Fredert if SUCHE WS pyracrs ANFENTS / c PACES Cor sny solo fastrunent, female (ar shtldron*a) ehovun, noven orchestral proups, and tape (1980) Conmbssioned and first performed by the Orchestre Phitharnontque Ge Lane (Helgium), Decenber, 1990, Pterre Hartholonée, conductor. Puration: ca, 287 Performance Juatnue Lior Ip @ sort of musical meditation on thr universe as imagined by Blaise Pasoal, from whose Pensfes the tyo texte of the chorus are taken, These texts, somewhat atypical for Paseal, were chosen in order to auggent the possibality of a "down-to-earth" context in wh4el hia thought, beyond the historically determined Limits of cormological and religious speculation, may be relevant today: namely that of society and its strugeles, whose perilous and unpredictable Viedeal tudes were perhaps more responsible for Pascal’s acutely modern senac of dread than the mere discovery of en empty and Bilent universe abandoned by God. At the pame time, my piece in also undeniably an attompt to geal in minical terms with a phenomenon which continues to be 1 major foree dn our culture, in apite of rational human efforts to contain and control it, namely religion, Muah recent music as ventured into this nebulous area, some of it sincere, some of it conn nd nome of it motivated by purely opportunistic considerations. Th any case, the puccess of auch munte has often been due to its "meditative" or myatioal component, which, a8 many composers have found, ean exercise n considerable appeal for a large portion of today’s audience, espeotally among the youth, ithout a doubt this receptivenensa to religious ideas ig at least partly due to the dnoreasingly real and apparent Uireat of a violent end to all that ws known f the "world", in the broad sense of the word as @ place Sn which humana Gan live. One need not be particularly religious to be aweatruck by such a prospect. I have attempted, by ‘the combination of rational musical procedures with the simple exposition of a few texts written by the first truly modern atheist, to give expression to this basic emotions sed, For the sake of clarity, it should be explained that a certain smo logical metaphor does underly the structure of the music, vithough it is not really important for the mule’s interpretation, | Me seven orchestras are supposed to he the seven moving heavenly bodies of the medieval cosmos: Moon, Heroury, Venus, sun, Mars, Jupiter, and Saturn, The chortis sings the wong of the fixed stars, The tape in the Farth and ite earthly events, The soloisti | | WW the single individual, not broviised reactions Le the Mmot dans Ui Taba be Further Ident fled, whone onbJective 1 may bring an elemenk of @loorder into an otherwise quite rigddly etraetored devipn, ‘The presence of much symbols ia Inn plone of eoncertanusio, but ib ates gives the khing 9 oharartes a flmaginary theaters and in tact the use of light ant imnyery to develop this theatrical of further 1p not to he excinded, althourh T have no coneret supgentdona by perhaps pratul ton wake In this rerpeet. 2. Notation With the exception of m few passages in traditional notation, THE STLENCE OF UNE INPINTTE SPACES is entirely written in new graphte notation, whone baste principles remain conatent throughout, although It 1s subject to slightly different interpretations in each af the three sections. a) rhythm Each pape of the score (or Une of the individual parts) ts Aivided Into four Yharn". Each bar consists of four harizontat Tne (uhteh could be considered as half-notes). Rach of these liner ia similarly divided into four pointe, from which vertical Vines may extend npwards or downwards (these may be considered as eighthenotes). A horizontal line with no verter denotes ailenen, Wach horizental line (or half=note) HM, Oe at the berinning, Inter accelerating on flucttiating In order to Koop pace with the tape and with the indications in minutes and neconds of elapned tine. (h)_piter the notablon denerthes the vhythmte placement of tye notes, a hiph note and a low nate. A vertical Line (or, in Parts T and ITT, a rolid triangle) extending upwafds indicates tbr higher o ftwo notes; a vertical line (or trianrle) extend: downwards indicates the lower of two notes, Low notes always occur on the fiat. and titrd Mvistons of a beat, hich notes always on the #econd and fourth, The choice of pitches for high and low nokes Ln poverned by different rules In Parts T, Uy and U1Tt Part One (ps 1-42), Orehestras: the high note ie any note of an Acflat minor triad (Ab, ch, eb); the low note is any note of a @ minor triad (G, wb, p), Within these Timitations, the cholee of nnten Ia free and need not always remain the same. Ym, nt 1 coutd ata bo gone and ao on.vn Ht Tn Fart fine the low note in (as in the arene A ominer trtady the hiph note, hovever, should he taken from an A-fint major trlad (ive. Canatneel instead of C6) TE the Intonalfon In net quite ptpht or ambiguons, thin t rxactly the dent red efter No, Orehentran (4. 