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Nombre de lectures | 87 |
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ARMÉ ARIRANG
for Clarinet in A and iPad
Mary Simoni
2011 Program Notes
Armé Arirang for Clarinet in A and iPad
by Mary Simoni
Armé Arirang for Clarinet in A and iPad was compoin 2011 sed for Cecil Kng. The
k, orwo ideganirz n f sevi tanz, beas winsgi an adth aptatin oo thf poe pu lar F hncer
Renaissance melody,L ’homme Armé. The English translation of this famous tune
proclaims:
The man, the man, the armed man,
The armed ma n
The armed man should be feared, should be f eared.
Everywhere it has been proclaime d
That each man shall arm himse lf
with a coat of iron ma il.
L’homme Armé was commonly used as a cantus firmus ethfor Orynarid of the
La Mss, and is found in compositions Renaissance by European composers ch
as Josquin, Palestrina, Dufay, and Ockeghem. Contemporary musical settings of the
Ory onarid thf e Caic Mas s ear ually us comprised of five parts: the Kyrie, Gloria,
Credo, Sanctus, and Agnus D eThe li. function of the five pas of the Caic
Mas ss turucallytr i thderpins fe sevi tanz oas f Armé Arirang . The Kyrie Eleison , or
“L, unbidro nd us” is y dgneali with feth t ssri tanza o f Armé Arirang – an
and embellishedL ’homme Armé. Unb the armed ma n.
The fifth t ofpar the Oryinard of the Catholic Mass , Agnus Dei, implores the
La mb of God to “. . .gra us peace.” The fifth lasand t of Armé Arirang is an
anddneroad eatelabor verion ofs the Korean folk meloArdiyr ang. This melody
represents the promise of peace to Kothan peereula.nsni The Agnus Dei isf ormally
widgneali thth pre n ontatioese f Arirang . Grant us peace put an eand tond at th
hciwh divides .
An English translation of Arirang is:
Arirang, Arirang, Arariyo,
Arirang Pass is the long road you go.
If you leave and forsake me, my own,
Ere thre miles you go, lame you'l have grown.
The intervening second, third and fourth sts of Armé Arirang r a
adual gr g down of arms in favor of pea – a transformation otfh e melody
L’homme Armé to Arirang . This transformation is analogous to the miraculous
anstrubstantin atio at oth isurcc n the Roman Catholic Mass .
This composition is about East meets We,s tOld mee Nts ew, and Religi on
meets Politics. Let uunbind ourselves ofs the arms of war and f hinadrmony in
peace and unity .
ce intset
epresent nzaa
su
nzaast nt
ind edtulex
llrauctrust
holt rt urgicalit
holt
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a iaPerformance Notes
Armé Arirang for Clarinet in A and iPad
by Mary Simoni
The composition is organized into nine sections: Stanza I, Stanza II Prelude, Stanza II,
Stanza III Prelude, Stanza III, Stanza IV (Clarinet & iPad Duet), Stanza V Prelude,
Stanza V, and Coda.
The clarinetist performs the traditional notation and should sing while playing beginning
in mm. 11, 49, and 179.
The iPad performer processes the clarinet performance in real-time by interacting with
the "LogicPad" layout installed on the iPad . Stanza 1, Stanza II Prelude, Stanza III
Prelude, Stanza IV, Stanza V Prelude, Stanza V, and the Coda are preceded by rehearsal
numbers enclosed in boxes. For example, 1 is located above the staff for Stanza I. These
rehearsal numbers indicate which channel strip setting to be used for real-time
processing. For example, rehearsal number 1 uses channel strip 1, rehearsal number 2
uses channel strip 2, etc. The iPad performers should make full use of the channel strip
settings by accentuating aspects of the clarinet performance such as applying EQ to the
multiphonics or adding delay to solo passages in the chalumeau register. In Section 6, the
iPad performer should improvise on the harmony indicated in the score. The chord in
parentheses indicates the harmony at concert pitch.
The clarinetist performs into a microphone. The output of the microphone is sent to Logic
Pro for real-time processing by the iPad. The house sound consists of a combination of
both the unprocessed and processed clarinet.
