Boulez on the Tube

for 10 performers, 3 actors and tape

1. Piano Lesson 1 2. Books/Interlude 10 3. You are here 15 4. Litost 16 5. Boulez on the Tube 22

Scoring: Soprano/Mezzo-Soprano 2 Clarinets in Bb 3 Trumpets in Bb Piano Electric Guitar Electric Bass (doubling Melodica) Percussion (Drum kit, Vibraphone, Suspended cymbal) Tape Actor/Mime (Pierre Boulez) Actor (Olivier Messiaen) Actor/Mime (Messiaen’s assistant)

Duration: c. 37” General Clarinets and Trumpets in Bb. Guitar and Bass sound one octave lower than written. +37c Play 37 cents sharp, or as near as possible. 100 cents = 1 semitone. n. Crescendo from niente, or as near as possible.

Time-space notation (scene 2, full score only).

Actions for the actors/ instrumentalists are written above the top part in the score. These do not correspond to exact synchronisations but should give a suggestion of the dramatic pacing and staging. In the score Boulez is abbreviated to ‘B’ and Messiaen to ‘M’. Ideally the 2nd clarinettist will double the conductors part. All the instrumentalists in Books will require a stopwatch (or similar) that doesn’t make a sound when it is started/stopped. The conductor should coordinate the beginning of stopwatches and the tape part. Instrumentalists should dress neutrally so they resemble normal concert dress. E.g. black shirts and trousers. The soprano should wear an evening gown. Boulez should wear a cheap suit, ideally tweed, that has not been ‘fashionable’ since the late 1970s/ early 1980s. Messiaen should dress more flamboyantly, perhaps in a silk shirt with ruffles, with a multicoloured scarf. Messaien’s Assistant should dress like a stage-hand or caretaker, to give the impression they are not an actor in a drama. List of props: Rucksack, several music-related books (counterpoint treatises, scores etc.), desk, chairs, laptop, desk-lamp, stuffed bird(s) (real or otherwise), clipboard, bottle of Cherry Coke (fizzed up), Thomas Ades score (with his programme note on first page), ‘Boulez on The Tube’ score.

Conductor

Stop conducting Resume conducting

Begin tape, track number indicated in circle.

Clarinet Multiphonics required in scene 5:

Trumpets As well as cup and straight mutes trumpet 1 will require a harmon-mute and trumpet 3 will require a plunger mute.

‘Sung’ note, i.e. hum whilst playing the trumpet. Can be transposed to any comfortable octave but the player should stick to this transposition throughout.

Play and sing same note.

Split note. Keep interval static where possible. In some cases fingering is given. Wild vib. Play note with an exaggerated and tasteless vibrato. Theatricality should be avoided if possible. Piano

Silently depress notes

Gradually release pedal.

Clusters may be diatonic or chromatic but should observe the outer notes specified on the stave. Guitar and Bass Both should be heavily compressed, with the dynamics controlled by a volume pedal. The guitar will also require overdrive with the ability to change the amount of gain. The guitarist will require a capo. Other decisions (such as whether or not to use a plectrum) are left to the discretion of the player and expression markings.

Percussion ‘Scrape cymbal’ Press hard with the handle of the beater to make a high piercing sound like nails on

a blackboard (b. 40, scene 5). Observe dynamics! A hi-hat is not required on the drumkit.

Electronics and Tape The speakers should be near the front of the stage. If the space is very small and dry they should face the outer walls. The tape volume should be set fairly quiet to blend with the ensemble, apart from scene 2 where it is the dominant part abd should be a little louder. The audience should be recorded just prior to the concert and played back in ‘Books’. See the Logic session on the disc for more information. Suggested Stage Layouts

Program Note Both the non-signified subject and, the Subject, capital S, of this piece pertain to the contradiction between theoretical precision within the framework of formalised compositional systems and the means of practicable, signified sound producing media. I, after Gratzer 1993 and Goodwin 1987, was initially concerned with those contrasting fields of sonority inherent in our own multiple subjectivities, histories (particularly the intra-conducive pre-classical forms), contemporary modes of production and the residual oppositions characterized by a mediation on the nature of language as sound. A modular temporal matrix operates a quasi-algorithmic control over the parametric details of this opus. Status Updates These will be spoken by the soprano in the coda of scene 5 (rehearsal D). Speak in a clear, newsreader-esque, but not theatrical tone. The most recent updates should be collected from prospective audience members (if known) and performers as close as possible to the performance. Facebook.com or Twitter.com are most appropriate. If there is an abundance of statuses, choose the most enigmatic or absurd. 39 status updates will be needed. Jack Coleman, December 2008 – April 2009

q=50 Fragile, steadily, tenuto

1: Piano Lesson

J Coleman

Boulez on the Tube

Tpt.

