AHJ, Vol. 7 No. 1, Summer 1979

Diagram: Form as reflected in the tempo exact sections.
I 2 3 4 5 6 7
tempo •=60 a= 50 a= 60 •=40 a= 60 a= 50 •=60
no. of notes 4 2 3 I 3 2 6
range low D# middle C low F middle C low D#
p.d.1.t.
T = section with tuning key slide.
= tremolo section using rubber covered metal rod.
effects T harmonics I nails T harmonics
There are several special problems connected with
performing this piece. One concerns the use of harmonics
other than our normal octave harmonics.
Holliger uses additional harmonics which sound an octave
and a fifth above the string played, and two octaves
and a third above the given pitch. All of these are used
regularly by other string players, particularly violinists,
who have only four strings, yet produce a multitude of
pitches by use of harmonics. We rarely see anything
other than octave harmonics in the harp literature, but
in spite of their infrequent occurence, it is still possible
to play them just as beautifully as the octave harmonics.
All that is required is extra practice on their placement.
To accustom yourself to this, try the first four pitches of
the harmonic series on the fifth octave A, which will be
the easiest place to experiment. First, play the string
without any harmonic. This is the fundamental. Next,
play the first partial, or overtone, (the octave harmonic),
which is placed at the midpoint of the string.
The next harmonic, (the second partial), will be placed
at the point which is one third the distance from the top
of the string to the bottom. This produces the pitch
which is an octave and a fifth above the fundamental.
The third partial, (the pitch which is two octaves above
the fundamental), is created by stopping the string at the
point one fourth the distance from the top of the string
to the bottom, and the fourth partial will sound when
the hand is placed one fifth the distance from the top of
the string, resulting in the pitch two octaves and a third
above the fundamental. In this way, it is possible to play
the first four partials of the harmonic series. Practice of
this nature will make it easier for you to place correctly
the harmonics notated in this piece. Also remember that
harmonics in flats need to be placed higher than harmonics
in naturals, and that those in sharps will be
lower than those in naturals, owing to the changing
length of the string.
Regarding the glissando with the tuning key, it is
possible to get the exact pitches which Holliger has indicated.
Using a wooden key - holding it as you would
to tune - place the metal part of the key against the
string. As with playing harmonics, the only problem is
correct placement of the key. Practice it enough so that
you memorize the places where those particular pitches
will sound, especially since they are part of the row, and
it is important that the pitches be exact.
Holliger's requirement for a rubber covered metal rod
in the execution of the tremolo at no. 4 is best filled by a
triangle beater (consult your local percussionist). The
proper effect is obtained by using something slender (a
tuning key is too fat), so the triangle beater is just right.
It can be covered with rubber tubing (available at
surgical supply stores), such as percussionists use on
their mallets. Cover the entire beater, so that if it is
dropped, it won't damage the harp. Keep your wrist
loose.
Holliger has carefully marked every type of articulation.
Extra attention to the following markings when
they occur will give the piece distinct color and
character:
L. V. let vibrate.
et. An abbreviation for the French etouffer, this
applies only when specifically marked. It is
Holliger's way of ensuring that those particular
notes are staccato.
senza According to the Harvard Dictionary 4 a batbattuta
tuta is analagous to a tempo after a ritard, indicating
a return to strict time after some deviation.
Senza battuta, then, means that the
following pitches should not be played in the
strict tempo which came directly before.
-ca.60- This is called spatial notation. Simply set the
I metronome at 60, and fit the notes in as they
come. When notes are farther apart, allow
more time. Similarly, when notes are written
closer together, play them sooner. The notational
value of each note will not be strictly
observed. Don't let this confuse you, but notice
the marking Libre, and let the different values
be a guide, not a restriction.
Also be attentive to changes of clef and register. Be
sure to observe all Bva and loco markings. And do not
be afraid of the dynamics. Careful adherence to
Holliger's markings will make the piece more dramatic
and expressive. Enhance moods and colors by making a
difference not just between f and p, but also between p
and pp and ppp, and f and ff and fff
One final note: give it time in performing and in
learning. In preparing it, take time to notice the structure,
and make it clear in the way you play it. Even
though this music is different from what you are used to
hearing, give it a chance, because the more you play it,
the more you will understand it and enjoy it. It has been
selected as required repertoire in two competitions this
summer, (the Close Awards, in San Francisco in June,
and the Seventh International Competition in Israel in
September), so we will all be hearing much of this work
in the next few months.
In performing it, have the courage to wait. Do not
worry that your audience will be bored. On the con-
SUMMER/ 1979
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