.
Time-space notation (scene 2, full score only).
Actions for the actors/ instrumentalists are written above the top part in the score. These do not correspond to exact synchronisations but should give a suggestion of the dramatic pacing and staging. In the score Boulez is abbreviated to ‘B’ and Messiaen to ‘M’. Ideally the 2nd clarinettist will double the conductors part. All the instrumentalists in Books will require a stopwatch (or similar) that doesn’t make a sound when it is started/stopped. The conductor should coordinate the beginning of stopwatches and the tape part. Instrumentalists should dress neutrally so they resemble normal concert dress. E.g. black shirts and trousers. The soprano should wear an evening gown. Boulez should wear a cheap suit, ideally tweed, that has not been ‘fashionable’ since the late 1970s/ early 1980s. Messiaen should dress more flamboyantly, perhaps in a silk shirt with ruffles, with a multicoloured scarf. Messaien’s Assistant should dress like a stage-hand or caretaker, to give the impression they are not an actor in a drama. List of props: Rucksack, several music-related books (counterpoint treatises, scores etc.), desk, chairs, laptop, desk-lamp, stuffed bird(s) (real or otherwise), clipboard, bottle of Cherry Coke (fizzed up), Thomas Ades score (with his programme note on first page), ‘Boulez on The Tube’ score.
Conductor
Stop conducting Resume conducting
Begin tape, track number indicated in circle.
Clarinet Multiphonics required in scene 5:
Trumpets As well as cup and straight mutes trumpet 1 will require a harmon-mute and trumpet 3 will require a plunger mute.
‘Sung’ note, i.e. hum whilst playing the trumpet. Can be transposed to any comfortable octave but the player should stick to this transposition throughout.
Play and sing same note.
Split note. Keep interval static where possible. In some cases fingering is given. Wild vib. Play note with an exaggerated and tasteless vibrato. Theatricality should be avoided if possible. Piano
Silently depress notes
Gradually release pedal.
Clusters may be diatonic or chromatic but should observe the outer notes specified on the stave. Guitar and Bass Both should be heavily compressed, with the dynamics controlled by a volume pedal. The guitar will also require overdrive with the ability to change the amount of gain. The guitarist will require a capo. Other decisions (such as whether or not to use a plectrum) are left to the discretion of the player and expression markings.
Percussion ‘Scrape cymbal’ Press hard with the handle of the beater to make a high piercing sound like nails on
a blackboard (b. 40, scene 5). Observe dynamics! A hi-hat is not required on the drumkit.
Electronics and Tape The speakers should be near the front of the stage. If the space is very small and dry they should face the outer walls. The tape volume should be set fairly quiet to blend with the ensemble, apart from scene 2 where it is the dominant part abd should be a little louder. The audience should be recorded just prior to the concert and played back in ‘Books’. See the Logic session on the disc for more information. Suggested Stage Layouts
Program Note Both the non-signified subject and, the Subject, capital S, of this piece pertain to the contradiction between theoretical precision within the framework of formalised compositional systems and the means of practicable, signified sound producing media. I, after Gratzer 1993 and Goodwin 1987, was initially concerned with those contrasting fields of sonority inherent in our own multiple subjectivities, histories (particularly the intra-conducive pre-classical forms), contemporary modes of production and the residual oppositions characterized by a mediation on the nature of language as sound. A modular temporal matrix operates a quasi-algorithmic control over the parametric details of this opus. Status Updates These will be spoken by the soprano in the coda of scene 5 (rehearsal D). Speak in a clear, newsreader-esque, but not theatrical tone. The most recent updates should be collected from prospective audience members (if known) and performers as close as possible to the performance. Facebook.com or Twitter.com are most appropriate. If there is an abundance of statuses, choose the most enigmatic or absurd. 39 status updates will be needed. Jack Coleman, December 2008 – April 2009
q=50 Fragile, steadily, tenuto
1: Piano Lesson
J Coleman
Boulez on the Tube
Tpt.
Tpt.
Tpt.
harmon
fpp
p
0
mp
str.
fp
13
growl
str.
fpp
1
pp
0
mp pp
2
9
Tpt.
Tpt.