61-66): The cholee of pitches in fear, bur the I J hetweon hich and tow notes is given, The awablable Intervals are dittorent fo reach orchestra, so that in Orchestra 1 (Monn) one hears only diminished fifths and tuetreha, in Orchestra 4 (im) only cekaves, in Orchestra 7 (Saturn) major The nitches chosen Part OI Seg iets Sete ae tno li Tee a ete oe Ee epee ese ee ete Fel eae eee Se ee ee tear teen opi te mea iene cach Spore ogre ae See eee tee Yart Two, Chorus (pn. 49 righ and low notes are not sung but Father Intoned (between rinsing and spealine). Tach member rape ecetec eee ayee agee eg tee ie gece ea Srl attain ce lel oe Tart three (pn. 67-109), oreher Heat Co, 7-0) of the instrument’s range, Depending on the to @l ranre of the rt ae eerie Soe ee es ree gl pee adie ce free mote em ems wt ate ie oe ning either D and Th or G and Ab, as indicated. From pare 77 ee sper ce hr itd oe tre a Po Da ere ge ec eee en ee oo 1 se cman ean font Aira tsa acc erent is to be hela for the indicated duration, or joined (lerato) ce ee . oS (6 Py te rend L I ta rent net pe PR IYQ1 VQ / cee yt te rend ast J, Me Bd. a Lt rend as: ore ? earner eee eee As each orchestra enters, ond somewhere in the middie | | | t |ag.Lon eommber and nalire ef lhe tsteumen lowly canst derations: (a) Fah orabestra should haye twos characteristic cotors, corresponding ta the vertical Vines, on the ene hand, and the triangtes on the ether, in Parts T and TIT. The colors may be of qutte different character in each orchestra, ear. woodwinds and brass, plucked sare te he itebernined nenarding he the te perensetion and bowed ste ne strings and eloctranton, ste. ()) Generally, for euch enlor there should be at least two oe tree Instrumente, se tbat an orchestra will normelly conai nt of at leant five ov nix Instrumente, But it is entirely posnihle, depending on the available resources, to asni pn different mumbarn of players to the various mroups, so thet one orchertra might have ten players and another only three. (in cany anlution for aunt! ensembles could be ts have seven percnantonisia playing the triangles, all other instruments playing the vertiaal Ines.) (a) Tnatmiments of imennventional character, 1f available should be chonen (many orchestral musicians own and are sikctlten in folk ond band instruments, seldom called for in the normat repertoire); and there showld be distributed in unconventional woys nmong the vartoun froma (Lee. avoiding the normal Aispast tion ef the Furapean classical orchestra). In ordinary orchestral sftuntions tt may be difficult, for eeanowie reasons, to avotd a “standard eotleetton of instruments. It is still possible, given auch a limitation, to arrive at an imasinative orchestration and na to 1 sound quite unlike that of the normal orchestra, the choles of instruments may also be revernod hy paychologinal fnetort. For example, in a normal rymphony orehastra nf eishty or Ho people, one may decide to use only those thirty or thirty-five players who may be the most open te cxperiments of thin Rind, whether for reasons of personality, aney or nxperionen. (Some degree of familiarity with improvistne techniquen will be he1pfur.) (a) Tm Parts T and TIT, in addition to vertical Lines and triangles, dizmonderhaped notes also appear. These always oceur Jn pairs a tony (white) held note followed by a short (black) tinke In the opporite register. These are shont polos to he played by a single instrument, The solos jn cach archentra may always be played by the same Instrument, or they may be divided among several instruments in the group; bot Unie should be dectden beforehand. (e) The seven orchestras should be separated in space, in euch away that each {9 dinkInetly heard in a di ferent location. Aiviously comprominen murt be made in this regard according to considerattionn of audlhility, visibility, general co-ordination, Har charneteristies of the performance space.To bart may ke played hy any instrament able to exeente Le note provise freely he the Indiented pitcher ane rhythm. In the case ¢ fuste honky may he played, vather than Tn Park Th (Gadeneen) the yo the wel then Pines af 6 of natertal, the first of these tye nite. Part