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ALL'AURE IN UNA LONTANANZA

AVVERTENZE

o coprire con le lab bra tutta l'imboccatura tenendola fra i denti (senza stringerli) il pili internarnente possibile nella bocca; ne risulta un soffio intonato.

• idem, rna con la lingua nel foro dell'imboccatura (chiuderlo per due terzi circa); si ottenga un leggero ·sibilo, intonato due ottave sopra Ia posizione fondamentale indicata.

t> posizioni di passaggio graduale tra il primo e il secondo procedimento (non essendo cosi controllabile l' ernissione del sibilo Ie note di effetto sono notate in parentesi).

A coprendo con le labbra tutta l'imboccatu/ ~ ra tenendola fra i denri, il pili internarnen<> te possibile, emettere un violento glissato, come usa per scaldare 10 strumento. Risulta alla settirna inferiore.

, respiro norrnale.

_,. respiro breve.

N.13. II segno V si riterisce all' esecuzione sul flauto in do basso e indica una possibilita ulteriore di respirazione. E inteso quindi che eseguendo sui flauto normale in do, e su quello in sol, tale segno venga ignorato.

PERFORMANCE NOTES

o cover the entire mouthpiece with the lips holding it between the teeth (without biting down), as far-imide the mouth as possible; the result will be a blowing sound of definite pitch.

• idem, but with the tongue inserted into the hole of the mouthpiece, closing it by about two-thirds; a slight whisper is thus obtained, pitched two octaves above the indicated fundamental.

t> positions adopted in gradually passing from one to the other of the two foregoing procedures (given the difficulty of precisely controlling the emission of the whisper, the notes are given in parentheses).

covering the whole mouthpiece with the lips and holding it between the teeth as Jar inside as possible, blow a violent glissando as 1/ warming up the instrument. The tone

produced will be a seventh below written

pitch. .

, normal breath.

_,.. short breath.

N.B. The sign V refers to the bass /lute in C and indicates a further opportunity to breathe. It is understood, therefore, that when performing the work on the normal/lute in C or the alto fiute in G, this sign is to be ignored.

HINWEISE

o mit den Lippen das game Mundstuck bedecken, das moglichst weit innen im Munde zwischen den Zahnen gehalten wird, ohne daf diese darauf drucken. Auf diese Weise ergibt sich ein Ausblasen des Atems mit Ton.

• ebenso, abet mit del' Zunge auf dem Tonloch, das zu etwa zwei Dritteln verschlossen wird. So erzielt man ein leichres Zischen in einer zwei Oktaven hoheren T onlage als die grundsatzlich angegebene Position.

~ Positionen des allrnahlichen Ubergangs zwischen dem ersten und dem zweiten Verfahren. Dabei ist die Tonhohe des zr schens, dessen beabsichtigte Noten in Klammern notiert sind, nicht kontrollierbar.

A das ganze Mundstiick zwischen den Ziih/ ~ nen mit den Lippen umschlielien, mo<> glichst weit nach Innen, ein heftiges Gleiten, wie beim Erwarrnen des Instruments. Es entsteht eine Septime tiefer.

, normales Aternholen.

_,. kurzes Atemholen.

Das Zeichen V bezieht sich auf die Ausfiihrung auf del' Bagflote in C und gibt eine weitere Moglichkeit des Atemholens an. Bei der Ausfuhrung auf einer normalen Flote in Coder auf der Flore in Gist es selbstverstandlich nicht zu beachten.

4

Salvatore Sciarrino

ALL'AURE IN UNA LONTANANZA

a Roberto Fabbriciani

per flauto in sol (0 flauto in do 0 flauto basso)

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...... Glissato solo d'imboccatura.

© Copyright 1977 by BMO RICORDI S.p.A. - via Mascagni, 160 - 00199 Roma Tutti i diritti riservati - All rights reserved

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135175

,

Psicopompo

Con me la musica abita una regione Iiminare. Come i sogni, dove una cosa e e non e ancora, ed e anche altra cosa. E dove queste sensazioni, le piu instabili, varcano 10 stu pore di un batter di palpebre: fuori, si allungano nitide, sopravvis sure al tram onto d'ogni languore.

Sono i suoni ritrovati presso l'orizzonte dei sensi, certo quelli del purgatorio infrauterino, ingranditi per anti co silenzio, attraverso un crollo sommerso della memoria. Fluttuano, e tu stai al centro, e uno spazio intatto ora pulsa nel buio. Impenetrabile citra bianca dell'Ade - prima di gettarsi nel cuore della mia fatica, misurandone la ccrchia delle mura, l'affannarsi a una porta dove porte non sono, eppure, ecco ci stanno innanzi.

A me che ne reco tali echi sospesi, altro non e concesso: considerare, soEfermandomi all'infinito, l'istante di sfida che la creazione genera.