Tpt.
Pno.
pp
*Boulez is being given a piano lesson by the pianist, who should stand over B and point at the score etc. B should attempt to play the piano part above in time with the ensemble. Ideally B should be a poor to terrible pianist, and should strive to play their best. The pianst should exasperatedly scorn B and take overfrom B at bar 19 regardless of how far behind B is. B should then stand over the pianist sheepishly until bar 43, then exit stage left.
mf
Lights up. Boulez and Pianist are at piano*.
p
mp
mf
13
mf
Mozartrian
f
mp
14
Tpt.
Tpt.
Tpt.
Pno.
pp
p
mf
p
3 3 3 3 3
18 A
Tpt.
Tpt.
Tpt.
Pno.
open
mp
p
open
more confident
mf
open
Pianist takes over
mf
mp
clear
2
24
Tpt.
Tpt.
Tpt.
Pno.
mf
harmon
cup
more confident
mf
cup
pp
27
S.
Tpt.
Tpt.
Tpt.
Pno.
Do
mf clear, child-like
re mi fa sol
la ti doh
sempre
ev ry tru ly- cul
tur- mus ic- stu
dent- knows
p
mf
p
3
29
B
S.
Tpt.
Tpt.
Tpt.
Pno.
you must learn you scales
and your ar peg
- ee- ohs
-
Oh
f
molto espress.
sca
les
- I'll be
p
mp
piu espress.
mf
32
S.
Tpt.
Tpt.
Tpt.
Pno.
wail
ing.
-
ev ry- tru ly- cul
tur- mus ic- stu
dent- knows
you must learn you scales
and your ar peg
- ee ohs
op. espress
più f
op. deliberate and unmusical
mf
sempre
6
6 5 6
mf
4
35
S.
Tpt.
Tpt.
Tpt.
Pno.
Ooooh
mp
f
6
6
6 6
piu marcato
7 6 7 6 5 5
senza sord.
f
mp
38
Tpt.
Tpt.
Tpt.
Pno.
fp
55
mp
pp
5
40
S.
Tpt.
Tpt.
Tpt.
Pno.
you
f
must learn you scales
andyour ar peg
- ee- ohs
-
p
f
55 5 5
senza sord
marcato
senza sord
marcato
mp
C42
S.
Tpt.
Tpt.
Tpt.
Pno.
regimental
f
3 3
ff
sempre
mf
6
45
S.
Tpt.
Tpt.
Tpt.
Pno.
Vah!
f molto vib
Vah!
ff
loco
' feel'
' feel'
48
S.
Tpt.
Tpt.
Tpt.
Pno.
Vah!
loco
Mozartrian, stacato
f
loco
calando
mf
55
funky
mf
mp
secco
ff
7
50
Tpt.
Tpt.
Tpt.
Pno.
5
5
55
52
Tpt.
Tpt.
Tpt.
Pno.
5
5
55
3 3 3 3 3 3 3 3
8
54
Tpt.
Tpt.
Tpt.
Pno.
wide vib.
5
5
55
3 3 3 3 3 3 3
56 rall.
Tpt.
Tpt.
Tpt.
Pno.
5
5
9
Tranquil
2: Books
Clarinet in Bb 1�
Clarinet in Bb 2
Electric Guitar
Electric Bass
Tape
0
mp
10"
6"
3"sempre
31"
0mp
6"
3" sempre
0let ring...
p
12-13" sempre
0w/ fingers +37c
p
9" sempre
0
Cl. 1
Cl. 2
Tpt. 1
Tpt. 2
E. Gtr.
E. Bass
1'00"
solo: q=60-70, interpret quite freely
lontano
f
sf
mp
cup.
pp
12"sempre
10
Cl. 1
Cl. 2
Tpt. 1
Tpt. 2
E. Gtr.
E. Bass
B. walks onstage looking flustered, carrying a rucksack/sportsbag. B then puts the bag on the stage and spends the next few minutes trying to fit as many books as possible into the bag. The books should be placed around the performance space and in the audience. These books should be on harmony, serial technique, composition etc. Large leather bound books are best. B should only go and get one or two books at a time before returning to the bag. Remain looking worried.