TIT is to he played in the epinning with minor ments Mint may either j nr pla chestral musie, chossing tree} among, Ene seven pane alternativer tn pret home way ne the « seteal mntes bye. seconds In midaraupe ant ending wlth extremely hish and low (ay ied into peruR Ahold gonntat of 70-24 voices, ai four gronpa (for Part Tt, Mananst). Fach proup should have a mlerophone, connected to a mixer in such a way that the four TT are hears from four Loudspealare Tnceted san selves 9 choirs of Par in different points in apace. The following ais roush indication of how things could be arranged: LouD SPEAKER 2 ORLHESTRA $ 4 curestaR ORHESTRA, street “— onenestan ones CHOY — CHOI D 7 cee 7 Lov Sreacea 1 ee enon 3 CHein 4 OfeweesTAA neh onhe. J ees 7 j conaveTo Sorawst rave acting) AWD MIKER,(1) Th Park Uf, ble Chernin any nat he heard etearty. Ta Lhe generally inbended effest in this section is that of # machine, whore Papell Live motions ater a while seem to produce Vested bear the words from tine to time, but ne ina hypnatle way, an thevets they w atthe Ut this effect in mind, Ce) Chotrs T and V1 of Part U1 become Semlehorus 1 at the hevinning of Port THT, Chokrn ETL and TY Senteh (a) In bart TIT, beytining on pare 78, one person in each of the four chotra heptna In whinper directly into the microphone, using the ayllabten of the boat in such a way as to imitate Lt pradually emerves in the tape. re renerated in the | ener. Meraytinns hataneen should be prenarcd the sound of the onean There Thur voleed are not co-ordinated in any vay. The other voicen In all four ehotra read line 2. O. Pape The thine In two-krack, 19 cm/sec. ‘Track 1 should be heard over npeakers 1 end 3, track ? over speakers 2 and 4. Tt tn in two parts, the Cina of which bepins about 35 seconds after the beginning of the place, runs at full volume for about three minutes and 1p gradunily faded out so that it disappears entirely after about five minutes, ‘The second part is sta on a simmal from the conductor at the beginning of Part TT and thon ping eontinnonsly to the end. The raterial for Parte T and IT consiate o faomds recorded at the Cockerill ptet works in Lidge, Reletum., Ab the beginning of Part I one hears the mournful sound of the warning whistle indicating that the sant cauldron contalning sixty tons of white-hot malken steel Js about to be turned, This chord (whieh determines the tonality of the piece) sounds a second time, following which one hears the "olink-clank" of the first pellets dropring. Thie gradually bum Inte the charecteristic "whoosh-uhoosh" of pouring sleet, which provider the basic pulse of the music. (the conductor ahowld vary the tempo of the orchestral misc eq that there are roughly two “whooshes" for every beak.) Part Lf ennadata of two nequences of 2°20" cach in the rollins phase of productton, during whieh the steel, having heen cnoted and flattened out Inte a thin sheet, is rolled up, A larre part of this section consinte of a prolonged whine, somewhere between aD and a (#, Thin ehould be audible as a constant drone beneath the orchestral eonfunian. A third sequence sipnals the beyinning of Part TI (paue 67). Ak pare 71 one bering ta hear again the Mwhoorhest of pouring steel, which sradually become the dominant round, again providing the underlying pulse for the ommhestral murko. From about page 72 onwards one berins to hear a new sound on the tape, unidentifiable at first, which becomes stronger and gradually replaces the sound of This In a recording of the Atlantic Ocean (made by Alvin Cv: at Old Marbor, Block Island, in June, 1980) which at pare 1ns, kool. I,after the orabentear, tolatit, and chorus have dropped out nial Liak one hears for about a minnkes nt the chorus shovid be prada became the only ¥ (the Pour whispering, mem: Paced outs ar bhonel stint ny tito the ocean, or rather, perhi an thangh the oeean nel? were dying.) An airplane as heard un the dnlance, growing: Wwuler as £t approaches, then softer an ft retrenin, Mie tape Mubters sliphtly as Jt runs out of the machine, Perhapa the airplane ia somehow responsible? This question In net answered, uring all this time the mustetans should reanin immoblte on the stage. retation he {Lert sound heard is that of two crystal Fee, huned bo tind Hb, played by two people, who may Tater take their normal Inateunents. After about ifteen seconds of this, the roloink enters, playing G and A-flat in the hinhest remiater of the inatrument. About twenty seconds later, the Arter nhoul Lwenky seconds of tape, the chorus ony ot the wharaY as the soloist grows louder