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Mirage? (Preview)

by Christos Hatzis | Solo Percussion and String Orchestra

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Christos Hatzis

Mirage?

Solo Percussion and String Orchestra

Facsimile Study Score

PROMETHEAN EDITIONS

WELLINGTON


Christos Hatzis

Mirage?

Solo Percussion and String Orchestra

Facsimile Study Score

Score version September 2009

Mirage? was commissioned by the Canadian Broadcasting Corporation

(CBC) for Dame Evelyn Glennie and the Manitoba Chamber Orchestra. The

premiere performance on 9 September 2009, by Dame Evelyn Glennie with

the Manitoba Chamber Orchestra conducted by Anne Mason, took place at

the Westminster Church, Winnipeg, Manitoba, Canada.

This edition is a facsimile of the original score provided by the composer.

PEF116

© 2009 Promethean Editions Limited

PO Box 10-143

Wellington

NEW ZEALAND

www.prometheaneditions.com

+64 4 473 5033


Programme Notes

Commissioned by the Canadian Broadcasting Corporation (CBC) for Dame

Evelyn Glennie and the Manitoba Chamber Orchestra, Mirage? was

composed during the winter months of 2009. It was a time when the world

was entering an economic downturn which has often been compared

with the Great Depression of the 1930s. This dark period was preceded by

years of greed, selfishness, political and economic opportunism and plain

disregard for basic human rights all over the world which necessitated the

present period of cleansing and testing so we can hopefully reclaim our

humanity and faith through the trials and tribulations of today’s economic

and geopolitical crucible. Looking back at the previous period of careless

and callous accumulation of wealth by the few at the expense of many, one

wonders if the exorbitant life-style which we, the residents of the developed

nations, managed to sustain for several decades at the expense of the

developing world and the underprivileged among us was real or a mirage:

sweet, lovely and seductive, but a mirage non-the-less. The unmistakable

connection between the years preceding the present crisis and the “roaring

twenties” accounts for the particular musical styles used in the composition

and the question mark in the title. The music of Mirage? is permeated by

a sense of sadness, and at one point, of despair. It is lamenting the loss of

something pleasurable that could not be held on to: of a way of living that

less fortunate generations in our post-apocalyptic future may find hard to

believe as possible and relegate instead to the domains of myth and legend,

like the myths and legends of lost continents and civilizations of our distant

past that are still pounding at the threshold of our collective memory.

Were they mirages too or are we failing the same test over and over again,

destroying ourselves and others in the process while blotting our legacy in

the collective memory of humankind? I don’t know if the music of Mirage?

answers any of these questions, but these were the questions that led to its

being. Perhaps there is still hope, that is hope for human solutions before

God and nature take matters into their own hand, but during the days of

composing this work that too seemed like a mirage.

I would like to thank Dame Evelyn Glennie and the Manitoba Chamber

Orchestra for commissioning the work and the Canadian Broadcasting

Corporation for funding the commission. Also I would like to extend my

gratitude to vibraphonist Brian Graiser for his advice and assistance in

editing the final manuscript of Mirage?

Christos Hatzis


Instrumentation

Cloud Gongs: The following cloud gongs are used in Mirage? They should be

suspended on a rack right in front of the vibraphone, so that the soloist can

play the gongs and the vibraphone at the same time.

Strings: the optimal string ensemble consists of 6 first violins, 6 second

violins, 4 violas, 4 cellos, and 2 contrabasses. The work can also be performed

by slightly larger or smaller string ensembles with minor modifications.

If the number of instruments in each section is different than the indicated

divisi, the top part of each divisi should be favoured in the instrument

assignments.

If a smaller ensemble than the one indicated above is used, the tone-clusters

at measures 8 to 10 and 190 to the end should be ‘compressed’: they should

be still semitone clusters but covering a smaller range with the same starting

and ending pitches in the glissandi.

Performance Notes

In a number of places where the music enters the world of jazz, a bracket

with a dashed line and the indication “improv.”on top of the vibraphone

part indicates that the performer may substitute the notated music with

other, largely improvised music. During these bracketed segments of

the music jazz chords of the harmony are displayed to assist with the

improvisation. Only performers with extensive understanding of jazz should

attempt this, and then only by taking into account the logic and musical

intention of the notated music.

Tempo: Tempo markings indicate maxima tempi. In most acoustics,

proportionately slower (sometimes considerably slower) tempi should be

used.