1'31"
6"
p
f
mp
pp
legatissimo
f
mp
n.
Cl. 1
Cl. 2
Tpt. 2
E. Gtr.
E. Bass
mp
1'40"
6"
11
Cl. 1
Cl. 2
Pno.
E. Gtr.
E. Bass
Tape
2'37"2'42" talking beginsin tape part
2'52"
mp
15"
sempre
hold
9"
mp
Cl. 1
Tpt. 2
Pno.
E. Gtr.
E. Bass
Tape
3'22"
-13c
p
6"
6"
loco +36c7"
p
8" sempre
6"
sempre
9"
sempre
+17
+13
12
Cl. 1
Tpt. 2
Pno.
E. Gtr.
E. Bass
sempre-13c
sempre
Cl. 1
Tpt. 2
Pno.
E. Gtr.
E. Bass
By now B is exasperated at not fitting all the books into the bag. B should take a programme book/sheet off someone in the audience, walk back to the bag, look at itthen suddenly decide to leave it on stage and exit (lower stage right) carrying only the program note.
13
5'54" - 'All I Need' begins 8'33" - ends
Cl. 1
Tpt. 2
Pno.
E. Gtr.
Tape
B should be off stage by now.tape solo
hold for another minute then gradually release.
14
15
3: You are here Messiaen sits at a desk lower-centre stage, he and the desk are facing stage right. The desk and (if possible) stage should be made to look like an office, e.g. a lamp. If it is possible to put a taxidermy bird (or approximation) on the desk this should be done. A chair is on the other side of the desk facing Messiaen. A laptop is on the desk that Messiaen is working at. He types absentmindedly for 20” then taps the spacebar decisively. [Play track (1)], as the music stops Boulez walks on sheepishly from stage right. Messiaen: (Alpha-male, yet slightly camp) Ah, Pierre! Do come in, what have you brought me? Boulez hands
him programme note, just as Assistant enters upper stage right with a clipboard and scans gaze slowly across audience. Messiaen glances over programme note and shakes his head.
(to Assistant) Yes, I’m glad you’re here. Could you possibly go and fetch me Tommo’s programme note. Oh and a cherry-coke please. (cooing) Thank you! (Assistant exit upper stage right) Right… (reads aloud:) ‘Both the non-signified subject and, the Subject, capital S, of this piece pertain to the contradiction between theoretical precision within the framework of formalised compositional systems and the means of practicable, signified sound producing media. I, after Gratzer 1993 and Goodwin 1987, was initially concerned with those contrasting fields of sonority inherent in our own multiple subjectivities, histories (particularly the intra-conducive pre-classical forms), contemporary modes of production and the residual oppositions characterized by a mediation on the nature of language as sound. A modular temporal matrix operates a quasi-algorithmic control over’ look… it’s all well and good Pierre, but what market does this tap into?... PhD geeks. You need to get people’s attention, grab their imagination by the balls, what part of your blurb appeals to the fairer sex…? Plus you haven’t double-spaced it. (Assitant returns upper stage right with another program note and a fizzed up bottle of Cherry Coke, hands both to M.) Ah, Thank-you. (opens Cherry Coke, it fizzes up and some of it spills on M.’s trousers.)(under breath:) For fuck’s sake. (sighs). Look, If you want to be a good composer young Pierre, you need to write better program notes… Instead of a boring title like ‘Structures’, name your piece after a mythological animal, like a Unicorn or Minotaur. What’s even more effective is combining nouns with (finger quotation:) “on the”, such as Unicorn “on the” Mountain. Mountains are good. So are valleys, just anything like that… (reads from program note) ‘Each of the seven titles which comprise Arcadiana evokes an image associated with ideas of idyll, vanishing, vanished or the imaginary. The odd-numbered movements are all aquatic,’ Aquatic, write that one down. (B. makes note in notebook) ‘are all aquatic, and would be musically continuous if played consecutively. Movement 3 alludes to the eponymous Schubert Lied.’ Mention Schubert if you can, bit of a music legend. ‘The title of movement 5 derives from Watteau’s painting ‘The Embankment from the Island of Cythera’, in the Louvre.’ Yes, name-drop a few artists as well… and for God’s sake remember to say where you saw the painting. ‘The 2nd and 6th movements inhabit pastoral Arcadias, respectively Mozart’s ‘Kingdom of the Night’ and more local fields. Movement 7 bears the name of the mythical River of Oblivion.’ Hear that, ‘mythical river’, people love the mythical shit. Umm, Make sure you dedicate to someone as well. I usually scan the papers for any middle-class children that have disappeared recently, pop their name at the top then send it off to the publishers. Ok, well I think that’s everything. I’ll er, see you next week Pierre. (B. exits lower stage right). (M shaking head, exasperated:) modular temporal matrix… (lights down, M exit stage left.)