and the eryatal planner fade out nomewhere near the end. Qs) Park 1. In Tart Ty briangular notes are atwaye louds notes Trdiented by verttenl Unes are very soft at first, then becomtr pranreanively Inver, ate 42 should be repeated several (five br atx) timers al the end of the final repebitien , the conductor five a signal in part, the tape, and Part If berins inmediately (co) Part ‘Mhn peore Indicates a fixed sequence of events Se the tape and Chorin ("Canons"), from page 43 throurh pane So. the orshentran alnultmneourly play the seven "Cadences" given on panei Gi through hy Tho roleiat etther inprovines freely or paye a telnciion af material from the seven Gadeness. Heeh arehestra ta arnimed one of the Cadences. The numerical order (istoon, PeHercury, iovenur, defun, S=Hars, 6=Jupiter, on} neort nok correnpart te the numerical order of the seven orchestras in Parts T and Wit. In oneh of the seven Cadeneen there are eight lines, Each line conaiatn of a fourebne Moycle". Part LT consists of 32 such Noyaied, A convenient and composttionally satisfying arrangement at the mabertal ahontd be wnrked out, tending more or Less in the direction of freedom or of structure at the dineretion of the conductor, (the yenersl normed should be that of a complex machina with mony different moving parts.) Fach Line may be played morn than ences Anne Lrier may be played only oneos om het at all} there mny be several four-bar cycles during which tape onters begins the in orchestra doe nol play. Ah the bentnning there should he at least two cycles durins thieh nedthen oreheatran nor noloist play at alt, The orchestras vee not alt bewtn at tho ania tme, Generally one should berin een Line 1, tnirodyée the following Vines in their munerieat sheer, with the perethl ty of repeating any Lino that has been Stready played, and end with several repetitions of line 8 (hut another nyaten may alzo be applied, e.g. reading from tine ¢ tackwaran to Tne 1, and then forwards to ne 8 avain.)vill material Dot All Snabmmente fe an nrehestra need play tie darine a given eyele. fone Instruments may even be improv sini Freely Uitte the nn tetitt, ich dpelaions resardiar the deren of freedom in thi should be made hy [he conduchor aecording te the noturs of the 6 musicians, and orchentra, the eharieten and exporiense of the deppee af pood will prasent tawards experiments of this line. Park (1 in in away the "heart! of this pices, and yirebabty requines (he mort reheamnl, as In all such cases wher: crchesty Freedom or Lndeleraioary i enticed for, The orcheskras should rehearse nenarntely at first, until they are familiar with alt fieht Hines ant thelr possthle combinations, before camine fopether, Althouph © waximuy of individual freedom (in the chotre of Hiner and Lietr order, the deeistan whether to play or not te play a piven cycle, ote.) is desirable, practical connideraltonn way tietate the necessity of determininn a fixed plan for nil of the orehentras. An example of such a : Simple plan, not neeesantly tn he preferred to any other ‘rad heres Th this version each orchest nimtlan ardor, fe at plays twenty evelen out of thirty-two, occasionally playing two nen almatianeouniy (a nimple rote of division sould be te nseign one Vine ke Instruments that had played trigentes in Vart 1, and the ather tine to thase that had read vertdent Tims Example 2 cyele Nes ag Hoon = Mercury 4 veri Zs varn 4 Jupt ter 1,2 ‘aturn cycle Net 24 Hoon ~ 2,7 556 Mars o Jupiter 6 Secturn 6 cyole Ne: toons Merouny a : Venus 8 mM Bun 1 | fara 7 186n- a Bw ~ 8 { 177-7 7408 8 8 | oy = 4p- 8 8 1 :penne nitnetion enuld be ebtained by inereasin! A simpler, Te The number af atlent evetes & @ cach orchestra, est. one eyed of nilenee for every eyete played, and reducing the ni Hon tiancons Ties In each orehesira to ener toa 8 6 2 8 9 ao an ae aon Scere eee Peer ee eee ereete Herenny EEE EH HSE eee yee Gee te eet etree 2 Venuti Bee ea te tee eg ta oot Seta (\Seea eset gud icnacda-tesse=tiesPustaet Rone ae eee eee area rea ate Jupiter SPEECH acer eee eet ee saturn See ete rece Sea yale Toor > Mercury 3 eee : Vvomin Eee Ee etree eer ee eer er Sun See errr 45 - Fars ~ = = 2 1 ee ew a A Jupt ter DE Paster a errata eeeaereeee aetna. ‘aturn ee ete ie Beare cyole er a2 Hoon 3 7 8 Mereury 6 - 8 Vem ~ = eee eee Sun ESE eEey tH pete Mara - & eH meee ee et Supa tox pA 45 6 7 8 Satire (a) ¥ I. Ak tho bepdiming of Pant FIT soloist ona hrchentran Immediately ston playine, and remain sitent untit pare 71, vhien Areberten J enter= + ayer! 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