Tempo: tempo fluctuations are so pervasive in Mirage? that, instead of text

indications of tempo changes, arrow signs are used which are accompanied

occasionally by numeric tempo indications. An arrow sign pointing slightly

to the left indicates a slower tempo, an arrow pointing to the right indicates

a faster tempo while an arrow sign pointing upwards indicates “a tempo”.

Where these arrows indicate a tempo change and not just a momentary

change, metronomic markings accompany the arrows.

Dynamics: the circle at the beginning or end of a crescendo or diminuendo

indicates the softest sound possible (niente)…barely audible.


Tuplets: there are two distinct ways of notating tuplets in the score: triple

subdivisions of beats (triplets and sextuplets) are just indicated with the

number of the tuplet, but duplet subdivisions (quadruplets or octuplets) are

indicated as a ratio (4:3 or 8:6) as these subdivisions are more unusual and

don’t always fit over a beat. The notational dilemma with this piece was to

combine the music that is in 4/4 and the music that is in 12/8 on the same

notational grid. What would have been simple eighth or sixteenth notes in

4/4 at a slower tempo are converted into quadruplets or octuplets in 12/8.

When the music has predominately duplet subdivisions on the beat, it is

written in 4/4 in the ‘same’ tempo—the beat in both 4/4 and 12/8 remaining

constant from one section to the next. It looks more complicated than it

should sound.

Solo percussion: the sign “x” is used to indicate dampening of sounds.

When the x is right on the stem of a note, it indicates a “dead stroke” on

the vibraphone. When it appears anywhere else it indicates dampening a

vibrating sound at the indicated pitch in either the vibraphone or the cloud

gongs. Pedaling indications for the vibraphone are only approximate: the

soloist is encouraged to use as intricate pedaling as necessary to bring out

the intended nuances of the music. In a lot of melodic writing, left-hand

dampening and pedaling should be used in combination to produce the

desired result.

Vibraphone: pitch bends are accomplished by placing a hard rubber mallet

with the left hand firmly against the bar and sliding it towards the player

while striking the bar with the right-hand mallet. The harder the mallet, the

more pronounced the pitch bend will be. Since the changes between pitch

bends and passages requiring four normal mallets happen very quickly, the

soloist should either have the mallets placed very close by or alternatively

(and preferably) use two mallets on the left hand, the back end of which

have a hard rubber head while the front end are the same as the two mallets

held by the right hand.

“Sea-gull glissando”: this effect is created on the cellos and contrabasses by

creating an octave artificial harmonic in the extreme high register of the

instrument and then sliding downwards in pitch while maintaining exactly

the same distance between the finger stopping the string and the one

touching the harmonic nodes. A series of repeated harmonics on the same

pitch bending downwards should result which is reminiscent of the sound of

sea-gulls.


Mirage?

Tempi indicated are maxima tempi.

Slower tempi should be used where possible.





sempre...



Christos Hatzis



Vibraphone






Cloud gongs






Violin 1

Violin 2

Viola

Cello

Contrabass


















o o


o o












o


o

"sea-gull" gliss.

"sea-gull" gliss.













o


o

Like in the forming of a mirage sensation, the beginning of the music should be

barely audible. The beginnings of each measure should have no attack at all and

the endings should be perfect dissolves into silence. The duration of each fermata

in measures 1 to 10 should be roughly 4 -5 seconds long—or longer, if the

acoustic of the performance space is quite ambient.

Duration: c. 12:00

Copyright © 2009 Promethean Editions

All Rights Reserved


2

Mirage?

c.g.

4







Vln. 1

Vln. 2

Vlc.

Cb.


non vib. o

flautando




o

o




o



























o




o


o

c.g.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.





o





o


o




o












7










o



o o

flautando


o

flautando


o

flautando



o

flautando



o








o




































o

o

o

o


Vib.

c.g.

11



















Mirage?










3




3


Vln. 1

Vln. 2

Vla.

Vlc.

Cb.











pizz.

non div.



pizz.

non div.



pizz.



pizz.

non div.








con sordina

non vib.

































Vib.

c.g.

16














































5:3

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.


4

Mirage?

Vib.

c.g.

21




3






6



3 3





Vln. 1

Vln. 2

Vla.

Vlc.

Cb.










































Vib.

c.g.

24




















Vln. 1

Vln. 2

Vla.

Vlc.

Cb.











































4:3 4:3

solo

modo ordinario

arco

con sordina


Vib.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

27














con sordina

arco




arco

con sordina




con sordina

arco




con sordina

arco




tutti




























Mirage?






















sub


sub


sub




4:3






sub


sub


sub


sub










5

Vib.

c.g.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

31






pizz.






