for soprano, male sean nós singer, sinfonietta, playback and video

Transcription

1 Donnacha Dennehy The Hunger (a docu-oera) for sorano, male sean nós singer, sinfonietta, layback and video Coyright 016 by Music Sales Cororation (ASCAP) Rights administered by G. Schirmer, Inc. (ASCAP) International Coyright Secured. All Rights Reserved.

2 Commissioned by Alarm Will Sound WIth funding rovided by Arts Council of Ireland, MAP Fund, Ne Music USA For Kate Manley (sorano), Iarla O'Lionáird (sean nós singer) Alarm Will Sound (conducted by Alan Pierson) Dedicated to Courtney Orlando

3 iii DURATION 70 minutes INSTRUMENTATION flute (doubling iccolo and alto flute) oboe (doubling english horn) clarinet in b clarinet in b (doubling bass clarinet) bassoon horn in F truet in C trombone (ith F attachment) ercussion 1 : vibrahone (struck and boed) crotales (higher set, boed only) orchestral bass drum ercussion : marimba kick drum iano sorano voice sean nós singer (male tenor voice) violin 1 violin viola cello bass (ith C extension, tuned don to ) layback video layback (to be sent to 5 different screens) NOTATION AND ACCIDENTALS Accidentals hold through the bar, and are immediately cancelled at the next barline. This also alies for microtonal accidentals. MICROTONAL ACCIDENTALS Deviation by 1/ tone: Deviation by 1/6 tone, or thereabouts: The iece moves in and out of overtone-based tuning. Most microtonally inflected itches are notated in terms of the governing fundamental and its articular harmonic number. For exale, Io:G indicates that the governing fundamental is G, and 7o indicates the 7th harmonic. Its tuning ill thus be 1 cents loer than the equal teered equivalent of that note. It is best to find the tuning in one of to ays: (1) finding the harmonic naturally from an oen string and tuning to that OR () making use of a softare alication (for exale MSP, PD or Cleartune among many others) to lay back the itch at the correct tuning, given its lacement in the overtone series. "EQ" indicates that the itch should be layed at equal teerament. This is usually indicated if that same itch has been microtonally inflected before, or if it is a chord tone that might be interreted by the layer as needing to be microtonally inflected (e.g., the third or seventh) but should not be.

4 Flute/Alto Flute/Piccolo Donnacha Dennehy q = Io: G# The Hunger µ Ü µ Ü Io: A # J # # # 1 Oboe/English Horn Clarinet in b (11o) legato # J # L(7o) legato (EQ) (11o) # (1o) # J µ µ J Clarinet in b / ass Clarinet assoon Horn in F Truet in C Trombone Vibrahone/ Crotales ass Drum Marimba # # Piano 6 # > j j # > / µ Ü µ Ü boed µ Ü µ Ü # # # # > j # > # Sorano Violin I 6 j # # # # 8 I I I I I I I I I I I I I 5 J I I I I 6 I I 5 I I 6 q = 96 Move aay from quickly (never overoer the sorano) 8 µ Ü 8 8 µ Ü 8 8 détaché # # # ## ## ## ## ## Violin II Viola Violoncello # # # # # détaché (7o) détaché (1o) L L L ord. µ µ détaché Double ass Coyright 016 by Music Sales Cororation (ASCAP) Rights administered by G. Schirmer, Inc. (ASCAP) International Coyright Secured. All Rights Reserved.

5 A sn. Tt. So. Video # I I A-senath Ni-chol-son as ve-ry mo-dest. She di-dn't like to bring a-ny at ten-tion to her self ut she did have a sin-gle va-ni- ty, and that as her A G # # # # # # I G # # # G (11o) slightly ont. µ #

6 Io: G# 8 8 legato # J # # Io: A # (11o) # # # J f (7o) L L (7o) (1o) µ # f sn. Tt. # > j # > j # # # # # > j So. I j # j I I I I I I f I I I j j i i i i i # # I have > se-ee-ee-en and darker # j # han-dled the black Video sin-ging voice. 8 8 G 8 # # # # ## # ## n I G # # G (7o) (EQ) L L L # # n G

7 Io: E # # C Thinner sound for the microtones (1o) µ # To ass sn. Tt. # # So. bread slightly glottal # J # > brighter again # for months, and have told the sto - ry. # I I I # # MURPHY She rote her book I - re -land's Wel -come to the Stran-ger hich she u-blished C # # I # # # # # # # 5 6

8 5 sn. Tt. # # # So. MURPHY in Eigh-teen Four-ty Se-ven to raise an a -are - ness a-bout the I rish - oor and their suf-fe-ring by then of course they ere in - to the se-cond # # # # I # # L # L (7o) ont

9 6 D Ü µ sn. 5 8 Ü µ Tt. # 5 8 # # Ü µ # So. # # # # j r # # # # r Go-ing out one cold day in a MURPHY a-ctual-ly the third year go-ing in-to the third year of the great I-rish fa-mine # # D Ü µ I # # # # # > ## L L # # # # (EQ) ord. # # # #

10 7 Io: # # r # # # # ass Clarinet # sn. # # Tt. # So. slightly glottal # # # # bleak aste on the coast, I met a i - ti - ful oldman in hun - ger and ta - tters ith a child on his back, (1o) m.s.. 8 ord. etc. (diing and rising) # # # j # r # # r # J # # # # # # µ # heroic # # # # I # # # # # # # # # m.s.. # # µ #

