Liviu Marinescu. SHADOWS for piano and electronics

Transcription

1 Liviu Marinescu SHADOWS or iano and electronics 201

2 BIOGRAPHY Liviu Marinescu's works have received recognition in numerous estivals o new music throughout the world, and have been erormed by rominent orchestras and ensembles, including the Cleveland Chamber Symhony, Czech Bohuslav Martinu Philharmonic, Orchestra 2001 in Philadelhia, the National Chamber Radio and Music Academy orchestras in Bucharest, as well as the 20th Century Consort, North-South Consonance, and Archaeus ensembles. His debut at the Bucharest International New Music Festival when he was 21 years old, was noted by the Parisian newsaer Le Monde de la Musique, which described one o the concerts he co-organized with other young comosers and artists as being "inventive in its evolution, content, and substance," and romoting an "anti-conormist view." Soon ater, the Bucharest newsaer Actualitatea Muzicala acknowledged that Liviu Marinescu "not only has the intelligence and maturity exected rom a modern artist, but also the ability to exress himsel through sounds in a convincing way." In the.s., his music has been raised by numerous ublications, including The Philadelhia Inquirer, Washington Post and Los Angeles Times, while the critics o The Strad, Strings Magazine, and New York Concert Review recognized its "real exressive ower and attractive rhetoric," "majestic assertiveness," and "startling moments." His works have been recorded and released by Centaur, Castone and Navona Records and ublished by the American Society o Comosers. During the early 90s, Marinescu's works, such as his irst String Quartet and the Chamber Concerto, ocused on the exloration o heterohony and sound mass. This direction was soon to be changed. Following Edwin London's invitation to study in the.s. in 199, Marinescu develoed a growing interest in the distortion and twisting o established comositional orms and ractices, through the use o arahrases and quotations. Beginning with the Quodlibet Sonata o 1997, most chamber and orchestral works that ollowed, such as Mozamorhosis, Déjà Vu, Pastiche, Bach Variations, Über Alles or Homage Collage involved reerences to the music o the ast or brie quotations. In recent years, a renewed interest in combining acoustic instruments with electronic sounds has led to the develoment o new sonic gestures and the creation o a more ersonal musical language. Equally committed to mentoring young musicians, Liviu Marinescu has taught a wide range o comosition and theory courses at the Colburn Conservatory, Concordia College, MN, West Chester niversity, PA, niversity o Maryland, and Cleveland State niversity, and has been a visiting roessor at the Trondheim Conservatory in Norway, Palacky niversity in the Czech Reublic, and the National niversity o Music in Romania. Since his 2002 aointment as coordinator o music comosition and theory at Caliornia State niversity Northridge, Dr. Marinescu has received numerous awards and grants rom the Fulbright Commission, the American Music Center, ASCAP, Meet the Comoser Fund, as well as the Fromm Music Foundation Prize at Harvard niversity. For more inormation, visit:

3 PERFORMANCE INSTRCTIONS The erormance o Shadows requires a comuter or similar device, through which a set o 2 audio iles can be triggered. The seciic oints at which the re-recorded iles should be layed, are clearly market in the score with boxed numbers, starting on age 2. While in many cases the audio iles should be triggered on the beat (no. 1, or examle), in many other cases a small delay will be required (see no. 2 or no. ). With a roer setu, advanced sotware, or extensive rehearsals, the re-recorded iles may be triggered by the erormer (through a oot edal or similar device), although additional suort rom a second erson, who can also monitor the volume and balance, is strongly recommended. Obviously, the lacement o the seakers will deend on the hall, as well as the tye o stage and iano involved. Regardless o the distance between the seakers themselves, the main goal o the inal setu is the creation o an acoustic sace where the iano and re-recorded sounds can be erceived as a whole, as much as ossible. For this reason, lacing the seakers too ar back or too close to the audience is not recommended. Finally, the volume should be adjusted so that neither the iano nor the re-recorded sounds aear too close or out o context. For examle, an ideal seaker and volume setu would allow ile no. 21 on age 1 to erectly blend with the solo iano. The score was created with aim o avoiding any lengthy exlanations on the notation system. Temo markings may be adjusted at times, esecially when the score is marked oco rubato. Finally, starting with age 2, all clusters notated throughout the score should include both white and black keys. Liviu Marinescu, Los Angeles, July 201

4 SHADOWS # q = 12 Poco rubato, con leggerezza Liviu Marinescu # molto legato, 1/2 Ped. # # # # # # # # # # # n # # b # # # # # # 201 by Liviu Marinescu. All rights reserved.

5 2 # n # n # # # # # # # # # # # # # # # # # # # # n # # # # '' q = 100 Molto ritmico e reciso #w 1

6 ÿ # j j J. bb #. j. * ÿ : ; j J. bb oco rubato # n # 7 un oco col ed. # b n # n # (cont.). j. n # b n # #. b # j r

7 # # # # # n m n. nn # n #. J j streitoso # # # m 9 Poco meno mosso n b s (hold edal down, with a clean Gb only) n J # # # m 2

8 b # m n * # Ÿ~~~~~~~~~~~~~~~~~ n b b # n * bw bw * 1/2 ed. b b b b bw n bw n bw bw nw w n s # # # n # b # # n # w # w # w # w # *

9 1/2 ed. # # # # n n semre s # n # * # b n # # # # n # # n # b # # n n *. col ed. # # w w # w w # # j # # *. # n # n # # s # n # # R

10 # # # # # n # J 7 # # # n n # # # # j # # # # * col ed. # # # # # # # # # n # n n # b b b n n s # # # s # s n 7 n

11 8 # # n b j n # q = 12 Poco rubato, con leggerezza n n # # # # # molto legato n # n # n n j # # # 7 n # n # n n # m # j 8 # # n # n nn # # nn * # n n n J # # n 9 n # n n #

12 m n n # j # # # n j molto legato, 1/2 Ped # # # # # n m n 9 m J 12 # n oco a oco rallentando # n m # n n j 1 # # # # q = 100 m # # : ; m

13 10 m q = 72 morendo 7'' n j j # j # # w q = 72 Con leggerezza # n # 1 n # # * 1 b # 1 n # # # # m silenzio assoluto b #

14 b b # # m s * s * (cont.) 11 # s ovo a oco accelerando # s q = 100 * # b J b # # # n b * m J * #

15 12 q = molto legato b # * # # # # * # q = 12 # b # # # # # # # LH # # # j b w w n J j * simile m # b # 19 oco a oco crescendo # n # (cont.) # # # #

16 n# n # 1 # # # # nn # # # # q = 100 # : ; # b # n # # # # LH loco * # j # # n # m # # # # 21 q = 12 n n b w bw n n # # 20 * molto legato, 1/2 Ped. # # #

17 1 n # n n # # # n n n # n # # # # # # # # # : ; : ; '' #w 22 semre q = 100 Molto ritmico e reciso # # # simile

18 (8ve u) # # # J 1 (cont.) oco a oco rallentando b J (8ve u).. # # # ##... #

19 1 q = 90 # # # #. # #. #. * J # # # # # # # #. # ## # # # J

20 q = 7 # # # # # secco j * n ## # # # *. secco # # # # # # secco * # # ## # J * w ## # 17

21 18 (hold edal) # # ## n # secco * q = 0 # ## # # # # # 10'', * # # q = 0 # b # Semlice, oco rubato reeated 1-2 times i the electronic nb n track is still running # # # # # b b nn un oco col ed. 2 2 b b b n # ## bn b n n n b b n# # # # n# # # n n # # b # # 7''