Tpt.

Tpt.

harmon

fpp

p

0

mp

str.

fp

13

growl

str.

fpp

1

pp

0

mp pp

2

9

Tpt.

Tpt.

Tpt.

Pno.

pp

*Boulez is being given a piano lesson by the pianist, who should stand over B and point at the score etc. B should attempt to play the piano part above in time with the ensemble. Ideally B should be a poor to terrible pianist, and should strive to play their best. The pianst should exasperatedly scorn B and take overfrom B at bar 19 regardless of how far behind B is. B should then stand over the pianist sheepishly until bar 43, then exit stage left.

mf

Lights up. Boulez and Pianist are at piano*.

p

mp

mf

13

mf

Mozartrian

f

mp

14

Tpt.

Tpt.

Tpt.

Pno.

pp

p

mf

p

3 3 3 3 3

18 A

Tpt.

Tpt.

Tpt.

Pno.

open

mp

p

open

more confident

mf

open

Pianist takes over

mf

mp

clear

2

24

Tpt.

Tpt.

Tpt.

Pno.

mf

harmon

cup

more confident

mf

cup

pp

27

S.

Tpt.

Tpt.

Tpt.

Pno.

Do

mf clear, child-like

re mi fa sol

la ti doh

sempre

ev ry tru ly- cul

tur- mus ic- stu

dent- knows

p

mf

p

3

29

B

S.

Tpt.

Tpt.

Tpt.

Pno.

you must learn you scales

and your ar peg

- ee- ohs

-

Oh

f

molto espress.

sca

les

- I'll be

p

mp

piu espress.

mf

32

S.

Tpt.

Tpt.

Tpt.

Pno.

wail

ing.

-

ev ry- tru ly- cul

tur- mus ic- stu

dent- knows

you must learn you scales

and your ar peg

- ee ohs

op. espress

più f

op. deliberate and unmusical

mf

sempre

6

6 5 6

mf

4

35

S.

Tpt.

Tpt.

Tpt.

Pno.

Ooooh

mp

f

6

6

6 6

piu marcato

7 6 7 6 5 5

senza sord.

f

mp

38

Tpt.

Tpt.

Tpt.

Pno.

fp

55

mp

pp

5

40

S.

Tpt.

Tpt.

Tpt.

Pno.

you

f

must learn you scales

andyour ar peg

- ee- ohs

-

p

f

55 5 5

senza sord

marcato

senza sord

marcato

mp

C42

S.

Tpt.

Tpt.

Tpt.

Pno.

regimental

f

3 3

ff

sempre

mf

6

45

S.

Tpt.

Tpt.

Tpt.

Pno.

Vah!

f molto vib

Vah!

ff

loco

' feel'

' feel'

48

S.

Tpt.

Tpt.

Tpt.

Pno.

Vah!

loco

Mozartrian, stacato

f

loco

calando

mf

55

funky

mf

mp

secco

ff

7

50

Tpt.

Tpt.

Tpt.

Pno.

5

5

55

52

Tpt.

Tpt.

Tpt.

Pno.

5

5

55

3 3 3 3 3 3 3 3

8

54

Tpt.

Tpt.

Tpt.

Pno.

wide vib.

5

5

55

3 3 3 3 3 3 3

56 rall.

Tpt.

Tpt.

Tpt.

Pno.