11 8 Io: F# (1o) µ µ µ Ü 8 E (11o) µ # ass J # sn. # µ µ Ü 8 oen # # Tt. # # J J µ µ Ü. D. / Mar. So. I sung as if seaking (but sung still!) # # # # al-most en-tire-ly na - ked, and to a - ea-rance in the last sta-ges of star-va - tion; he-ther his na-ked legs # # # # # # # # j # # # # # j µ µ Ü E 8 flautando # # # # J # # # j J flautando # # # j flautando # # # # J # ## j ord. # # # # # flautando J ## # # J # # J # #

12 8 5 5 Ü µ 8 8 Ü µ 8 9 µ # # # (1o) µ # # # # # # ass # # # # # sn. # Ü µ 8 8 Ü µ 8 Tt. # # 8 # # # 5 5 Ü µ 8 8 Ü µ 8 So. # # # j # # # # had been scratched, or he-therthe cold had a - ffec-ted them I kne not, but the # very much sung 8 # # # j # j # # # j j # # blood # # # # # J # as in small streams in dif-fer-ent Ü µ Ü µ I # # # j # j # ord. # # ## j j ## ## # legato ## J # # ord. legato # # # # # # legato #

13 10 F Ü Io: E µ µ # # # # # # # µ # µ (1o) # # # # # ass # # # sn. # # With straight mute Ü µ µ # > Tt. With straight mute With straight mute # Ü µ µ # > # # So. darker f # # # # # # # # F I I I la-ces, and the sight as a hor-rid one legato, ord. # # # Ü µ µ ## ## ## # # I legato, ord. # # # # # # # # # # # # #

14 G # # 11 # # # ass # sn. # Tt. Mar. # KRUGMAN G KRUGMAN Fa-mines ve-ry ra - rely is there you kno li-te-rare-ly not e-nough ca-lo-ries to kee e-very bo dy a-live so # #.. # # #. # # #. # # # I # # # # # # # # #

15 1 # # Io: F# K (7o) # # µ (11o) ass # sn. # Tt. Mar. # #> KRUGMAN fa-mines ha-en be -cause most most of the eo-le are not get-ting the ca - lo - ries that (they that) so they're al -ays at # # # # # #.. I # # # # # # # # #

16 1 H # <n> (EQ) ass # sn. Tt. # # # KRUGMAN some le-vel e - co no-mic so it's a-bout ho has con-trol of the re-sour-ces as I - re - land u - nique-ly be-cause of the H # # # # # # # #.. I # (1o) µ # # # µ µ # # # #

17 1 # ass sn. Tt. # # Mar. # # # KRUGMAN # ty-ran-ny of free mar-ket e - co no-mics in in ri-tish thought at the time hum ro-ba - bly not things like that have # # # # # # I (EQ) n # µ # # #

18 # # 15 K(7o) (11o) µ # ass # sn. # Tt. Mar. # # # # > KRUGMAN ha -ened be fore have ha-ened in o-ther con-texts it's not the on- ly case but it as cer-tain-ly that the ar ti-cu-lar lan-guagethat the go-vern-ment in # # #.. # # # I # # µ # # # # # # # # 87 88

19 16 K (7o) # µ # ass # sn. Tt. Mar. # KRUGMAN Lon-don took to jus - ti - fy do-ing no-thing to kee eo-le from dy-ing hum as you kno couched in in clas-si - cal o - li - ti-cally e -co no-my # # # I (11o) # # µ # # # #

20 # # K 17 # µ # ass # sn. Tt. # # KRUGMAN be-cause that as the lan-guage in hich eo-le ra-tio-na-lized hum in-jus-tice in in in the mid nine teenth cen-tury # # # # # I # # # # # # # #

21 18 I # ass sn. Tt. Senza sord. Senza sord. > Sean-nós singer # # # na Trua sa huain sa huain 'sa huai - n Ghil hean- nai the na Trua srightly but solid I K (7o) # j K I srightly but solid O # O O # O # j # # srightly but solid # # # # # # # # #

22 19 ass sn. Tt. Sean-nós singer # # # # # # sa huain sa huain na Trua 'sa huain - n Ghil hean nai the Fúas - cail ar ai - ni - se a thá nár a gcrá K K I # # # # # # # # # sul D (all natural harmonics) (7o) o o o o o o o o (6o)

23 0 J # # # ass sn. Tt. Mar. # # # # f # # f # Sean-nós singer # # # # # # # na lig ar strae Uait Féin an t - a nam bocht Is a fheabhas a chean naigh tú é J # > > # # f I (EQ) # # > # # # # f # # f # # f ring it out o o o o s.. o o o o

24 (11o) µ µ µ µ K 1 soft # ass sn. Senza sord. like a natural third # # # Tt. Sean-nós singer # sa Pháis K MILANOVIC You kno, one I O # # # # # O (7o) s.. ord. K s.. K ord. s.. K # # o o o o o o o o o o o o #

25 ass sn. Tt. > MILANOVIC has ac-tually to ex-tend it fur-ther to the re-sent days be-cause ve - ry often there of course ca-tas - tro -hes that ha-en to-day hich may be like ise I O # O # O O # O O # # Make the trilets sing a little # # # #