Salvatore Sciarrino, 1982

AVVERTENZE

Un' esecuzione alla lett era presuppone Ia respirazione continua 0 circolare. Chi non la praticasse puo tuttavia cimentarsi in queste pagine senza sfigurarne il sensa. Alcune pause in alto, fra parentesi, danna spiraglio alla zona piu incalzante: esse inghiattiranno, in ritmo esatto, le note su cui so no pasate. L'inizia immoto invece, e le parti di analaga fissita esigono comunque che resti inavvertita ogni presa di fiato - il soffio di fonda diluira nel silenzio con opportuno e studiata accorgimenta.

E sempre cercanda un suano irnpuro, cioe di timbro piu ric co come uno strumento antico, provate un po' a ruotare il £lauto.

Gli armonici naturali in accordo richiedono pressione. Un fortissimo la cui gradazione seconda 10 sforza dell'altezza. Ne sorge un'illusoria polifonia, si generano ulteriori relazioni, quasi a condurre il lettore pedante entro contraddizioni apparenti.

Indicazioni poste in apertura, quali senza tempo 0 Vivo, non varrebbero il moto o l'andamenta. Mirano ad articolazioni piu profonde del tempo, suggerito came dirnensione psichica essenzialrnente emotiva.

coprendo con Ie Iabbra tutta l'imboccatura renendola Era i denti, il piu internamente possibile, emettere un violento

glissato, come usa per scaldare 10 strumento. Risulta alla settima inferiore.

colpo di lingua (senz'aria). Altrimenti detto tongue-ram, anche questa suona una settima sotto. Si puo produrre ernettendo l'aria 0 tirandola dentro.

Trilli di armonici can fondamentali diverse: una volta data, la posizione si intende via via ripetuta, rna vedi le altre mie opere per £lauto.

I glissati, sempre d'imboccatura, girando 10 strumento.

HhRMhS

Opera commissionata dal Comune di Chiusi

With me, music inhabits a threshold region. Like dreams, where something both exists and does not yet exist, and exists as something else as well. And where these sensations, the most fleeting of them, cross the tbresbold of tmCO/1- sciousness with the blink of an eye: outside, they are prolonged .. sharp and clear, having survived the passage from drowsiness.

These are the sounds found close to the horizon of the senses, those, surely which, come from the purgatory of the infrauterine, magnified by ancient silence, through some submerged collapse of memory. They fluctuate, and you stand in the center) and an intact space soon pulsates in the dark.

Impenetrable white city of Hades - before fltnging oneself into the heart of my labour, measuring the circumference of its walls, wearing oneself out at a gate where there are no gates,and yet, here they stand before us.

To me, translating such suspended echoes, nothing more is granted but to contemplate, pausing endlessly, the moment of challenge which creation generates.

PERFORMANCE NOTES

A literal execution presupposes either continuous or circular breathing. Those who do not know this technique, however, can approach these pages without distorting their intent. Various rests placed high on the staff within parentheses permit breathing spaces in the most demanding sections: they are to absorb the notes over which they are placed, in their exact rhythm. The quiet beginning of the piece, however, as well as other similarl» motionless sections require in any case that every breath go unnoticed. Deep breaths should, with careful practice and timing, dissolve into the silence.

Try, ever searching for an impure sound - that is, for a richer timbre, as from an ancient instrument - rotating the flute a bit.

Pressure is needed to produce the harmonics in the chords: a fortissimo, the strength of which will aid in attaining the pitch sought. An illusory polyphony is thus produced, generating yet other relationships, so as nearly to lead the pedantic "reader" into apparent contradictions. Opening indications, such as senza tempo or Vivo, do not pertain to speed or movement. They aim rather at more intense articulations of the tempo, suggesting an essentially emotive psychic dimension.

= covering the whole mouthpiece with the lips and holding it between the teeth as far inside as possible, blow a violent glissando as zf warming up the instrument. The tone produced will be a seventh below written pitch.

= tongue attacks (without blowing). Also called tongue-ram, this technique also produces a sound a seventh below. It can be done either exhaling or inhaling.

Trills on harmonics with dzfferent fundamentals: once indicated, the same position is of course to be repeated as necessary; see also my other works for /lute.

The glissandos are always done from the mouthpiece, turning the instrument.

Mit mir lebt die Musik in einer Grenzzone. Wie die Traume, in denen eine Sache existiert und doch noch nicht existiert, und auch eine andere Sache darstellt. Und wo diese Empfindungen, die wande1barsten, iiber das Staunen eines Augenblicks hinausgehen: draulien dehnen sie sich klar aus, und iiberleben das Schwinden jeglicher Sehnsucht.