5

5

9

Tranquil

2: Books

Clarinet in Bb 1�

Clarinet in Bb 2

Electric Guitar

Electric Bass

Tape

0

mp

10"

6"

3"sempre

31"

0mp

6"

3" sempre

0let ring...

p

12-13" sempre

0w/ fingers +37c

p

9" sempre

0

Cl. 1

Cl. 2

Tpt. 1

Tpt. 2

E. Gtr.

E. Bass

1'00"

solo: q=60-70, interpret quite freely

lontano

f

sf

mp

cup.

pp

12"sempre

10

Cl. 1

Cl. 2

Tpt. 1

Tpt. 2

E. Gtr.

E. Bass

B. walks onstage looking flustered, carrying a rucksack/sportsbag. B then puts the bag on the stage and spends the next few minutes trying to fit as many books as possible into the bag. The books should be placed around the performance space and in the audience. These books should be on harmony, serial technique, composition etc. Large leather bound books are best. B should only go and get one or two books at a time before returning to the bag. Remain looking worried.

1'31"

6"

p

f

mp

pp

legatissimo

f

mp

n.

Cl. 1

Cl. 2

Tpt. 2

E. Gtr.

E. Bass

mp

1'40"

6"

11

Cl. 1

Cl. 2

Pno.

E. Gtr.

E. Bass

Tape

2'37"2'42" talking beginsin tape part

2'52"

mp

15"

sempre

hold

9"

mp

Cl. 1

Tpt. 2

Pno.

E. Gtr.

E. Bass

Tape

3'22"

-13c

p

6"

6"

loco +36c7"

p

8" sempre

6"

sempre

9"

sempre

+17

+13

12

Cl. 1

Tpt. 2

Pno.

E. Gtr.

E. Bass

sempre-13c

sempre

Cl. 1

Tpt. 2

Pno.

E. Gtr.

E. Bass

By now B is exasperated at not fitting all the books into the bag. B should take a programme book/sheet off someone in the audience, walk back to the bag, look at itthen suddenly decide to leave it on stage and exit (lower stage right) carrying only the program note.

13

5'54" - 'All I Need' begins 8'33" - ends

Cl. 1

Tpt. 2

Pno.

E. Gtr.

Tape

B should be off stage by now.tape solo

hold for another minute then gradually release.

14

15

3: You are here Messiaen sits at a desk lower-centre stage, he and the desk are facing stage right. The desk and (if possible) stage should be made to look like an office, e.g. a lamp. If it is possible to put a taxidermy bird (or approximation) on the desk this should be done. A chair is on the other side of the desk facing Messiaen. A laptop is on the desk that Messiaen is working at. He types absentmindedly for 20” then taps the spacebar decisively. [Play track (1)], as the music stops Boulez walks on sheepishly from stage right. Messiaen: (Alpha-male, yet slightly camp) Ah, Pierre! Do come in, what have you brought me? Boulez hands

him programme note, just as Assistant enters upper stage right with a clipboard and scans gaze slowly across audience. Messiaen glances over programme note and shakes his head.

(to Assistant) Yes, I’m glad you’re here. Could you possibly go and fetch me Tommo’s programme note. Oh and a cherry-coke please. (cooing) Thank you! (Assistant exit upper stage right) Right… (reads aloud:) ‘Both the non-signified subject and, the Subject, capital S, of this piece pertain to the contradiction between theoretical precision within the framework of formalised compositional systems and the means of practicable, signified sound producing media. I, after Gratzer 1993 and Goodwin 1987, was initially concerned with those contrasting fields of sonority inherent in our own multiple subjectivities, histories (particularly the intra-conducive pre-classical forms), contemporary modes of production and the residual oppositions characterized by a mediation on the nature of language as sound. A modular temporal matrix operates a quasi-algorithmic control over’ look… it’s all well and good Pierre, but what market does this tap into?... PhD geeks. You need to get people’s attention, grab their imagination by the balls, what part of your blurb appeals to the fairer sex…? Plus you haven’t double-spaced it. (Assitant returns upper stage right with another program note and a fizzed up bottle of Cherry Coke, hands both to M.) Ah, Thank-you. (opens Cherry Coke, it fizzes up and some of it spills on M.’s trousers.)(under breath:) For fuck’s sake. (sighs). Look, If you want to be a good composer young Pierre, you need to write better program notes… Instead of a boring title like ‘Structures’, name your piece after a mythological animal, like a Unicorn or Minotaur. What’s even more effective is combining nouns with (finger quotation:) “on the”, such as Unicorn “on the” Mountain. Mountains are good. So are valleys, just anything like that… (reads from program note) ‘Each of the seven titles which comprise Arcadiana evokes an image associated with ideas of idyll, vanishing, vanished or the imaginary. The odd-numbered movements are all aquatic,’ Aquatic, write that one down. (B. makes note in notebook) ‘are all aquatic, and would be musically continuous if played consecutively. Movement 3 alludes to the eponymous Schubert Lied.’ Mention Schubert if you can, bit of a music legend. ‘The title of movement 5 derives from Watteau’s painting ‘The Embankment from the Island of Cythera’, in the Louvre.’ Yes, name-drop a few artists as well… and for God’s sake remember to say where you saw the painting. ‘The 2nd and 6th movements inhabit pastoral Arcadias, respectively Mozart’s ‘Kingdom of the Night’ and more local fields. Movement 7 bears the name of the mythical River of Oblivion.’ Hear that, ‘mythical river’, people love the mythical shit. Umm, Make sure you dedicate to someone as well. I usually scan the papers for any middle-class children that have disappeared recently, pop their name at the top then send it off to the publishers. Ok, well I think that’s everything. I’ll er, see you next week Pierre. (B. exits lower stage right). (M shaking head, exasperated:) modular temporal matrix… (lights down, M exit stage left.)

