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11 (los espejos) a mute theatre .pdf



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(Los espejos) a mute theatre
for Bb clarinet, harp, mezzo-soprano and double bass
Alexander Kolassa
(2014/15)

Text by Jorge Luis Borges

Space, time and death also go out
As when light is no more,
And the simulacrum of mirrors fade…

(La Recoleta)

Nos acecha el cristal. Si entre las cuatro
Paredes de la alcoba hay un espejo,
Ya no estoy solo. Hay otro. Hay el reflejo
Que arma en el alba un sigiloso teatro
[…]
Dio ha creado las noches que se arman
De sueños y las formas del espejo
Para que el hombre sienta que es reflejo
Y vanidad. Pore so nos alarman

(Los Espejos)

At times in the evening a face
Looks at us out of the depths of a mirror;
[Art should be like that mirror
Which reveals to us our own face]

(Ars Poetica)

(Los espejos) a mute theatre
Instrumentation

Clarinet in Bb (as written)
Harp
Mezzo-soprano
Double Bass (w/extension)

Performance Note/Instructions
Players should be positioned in an approximate semi-circle, with harp and mezzo-soprano on the
inside (though the mezzo-soprano should be closer to the central point than the harp).
Passages in which rhythmic notation is approximate are designated by a bracket above the stave
which has a number that indicates (in seconds) said passage’s duration. In this context, space
between notes indicates a relative duration. Lines and arrows align entrances of new parts to a
main reference melody, after which they proceed independently.

(Los espejos) a mute theater

text from Jorge Luis Borges

Alexander Kolassa (2014/15)

Andante, but swiftly so (c. q = 90)

(slow & somewhat freely) poco accel.



Clarinet in Bb

 
p

  




 

     

  

pp

mf



Harp

Mezzo-soprano





DbCbBb EbFGA

mf

  

     


   


 
mp

  
 

p

f



 











    

f








Andante, but swiftly so (c. q = 90)

poco accel.
Double bass

  









pizz.

arco



  





f

 



 

   

   
 









 

mp

mf

 

 
mp

f

 
    



 

  
    






 

 

 







p

mf

 
mf

Gb

 


p

f








































mp

 






mf


f









 

 
 
mp

  








 


   





mp












f





  

f








 




( )








s.

mf

 




 
   

            

gl
is

2

 
  

mf

mp

 





pp

pp

  
   






space,


 



pizz.





arco

 



mf

A




20''

            

mp





time





and

death

p






 







molto expressivo (somewhat improvised)
mp


 
 









Poco meno mosso



A




mf

mp













al

cresc. poco a poco


-



go

so







out

as





when

light

is

Poco meno mosso







pp

 

   


 
pp

f



 
mf
















no

more,

and

the

sim





mf




-

gliss.

ul


-

la



-






crum

of





mir - ors

gliss.



 







fade

ff

B

Più mosso





D§C§Bb E§GbAb

B

Nos

ac




 



 
Eb

 




-

-

mf



ec

-

mp






ha

el

cris

p

mf

p

   
 

 




en

  




  sul
 pont



Pa




-

tre



 



   


 

 

 




 






      









-

re

mp

glis
s.

     
 
-

-

des



* multiphonics; here indicating just the first two overtones

de



la





  

 


f

arco




al

mp




-

co

poco rit.

-

ba




pp





 



mp



  




mf





  

p

mp



pizz.

poco rit.


 

fp

-

norm.

f

Db G§A§

A tempo

-

pp

fp


 

mf

pp


 



[oʊ]

  





mp





pp



A tempo


 






pp


 

  

Si

mp

f















tal.





las cua - tro







*

  
  



 

p

3

mf





mf


 

 








pp





 
  


-



normale

mp














mf

10''






Più mosso





 

 














 



mf





 


hay

un





4


  





 



 

15''

 






pp

mp


Cb




es

-

pe

-



   



p

molto expressivo (somewhat improvised)
mp
f

   



f

   





   



   







jo







 

     








[oʊ]

  
wide vibrato (progressively so)



fp

C
 
   

poco accel.






pp

p



D EGbAb









mp

 



 





Ya

no

C
 
 

 





 

 




p




















f

p


 
ro.

es

-





so

-




 

pp

Fb

re - fle



-














pp

mp

lo.


  






  

mf





Hay

ot

poco accel.




pp

 




 

mp

f

el

toy






p

    


Ha




A tempo

  


mp

  

 

mf







 
 

pp

mf



 

f





     

 



f
fp

p










pp

pp




  
  







pp



 
 







   



f

p



-

-




 






  p


f

mf

  
  

pp




   






  

 

jo



 


A tempo

f





 


p

     

mp

  

20''









 

 











  

 

 

fp










p

pp

mp

F#G#








molto expressivo (somewhat improvised)




mp

  



Que

ar

  

-

ma

 


en el al

ba

-







p









   
mp


  



F#

 


  






-

tea - tro

go

-

lo - so

  

 
  







 

  



  


f


 

 
 


 







 



f








fp








f

 







 



mp





 

mp




  





F#





5

5

mp




F#



 

 



poco rit.




 


f







3



 

mp



  

     












   





   

mf

poco rit.




ff



  

p

  

 
 

 

 



  





 



f



f

 



f



D swiftly, but not too fast (c. q = 86)
 
 
  
   




si

p


   




-






f

    
      




  





un

  
  




swiftly, but not too fast (c. q = 86)


   

mp



.



f

 









 

sul pont

mf

D



 


ss .
gli

 



5














poco accel.
6


   





p





fp





 








[oʊ]

  







   


   








p









  











    

 

 



p
























 
 

sul tasto

pp





f











 



  



p

  
 




  








Meno mosso

















pp

p



mp

















































 




Dio

ha

p

mp



mf




cre

-



a - do



pp

mp





las



no

-

-

-















ces

que

Meno mosso

E

 
 
pp















mf

pp















pizz.



 

 


mp

* the vibrato figure here indicates a gradual morphing between two different vowel sounds












mf





  


 







pp

mf

 













mp

mp

E

 





     

 
  
  
 











 
 


[ɑ:]

f








mf

*





 




mp

DbCbBb EbFGA


 





p














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