4: Litost
q=120 Driving
Gtr.
Bass
Dr.
ppp
back of neck, o.d.
ff
mp
rounded, jazzy
ad lib simile
mp (but with strong kick drum throughout)
sempre
6
Cl.
Pno.
Gtr.
Bass
Dr.
+
agile
ff
mp
marcato
ff
5
ff
p
espress.
mp
bright and stacato
f
mf
16
10
Cl.
Pno.
Gtr.
Bass
Dr.
più marcato
5
3
5
5 5 5 3 3
sloppy
13
Cl.
Pno.
Gtr.
Bass
Dr.
increasingly sluggish rhythms, still loud!
5 5 5 5 5
5
5
5
5
17
16
Cl.
Pno.
Gtr.
Bass
Dr.
morendo, embarrassed
f
mp
weak
5 3 3
3 3
3 3 3
20
A
Cl.
Gtr.
Bass
Dr.
3
5
squeak
3 3
flip guitar round so playing with opposite hands:
awkwardly, try to maintain rhythm!
ff
3
3
mp
3
3
3
p
18
25
Cl.
Pno.
Gtr.
Bass
Dr.
x2
3
3
3
3
bend
3 3
30
BMeno mosso (c. q=95)
Cl.
Pno.
Gtr.
Bass
Dr.
angular
ff
6
x10
B walks on with the bag full of books. Dumps it on ground, centre stage.
6 6
mf
3
3
f
flip guitar back
n.
clean:
legato, poco vib.
3 3 3
n.
fff
to vibes!
19
35
Sop.
Pno.
Gtr.
Bass
Vib.
with closed mouthmf
poco secco
Takes a large score out of bag, 'Boulez on The Tube' is on the cover. Sits at desk and studies it intently.
brittle
mf
mp
secco
p
angular
mf
42
Sop.
Pno.
Gtr.
Bass
Vib.
f
B notices sop and keeps looking up at her.Cranes neck to try and catch her gaze.
do
do do do
f
pp
7
n.
p
n.
Ped.
p
20
48
C
Sop.
Pno.
Gtr.
Bass
Vib.
mf hum along with ensemble absent-mindedly, as if to yourself, approximately in E major.
x indefinate for 1'40" all except gtrplay increasingly slower, quiter, more legato, more pedal etc.conduct first repeat but not the rest, move onto 'D' after c. 1'40"
ignore and B. exit stage right (still humming) when gtr begins fig
mf
sempre
x3 then play Fig 1, then return to repeats
p
secco, tenuto
change to after 1 repeat
49
Gtr.
lightly
pp
gtr fig. q= 90-100
sempre
53
D a tempo (c. q=95)
Gtr.
Bass
n.
mp
n.
sempre
B exits top stage right with score.
n.
p
n.
sempre
64
molto rit.play 3-6x whilst stage is set for next scene
Gtr.
Bass
amp noise/hum, v. heavy distortion, harmonics
p
ad lib. simile
n.
pp
with v. long reverb
ad lib. simile on repeats
3 3
21
q=124 Brittle
5: Boulez on the Tube
Cl.1
Pno.
E. Gtr.
Bass
Vib.
B enters stage last, to applause from ensemble, and takes conductors position.B conducts first 31 bars in typically Boulezian manner.
pp
morendo
secco
sub. f
mp
ff
pp
3
p
pp
sub. f
back of neck:
n.
p
tambora:
sub. ff p
p
ord.
marcato
f
Ped.