4: Litost

q=120 Driving

Gtr.

Bass

Dr.

ppp

back of neck, o.d.

ff

mp

rounded, jazzy

ad lib simile

mp (but with strong kick drum throughout)

sempre

6

Cl.

Pno.

Gtr.

Bass

Dr.

+

agile

ff

mp

marcato

ff

5

ff

p

espress.

mp

bright and stacato

f

mf

16

10

Cl.

Pno.

Gtr.

Bass

Dr.

più marcato

5

3

5

5 5 5 3 3

sloppy

13

Cl.

Pno.

Gtr.

Bass

Dr.

increasingly sluggish rhythms, still loud!

5 5 5 5 5

5

5

5

5

17

16

Cl.

Pno.

Gtr.

Bass

Dr.

morendo, embarrassed

f

mp

weak

5 3 3

3 3

3 3 3

20

A

Cl.

Gtr.

Bass

Dr.

3

5

squeak

3 3

flip guitar round so playing with opposite hands:

awkwardly, try to maintain rhythm!

ff

3

3

mp

3

3

3

p

18

25

Cl.

Pno.

Gtr.

Bass

Dr.

x2

3

3

3

3

bend

3 3

30

BMeno mosso (c. q=95)

Cl.

Pno.

Gtr.

Bass

Dr.

angular

ff

6

x10

B walks on with the bag full of books. Dumps it on ground, centre stage.

6 6

mf

3

3

f

flip guitar back

n.

clean:

legato, poco vib.

3 3 3

n.

fff

to vibes!

19

35

Sop.

Pno.

Gtr.

Bass

Vib.

with closed mouthmf

poco secco

Takes a large score out of bag, 'Boulez on The Tube' is on the cover. Sits at desk and studies it intently.

brittle

mf

mp

secco

p

angular

mf

42

Sop.

Pno.

Gtr.

Bass

Vib.

f

B notices sop and keeps looking up at her.Cranes neck to try and catch her gaze.

do

do do do

f

pp

7

n.

p

n.

Ped.

p

20

48

C

Sop.

Pno.

Gtr.

Bass

Vib.

mf hum along with ensemble absent-mindedly, as if to yourself, approximately in E major.

x indefinate for 1'40" all except gtrplay increasingly slower, quiter, more legato, more pedal etc.conduct first repeat but not the rest, move onto 'D' after c. 1'40"

ignore and B. exit stage right (still humming) when gtr begins fig

mf

sempre

x3 then play Fig 1, then return to repeats

p

secco, tenuto

change to after 1 repeat

49

Gtr.

lightly

pp

gtr fig. q= 90-100

sempre

53

D a tempo (c. q=95)

Gtr.

Bass

n.

mp

n.

sempre

B exits top stage right with score.

n.

p

n.

sempre

64

molto rit.play 3-6x whilst stage is set for next scene

Gtr.

Bass

amp noise/hum, v. heavy distortion, harmonics

p

ad lib. simile

n.

pp

with v. long reverb

ad lib. simile on repeats

3 3

21

q=124 Brittle

5: Boulez on the Tube

Cl.1

Pno.