The composer would like to thank University of Michigan students Cecilia Kang,
clarinetist and Steve Joslin and Jameson Eisele for their technical assistance during the
premiere performance April 11, 2011 at St. Mary's Student Parish in Ann Arbor,
Michigan. Armé Arirang
for Cecilia KangClarinet in A Mary Simoni
1
1/4- - - jU œStanza I: Grave e = 118 œ Ÿ œ œ œ œ œœ. œ œ - - œj - -.6 5 œ œ 6 œ œ Jœ œ œ œ œb œ œ œ. . .& 8 œ œ œ 1/4 8 œ œ 8 œ œ œ-J- JP rubatoF
sing while, œ56 playingœ œ œ œ œ œ œj œ œ jœœb œ œ Jœ œ .& œ œ œ œ œ œ œ œœ J œ œ œ œœ.flutter œ œ œ fpP F P p F a temporubato U œ12 œ œ.ord. œœ œj j - .j 5 œ œ 6 œœ œ œb œœ œ . .& œ œ œ œ 8 œ œ 8 œ1/4œ - - -œ J˙. - J œ œ œ.P -F
7
18 Ÿ Ÿ Ÿ U~~~ ~~~ ~~~~7 6 3b ‰ ‰ j n& 8 8 j 41/4œ. œ œ œ œœ œœ œ- - - œœ. œ. ˙ œ. ˙.-p P P FF Pf
2 Stanza II Prelude: Adagio q = 76 I U3 U ŸU 3 #œ ˙ œ3 œ j ˙ 4 œ #œ œ œ 3 n˙#œ #œ œ j #œ œ œ œ œœ œ bœœ œ œ œ& 4 œ 4 œ 4œ œ œ œ œœ 33 3 fP 3 a tempoπ p πrubato e cantabile rit.
Stanza II: Moderato q = 12030 j ˘ jœ œj jœ Œœ j œ œ œ& ˙ œ ˙ bœ- - - œœ œ œ ˙- œ œ ˙ œ. . fl flp f U.#˙37 U ˙ -. - .˙ œ œ1/4#œ ˙ œ œ œœ ˙ œ œ ˙.& - œ œœ œ ˙. ˙. Jp pP ππ fa tempo p
rit. ,
46 - play j- ˙˙ œ ˙ œ œ œ œ˙ œ œ œ ˙ œ˙ œ. œ ˙.& œ ˙. ˙. ˙. ˙.singÓf 3 pƒ
August 10, 2011 Tyrone Guthrie Centre, Newbliss, Ireland © 2011 Mary Simoni All Rights ReservedArmé Arirang2
354 3 U4 3j #œ ˙œœ& ˙ œ 4 4œ œ˙ œ - œ œ ˙ œ œ. .- œpf πrubato
a tempo59 œj ˘ j Uj3 œ œ 5œ Œœ j œ& 4 ˙ œ 8œ œ.œ œœ ˙.fl œf fl πp ritard molto
3
Stanza III Prelude: Spirito e = 200 strict tempo . .5 6 5 œ 3œ œj œ œ .& 8 8 8 œ œ 8j j œ œ œ .œœ œ œ œ œ œ œ œ œ œ.œ œ œ œ. . . . . .œ .p P. . œ .œ œ œ .68 œj œœ œ -. .œ œ j œ j #œ œ œ .3 5 œ œ œ 6 œ œ œ 10œ œ& 8 8 8 8JpF π. .œStanza III œ œ œ .œ œ œ . œ .72 œ . œœ œ œ œ œ œ œ .œ ¯ ¯# œ œ10 J 7 6 3 œ 5J& 8 8 8 8 8
2f . .œ .76 œ œ œœ œ œ . ...# œ œ œ j œ œœ œ. œ œ5 6 7 6 5œ œ& 8 8 8 8 8P fF ä ä äj œ œ œj. . . j . j80 . . œœ œ œ œ œ œ j œœ œ . . œ œ# œ œ œ5 6 10& 8 8 8
subito p ƒ .œ .. .œ . .œ œ ¯œ œ ¯83 œ œœ œ œœ œ œœ# œ œœ œ œ œ.10 7 6 3 7J J& 8 8 8 8 8
2fArmé Arirang 3. . ´œ . -87 ´. œ œ œ œ .œ œ œ œ . . œ œœ . œ# œ œ ´ ´œ œ7 6 8 œ 6 5œ œ œ.& 8 8 8 8 8-f Fslap tongueƒF
91 # 5& 8 j œj œœ œj j œ œœ œ.œ œ œ œ œ œ œ œ œ œ œ.œ œ- . . . . .I >P p Ÿ Pœ œ >. œœœ œ œ95 œ ,œ œ ## œ j #œœ 6 J J J #œœ œ& 8 .ÿ œ œ>F ƒ f
subito pç4 Stanza IV: strict tempoAndante e = 140
recording begins## jœ j j. . . .# j jœ œ œ œ ‰ œ œ œœ œ œ& j nœ nœ- œ . - - - œœ œ œ œ œ œJ - J -- -œœ Pp P pπ
105 TM M# - - - M# œ- - - œ œ œ œ œ œ œ œ œ œœ œ œ œ œ# œ. .œ œ œ œ œ œ& J J J J J