Joél-Frangois Durand la mesure de l’air pour clarinette en sib DURAND Editions Musicales RPE ctu erageNOTATIONS * quarter tones {1/4 tone sharp # 3/5 tones sharp 1/8 tone fat . Yate dpa te microtna infections indiated with an arrow above or under the ‘radionl acide signal an nlexion of approximately an eight of oe, nthe direction ofthe arrow INTRODUCTION “la mesure de lair” isthe first ofa group of five pieces for solo instruments. The pieces can be performed separately, as well as together in succession. Inthe case of a partial or total execution of the five pieces, itis imperative to play them in the original order (see in the other scores for more information about the order). “la mesure de Ist” is followed by "Ia mesure dela mer,” for solo piano, When these two works are played in concert the last two bars of "la mesure de I'ar” must be played a the same time asthe first two bars ofthe following piece. For this reason the tempo of mm. 187-188 of the clarinet piece is modified to ‘atch the tempo of the beginning of "Ia mesure de la met” (see note to this effect in the score). If “la mesure 4de I's” est played alone, the tempo ofthese last two bars remains the same. ‘When the two pieces are played in succession the clarinet player will stand about 9 feet tothe left of the pianist (the pérformers don’t need to see each other, except atthe change of tempo, which will be easily, and with discretion, indicated by the pianist) It is also recommended to place the clarinet player on a low podium (such a8 a conductor's). Moreover, te lighting ofthe stage willbe, if possible, such that when the clarinet piece is played, the piano willbe almost invisible; ater across fade between both instruments during their measures together, the piano will be lighted and te clarinetist inthe dark. “Ia mesure de I'aie* was commissioned bythe Festival Musica 1993, Strasbourg, forte clarinetist Armand Angstr, who premiered it September 18, 1993, Duration: ea, 12 minutes Dar 1sseemesure 168: ‘mesure 177: == mesure 169: mesure 178: i ‘The multiphonics were realized with the assistance of William O. Smith DAF 15488