Es sind die am Horizont der Sinne wiedergefundenen Klange, sicher die des reinigenden Murterscholies, verstarkt durch die alte Stille, infolge eines versunkenen Zusammenbruch der Erinnerung. Sie Ilielien und man befindet sich rnittendrin, und nun pulsiert ein unberuhrter Raum im Dunklen.

Unzugangliche wei~e Stadt des Totenreichs - bevor ich mich mitten in meine Anstrengungen snirze, die Mauerringe abmcssend, die muhsame Suche nach einem Tor, wo keine Tore sind und trotzdem plotzlich var uns sind.

Und ich, der soIche unbestimmte Echos einfange, vermag nichts anderes: im Angesicht des Unendlichen den herausfordernden Augenblick in Betracht zu ziehen, den die Schopfung hervorbringt.

HINWEISE

Eine wortgetreue Ausfi.ihrung setzt eine kontinuierliche oder durchgehende Atmung voraus. Aber auch wer sie nicht beherrschet, kann das Stuck spielen, ohne es zu verzerren. Einige Pausen in der Hohe, in Klammern gesetzt, ermoglichen in der kritischen Zone ein Atemholen. Sie verschlucken im richtigen Rhythrnus die Noren, auf die sie sich stiitzen, Der unbewegliche Anfang und ahnliche fixe Stellen verlangen aber auf jeden Fall, daf das Luftholen nicht gehort werden darf: der aushauchende Atem wird mit einem entsprechend angewandtern Kunstgriff im Nichts verklingen.

Auf der standigen Suche nach einem unsauberen Ton, also mit einem reichhaltigeren Klang wie ein altes Instrument, versuchen Sie, die Flote kreisen zu lassen.

Die naturlichen Obertone erfordern in Ubereinstimmung einen starken Luftstrom. Ein Fortissimo, dessen Starke die Miihe in der Hohe erleichtert. Es entsteht eine illusorische Polyphonie, dies erzeugt weitere Beziehungen, wordurch der pedantische Leser scheinbar in Widerspruche verwickelt wird.

Anfangliche Angaben wie senza tempo (ohne bestimmtes Tempo) oder Vivo dienen nicht der Bewegung oder dem Verlauf.Sie unterstreichen nur einer eingehenderen Gliederung des Tempo, das als psychische bzw. emotionale GroEe zu verstehen ist.

~=

<>

das ganze Mundstiick zwischen den Zahnen mit den Lippen umschliefsen, moglichst weit nach Innen, ein heftiges Gleiten, wie beim "Erwarrnen" des Instruments. Es entsteht eine Septime tiefer.

Zungenstof (ohne Luft). Sonst auch tongue-ram genannt; ebenfalls eine Septime tiefer. Das macht man entweder aushauchend oder einatmend.

Oberton-Triller mit verschiedenen Grundtonen: einmal vorgegeben, gilt diese Pasition weiterhin. Siehe auch die Angaben zu meinen anderen Snicken fur Flore. Die Glissati, immer mit dem Mundstuck, durch Kreisen des Instruments.

8

Salvatore Sciarrino HER.lV1ES

a Roberto Fabbriciani

per £lauto

da eseguire nei luoghi piu echeggianti

.senz& tempo, 505 peso

Vi.vo

© Copyright 1984 by BMG RICORD! S.p.A. - via Mascagni, 160 - 00199 Roma Tutti i diritti riservati - All rights reserved

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COIvIE VnNGONO PKUUUTTI cu INCANTESIMI?

AVVERTENZE

coprendo con le labbra tutta l'imboccatura tenendoia Era i denti, il piu internamente possibile, emettere un violento glissato, come usa per scaldare 10 strumento. Risulta alIa settima inferioreo

colpo di lingua (senz'aria). Altrimenti detto tongue-ram, anche questa suona una settirna sotto. Si puo produrre emettendo l'aria 0 tirandola dentro.

..

,

Opera commissionata dal Comune di Milano per la Mostra "Intorno al Flauto Magico"

PERFORMANCE NOTES

covering the whole mouthpiece with the lips and holding it between the teeth as far inside as possible, blow a violent glissando as if warming up the instrument. The tone produced wzll be a seventh below written pitch.

= tongue attacks (without blowing). Also called tongue-ram, this technique also produces a sound a seventh below. It can be done either exhaling or inhaling.

L

~ ~=

• 1.

• -e.5 .9

das ganze· Mundstuck zwischen den Zahnen mit den Lippen urnschlielien, moglichst weit nach Innen, ein heftiges Gieiten, wie beim Erwarrnen des Instruments. Es entsteht eine Septime tiefer.

Zungenstof (ohne Luft). Sonst auch tongue-ram genannt; ebenfalls eine Septirne tiefer. Das macht man enrweder aushauchend oder einatmend .

12

Salvatore Sciarrino

COME VENGONO PRODOTTI GLI INCANTESIMI?

a Roberto Fabbriciani

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