3
5
pp
7rit.
q=90
Cl.1
Pno.
E. Gtr.
Bass
Vib.
bold
f
3
pp
mp
delicate
pp
mp
ppp
mp
n.
mf
n.
p
mf
Ped.
22
14
Cl.1
Pno.
E. Gtr.
Vib.
ppp
mp
ppp
3
marcato
f
5 33
mf
p
Ped.
mp
angular
mf
ppp
mf
5
A
20
Cl.1
Pno.
E. Gtr.
Bass
Vib.
f
mp
5
n.
5
mf
ppp
p
ppp
mf
p
Ped.
mp
23
26
Cl.1
Tpt.1
Tpt.2
Tpt.3
Pno.
E. Gtr.
Bass
Vib.
cresc. poco a poco
mp
p
f
p
op.
op.
p
legato
growl
p
op.
mf
pp
cresc. poco a poco
f5
f
pp
f
Ped.
mp
ppp
mp
Ped.
pp
mf
3
24
Ba tempo (q=90)31
Cl.1
Tpt.1
Tpt.2
Tpt.3
Pno.
E. Gtr.
Bass
Vib.
B suddenly stops conducting, and looks around, perplexed. There is a terse, Pinter-esque silence lasting up to 1 minute.Conductor takes B by arm (who is holding the programme note of scene 3) and gently leads B over to seat 1 and seats them as if B were old and infirm.
B look despondantly at the audience. Conductor then resumes the piece with 'lets go from bar 32'.
p
mf
p
T
f
F
_
legato
pp
23
f
legato
pp
13
f
legato
pp
23
f
p
senza cresc. (not yet)
f
3
p
bend:
ff
sub. p
pp
f
mp
f
Ped.
f
25
37
Cl.1
Pno.
E. Gtr.
Vib.
Cyb.
16": tape solo
lontano
mp
legatissimo
pp
all trills with the semitone above unless otherwise stated
pp
n.
n.
scrape handle
f
45
C
Cl.1
mf
5
mp
(no tongue)
ppp
a little too esprssivo
meno mosso
mp
poco accel.
pp
mp
triumphant
ff
3 33
52
Cl.1
rall.
mp
lontano
T _
3
suddenly lyrical
5 3
3
58
Cl.1
ff
pppp
f
ppp
f3 3 3
5
64
Cl.1
_
E
C#
mp
poco accel.
mf
mp
with bravadoslower molto accel.
53
5
6
5
26
68
q=85
Cl.1
Bass
fff
ppp
lontano
mp
5
55
n.
p
71
Cl.1
Tpt.1
Tpt.2
Tpt.3
Pno.
E. Gtr.
Bass
Vib.
pp
pp
harmon.
p
introverted
op.
ppp
plunger:
p
+
(+)
delicate
p
pp
cresc. poco a poco (RH only)
pp
hold, senza ped.
ppp
w/ thumb
p
p
delicate
Ped.
pp
legato
27
76
molto rall.
Cl.1
Tpt.1
Tpt.2
Tpt.3
Pno.
E. Gtr.
Bass
Vib.
_
E
C#
f
conductor: take position
op.
bolder
mf
f
p
bolder
take position (see perf notes)
f
o +
bolder
+
o
ff
stronger
fff
ff
back:
n.
mf
f
marcato
3
28
Grave e= 5581
DVery Slow. Wait for sop. to finish sentence before next chord. Fade between chords within ensemble.
Cl.1
Cl.2
Tpt.1
Tpt.2
Tpt.3
Pno.
Bass
Vib.
take position (see perf notes)
p
sempre.
p
take position (see perf notes)
harm.
p
cup.
p
take position (see perf notes)
str.
p
f
pp
take position (see perf notes)
Melodica:
p
take programme note off Boulez and exit.
29
87
Cl.1
Cl.2
Tpt.1
Tpt.2
Tpt.3
exit.
exit.
94
Cl.2
Tpt.1
Tpt.2
exit.
exit.
Soprano should exit soon after Clarinet 2. Boulez turns to look at her then look back to the audience.
Lights Down.
exit.
30