May my wrongs create no trouble (soft, soft and)d'incise(2015)
For:ViolinViolaCelloDouble bass
Recorders (Paetzold and others)
Vibraphone + snare drume + some material to make whitenoises
Electronic, stereo tape.
In a large half-circle, close to the audience, without amplification preferably.
Violin - speaker - cello - recorders - percussions – double bass - speaker – viola
The play is largely based on making audible the passage from one state to another: from a pitch to another, a timbre to another, from one density toanother, from one level noise to another, from a level of subjective intensity to another.
It is based on fragments of the Dido and Aeneas aria by Henry Purcell.
It contains the paradox between a baroque matierial and an electroacoustic way to listen it.
StructureThy hand
Gentle as her heart
Sof, soft, andAnd scatter roses
But ah, forget~8'30'~4'~10'30~10'~3'30

with electronic
with electronic
with electronic

10 seconds of silence between each parts.

Thy handThis part is a very slow exposition of this type of double event.

The transition from the first element to the second is the main point. Must be soft but fast enough.
~Timing is approximative, follow the electronic, this indicates the ratio play/silence
Notes are played rather soflty, but each instruments specific timbre must be heard distinctively.
The first element is slightly louder than the second, and there is a slight crescendo-decrescendo centered on the transition point.
(It's possible to slightly play the previous or following note in an event, to just accompany it for a smoother transition.)
trm = play with tremolo,∩ = short, regular, waves of "whitenoise", number of repetition – might happen anytime within the time bracet, can even start of finish beyond it. It should be heard
as an element totally detached of the rest, somehow illogical.
Percussion:vibraphone roll, except when indicated bowed,
R = snaredrum "soft noise roll", as close to a texture as possible, attack and fade as as smoth as possible,
Numbers in the right corners indicate the octave.
~ 8'30 minutes.

~seconds

10/10/10

10/10/10

10/10/10

10/10/10

∩7Vln
Alto

G_..

3Vlc

.._F#3

C_A#

10/10/10

10/10/10

5/5/5

5/5/5

5-4

5/5/5

D_...

5A#_A4 ∩45/5/5

G_F#+50 4
D#_D

3A#_A∩5Cb

D_C

2..._A#..._trm

3

Flt

..._C

3

C_...

4 ∩12Perc...._D

3 R_..

4

G_F#

3

G_...

3 G_...

A#_A
D_C

D#_D+50 2
2

2

3

..._A
3
.._bowed

Elec░_..

░_░

░░░

.._░

..._░

░_░

░_..

..._░

░_░

░░░

~seconds

10/10/.

10/10/.

10/10/.

10/10/.

8/8/8

8/8/8

8/8/8

8/8/8

8/8/8

8/8/8

Vln

∩3G-50_F# 5

Alto∩8Vlc

F_E+50Cb

G_F#3Flt

D#_D

2 ∩3PercElec░_░

Sub_░

░_..

4..._A+50.._A#.._trm

3E_D#.._R.._A

2..._C..._trm

3D_C

3 C_..

D#_Dtrm_trm

4 D_..

∩9

G_F#4░_..

░_Sub

34A#_...

Sub_..

A_F#

4

A_F#

2 F#_G

3F#_G

1F#_G

22 ∩5C_..
3bowed_..
░_░66A_..
bowed.._░

.._░3
░░░

Gentle as her heart
Violin, viola, cello and doublebass play the Purcell's score (Mvmt-39), muted, soflty, bows and breath, no tones, or only slight harmonics, independant
individual tempi, start independantly anywhere in the score and play it in loop, no need to work on the score previously. It should sounds like anhomogenous texture.
Paetzold and vibraphone (bowed tones, a bow lenght and resonnance, with styrofoam as resonnator). 6 notes to be played within the five minutes,together, inside the strings sound.
Vibra.

G3

F#3

A#3

A3

D#4

D4Flt.

G3

F#2

A#3

A2

D#4

D5

For the end, on cue of a musician, sustain your last sound for 5 seconds and stop all together.
~4 minutes

Sof, soft, andViolon, Cello, Viola & Doublebass.
On about 1'30'', play the three fragments, as in the original score (tempo, intensitiy, etc), equal silences inbetween.

During the 1'30 minute bracet, one intervention each:
Percussion: ∩10Paetzold: a F1 or a F#1, in alterenance, both sustained the duration of a breath.
Electronic: X_Y with a low range noise

In each repetition, the intevention should be placed differently.
10'30 minutes.

And scatter roses
For the doublebass, cello & paetzold, a basso contiuno, very slow, together.
Repeated 5 times. Between each iteration, a very long pause - 2 minutes minimum for the phrase and the silence (around a 2/3 – 1/3 ratio) – Except thelast one, no silence, the last note should be directly followed by the "Chorus".
Alto and violin, play the notes with microtonal derivation, try to make beating with the basso's partials.
Percussion, N = a very soft noise, as part of the basse or flute timbres or residual noises.
Both three, syncronised with the basso's notes.
Noise background, let the first noise play alone, start with the second noise, then don't follow the tape anymore. The noises finish around the 3rditeration, the basso continues alone untill the end.

Bs DGAtVnPc~10 minutes.

F# FE

D# - D

C#4

G

F# FE

G#5N

-

A#4

D# - D

G

F#4

D4-

F# F-

D# - DGF# F-NE

F
3

D# - F#54
N-E

D# - D

G--E
B
3N

F# F

A#4
N

D#

But ah, forget

Violin, cello, Alto, flute, doublebass + vibraphone

Numbers indicated a pseudo level of intensisty or closness to the orginal score.
A crescendo-decrescendo (<>), with the melodic part repeated, starting from noise/unintegibility (0) to full playing (10).

The melody shouldnt be heard properly befor level 7. Befor that players can use tempo dephasing, too light pressure of bow, mutes, breath, etc.

VlnVlc

123

4

5

6

7

8

9

10

1112

13

14

15

16

17

18

19

20

21

0

1

2

3

4

56

7

8

9

10

98

7

65

4

3

2

10

0

1234

56781087654

3

2

100

12

34567

10

7

65432100

1234

561065432

100

1234

7107432100

3510530

AltoCbFltPerc~3'30 minutes