3 3


non div.

non div.

pizz.












pizz.

non div.


































arco

con sordina


6

Mirage?

Vib.

c.g.

35



















8:6



Vln. 1

Vln. 2

Vla.

Vlc.

Cb.













con sordina

arco



arco

con sordina



con sordina

arco



con sordina

arco


Mirage?

7

Vib.

39







8:6
















Vln. 1













Vln. 2












Vla.







Vlc.

Cb.










arco


8

Mirage?

Vib.

42
















Vln. 1

Vln. 2

Vla.

Vlc.

















































Cb.


Mirage?

9

Vib.

c.g.

45





















4:3












Vln. 1



















Vln. 2

Vla.

Vlc.

Cb.












"sea-gull" gliss.


"sea-gull" gliss.






























o


Vib.

c.g.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

10

50





















o



o



o



o






















pizz.

non div.

pizz.

non div.

pizz.

non div.

pizz.

non div.

pizz.














Mirage?






arco

non vib.








arco non











non vib.








arco

non vib.









improv.

D m7

D m7 5 G 7

C M7

8:6

Vib.

55


4:3

4:3





4:3











Vln. 1


modo ordinario









Vln. 2

Vla.



modo ordinario


modo ordinario








Vlc.

Cb.




arco


Mirage?

11

Vib.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

58





C dim7 A 7

8:6










crescendo...poco...a...poco...

















D m9

8:6

improv.









D m7

4:3



D m7 5 Dm( 5)



















4:3






Vib.

Vln. 1

61



F m9




8:6



crescendo...poco...a...poco...







improv.

F m7 5



8:6



4:3



E M7/D





C m7/G

8:6

Vln. 2

Vla.

Vlc.

Cb.
































4:3

4:3



4:3


Vib.

Vln. 1

Vln. 2

12

C m7/B

64











crescendo...poco...a...poco...

A m7 5

G M7




improv.





Mirage?

4:3




4:3

4:3 4:3















Vla.

Vlc.

Cb.


























4:3











4:3


Vib.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

67










G m7







improv.

G mmaj7


Mirage?

improv.

13

Vib.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

70





















































sub


sub


sub



4:3







sub


sub


sub


sub



F M7










D m9

3 8:6






non div.

pizz.








non div.

pizz.





non div.

pizz.

non div.

pizz.











arco

arco

arco

arco

Vib.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

74









C Maj

4:3









sub


sub

sub

sub

F M7












improv.

FM(add11)/F
















F M7


14

Mirage?

77




improv.

G m7/B







Vib.






8:6


Vln. 1

Vln. 2

Vla.

Vlc.

Cb.


Mirage?

15

Vib.

80


C dim7/B

improv.






8:6




ritardando

8:6


















Vln. 1











Vln. 2




























Vla.











Vlc.

Cb.



















arco


16

Mirage?

Vib.

83




8:6












o











c.g.












Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

























senza sord.

sul ponticello

senza sord.

sul ponticello

senza sord.

sul ponticello

senza sord.

sul ponticello
























senza sord.

senza sord.

senza sord.

senza sord.


Vib.

Vln. 1

Vln. 2

Vlc.

Cb.

87


























































o

o

o

o








pizz.





Mirage?



































o


17


Vib.

Vla.

Vlc.

Cb.




93



pizz.

non div.








pizz.



















(very slow arp.)



























Vib.

Vla.

Vlc.

Cb.

98


18

Mirage?

Vib.

103








4:3

















4:3


Vla.

Vlc.

Cb.

































Vib.

109















4:3




4:3


Vln. 1

Vln. 2

Vla.

Vlc.

Cb.















naturale




naturale












solo

naturale











arco


arco


Vib.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

Vib.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

113









116















arco


arco
















































































Mirage?
















19


20

Mirage?

Vib.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

119






















































tutti




























































Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

124


Mirage?

21

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

127













































Vib.

129





rit.













Vln. 1

Vln. 2














div.












Vla.













Vlc.

Cb.


Vib.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

22



unis.




















pizz.


132



8:6 4:3











































8:6

Mirage?










4:3























4:3




























Vib.

Vln. 2

Vla.

Vlc.

Cb.

135















arco
































































sempre...


Mirage?

23

Vib.

Vln. 1

Vln. 2

Vlc.

138









crescendo...poco...a...poco...






























Vib.

Vln. 1

Vln. 2

Vlc.

140











crescendo...poco...a...poco...














sempre...
























Vib.

Vln. 1

Vln. 2

Vlc.

142











crescendo...poco...a...poco...


24

Mirage?

Vib.

144

















Vln. 1

Vln. 2




























Vla.

Vlc.

Cb.











































Vib.

147





















Vln. 1







Vln. 2

Vla.






















Vlc.

Cb.


Mirage?

25

Vib.

150

























Vln. 1

Vln. 2

Vla.

Vlc.

Cb.
































































Vib.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

153

























sempre...

sempre...

sempre...

sempre...




























sempre...

sempre...

sempre...

sempre...
















sempre...





















div.





div.




























div.











div.


26

Mirage?

Vib.

156







































Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

































































































































unis.


Vib.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

162























Mirage?

























3




3

3

27



3




3




Vib.

166

































Vln. 1

Vln. 2

Vla.

Vlc.

Cb.































3



3




3


28

Mirage?

Vib.

Vln. 1

Vln. 2

Vla.

170














6




(on-the-string staccato)





(on-the-string staccato)

(on-the-string staccato)


6





























sempre...

sempre...

sempre...

3










3

3


















Vlc.

Cb.











Vib.

c.g.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

173




































3



3

3

























3 3 3 3











3
















3 3 3 3


Mirage?

29

c.g.









Vln. 1

Vln. 2





176























































































Vla.

Vlc.

Cb.




3 3 3 3




o




3




3 3 3 3










3 3 3 3

3 3 3 3







3 3 3 3


o

Vib.

c.g.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

180


















o




o


3 3 3


o



3 3 3



o



3 3 3 3





3


pizz.







3

3

3

3



3













3


3

3

3


3

3







3


30

Mirage?

Vib.

184

3


3

3


3

3




3


3

3

3

3




3


3




3

3


3

3

c.g.

Vla.






3 3



3

3



3 3


Vib.

188







3

3


3

3



From measure 179 fermatas should be progressively

longer, each lasting several seconds. The end of the

piece should feel like an extremely long fermata.











3

3

3

3




c.g.

Vln. 1

Vln. 2

Vla.








3



























sul ponticello

sul ponticello

sul ponticello

sul ponticello





o



o



o




o





3

div.




div.




div.




div.


Mirage?

31

Vib.

194



3

3

3

3








3

3


3

3






3

3


3

3

c.g.

Vln. 1

Vln. 2

Vla.


3


unis.



o


unis.



o

unis.



o

unis.



o


3


3

3












Vib.

c.g.

Vln. 1

Vln. 2

Vla.

Vlc.

197








o



o



o








o


3

3


3 3





3






3 3





3

pizz.

div.





3

3






div.




div.




div.








3


3


32

Mirage?

Vib.

c.g.

Vln. 1

Vln. 2

Vla.

Vlc.

Cb.

Vib.

c.g.

200




















pizz.







3

flautando

arco

o

flautando

arco

204




unis.

unis.

unis.

unis.

3











o














o

o

o

o


3




3

arco

flautando

arco

flautando







3

3






div.




div.
















3




3



div.

div.























unis.

unis.

unis.

unis.




























o



o



o



o


Mirage?

33

Vib.

Vln. 1

Vln. 2

Vla.

208










con sordina


con sordina


con sordina






























sempre...






sempre...





sempre...
































o








o

Vlc.




o

o

Vib.

211



























Vln. 1

Vln. 2

Vla.

Vlc.










div.
















unis.


























o



o



o



o


34

Mirage?

Vib.

c.g.

Vln. 1

Vln. 2

214










































sempre...



3





sempre...


sempre...





3


Vib.

c.g.

218


































o









Vln. 1

Vln. 2

Vla.

Vlc.

Cb.









pizz.

non div.







o


o




o



o

pizz.

non div.

pizz.








div.












senza sord.









senza sord.





unis.











o


o




o



o


Vib.

Vla.

Vlc.

224












o

o

o

o




div.














Mirage?











unis.





o



o



o



o









35


Vib.

Vln. 1

Vln. 2

Vla.

Vlc.

229





















arco naturale

arco o naturale

arco o naturale

arco o naturale

o

naturale

o

naturale

o

naturale

o

naturale

o





































































o

o

o

o



non vib.

non vib.



non vib.



non vib.





o non vib.

o

o

o

non vib.



non vib.



non vib.


36

Mirage?

Vib.

234







with double bass bow












Vln. 1

Vln. 2














































Vla.

Vlc.

Cb.

























To the Master Who is the Power and the Glory

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