E. Gtr.

Bass

Vib.

B enters stage last, to applause from ensemble, and takes conductors position.B conducts first 31 bars in typically Boulezian manner.

pp

morendo

secco

sub. f

mp

ff

pp

3

p

pp

sub. f

back of neck:

n.

p

tambora:

sub. ff p

p

ord.

marcato

f

Ped.

3

5

pp

7rit.

q=90

Cl.1

Pno.

E. Gtr.

Bass

Vib.

bold

f

3

pp

mp

delicate

pp

mp

ppp

mp

n.

mf

n.

p

mf

Ped.

22

14

Cl.1

Pno.

E. Gtr.

Vib.

ppp

mp

ppp

3

marcato

f

5 33

mf

p

Ped.

mp

angular

mf

ppp

mf

5

A

20

Cl.1

Pno.

E. Gtr.

Bass

Vib.

f

mp

5

n.

5

mf

ppp

p

ppp

mf

p

Ped.

mp

23

26

Cl.1

Tpt.1

Tpt.2

Tpt.3

Pno.

E. Gtr.

Bass

Vib.

cresc. poco a poco

mp

p

f

p

op.

op.

p

legato

growl

p

op.

mf

pp

cresc. poco a poco

f5

f

pp

f

Ped.

mp

ppp

mp

Ped.

pp

mf

3

24

Ba tempo (q=90)31

Cl.1

Tpt.1

Tpt.2

Tpt.3

Pno.

E. Gtr.

Bass

Vib.

B suddenly stops conducting, and looks around, perplexed. There is a terse, Pinter-esque silence lasting up to 1 minute.Conductor takes B by arm (who is holding the programme note of scene 3) and gently leads B over to seat 1 and seats them as if B were old and infirm.

B look despondantly at the audience. Conductor then resumes the piece with 'lets go from bar 32'.

p

mf

p

T

f

F

_

legato

pp

23

f

legato

pp

13

f

legato

pp

23

f

p

senza cresc. (not yet)

f

3

p

bend:

ff

sub. p

pp

f

mp

f

Ped.

f

25

37

Cl.1

Pno.

E. Gtr.

Vib.

Cyb.

16": tape solo

lontano

mp

legatissimo

pp

all trills with the semitone above unless otherwise stated

pp

n.

n.

scrape handle

f

45

C

Cl.1

mf

5

mp

(no tongue)

ppp

a little too esprssivo

meno mosso

mp

poco accel.

pp

mp

triumphant

ff

3 33

52

Cl.1

rall.

mp

lontano

T _

3

suddenly lyrical

5 3

3

58

Cl.1

ff

pppp

f

ppp

f3 3 3

5

64

Cl.1

_

E

C#

mp

poco accel.

mf

mp

with bravadoslower molto accel.

53

5

6

5

26

68

q=85

Cl.1

Bass

fff

ppp

lontano

mp

5

55

n.

p

71

Cl.1

Tpt.1

Tpt.2

Tpt.3

Pno.

E. Gtr.

Bass

Vib.

pp

pp

harmon.

p

introverted

op.

ppp

plunger:

p

+

(+)

delicate

p

pp

cresc. poco a poco (RH only)

pp

hold, senza ped.

ppp

w/ thumb

p

p

delicate

Ped.

pp

legato

27

76

molto rall.

Cl.1

Tpt.1

Tpt.2

Tpt.3

Pno.

E. Gtr.

Bass

Vib.

_

E

C#

f

conductor: take position

op.

bolder

mf

f

p

bolder

take position (see perf notes)

f

o +

bolder

+

o

ff

stronger

fff

ff

back:

n.

mf

f

marcato

3

28

Grave e= 5581

DVery Slow. Wait for sop. to finish sentence before next chord. Fade between chords within ensemble.

Cl.1

Cl.2

Tpt.1

Tpt.2

Tpt.3

Pno.

Bass

Vib.

take position (see perf notes)

p

sempre.

p

take position (see perf notes)

harm.

p

cup.

p

take position (see perf notes)

str.

p

f

pp

take position (see perf notes)

Melodica:

p

take programme note off Boulez and exit.

29

87

Cl.1

Cl.2

Tpt.1

Tpt.2

Tpt.3

exit.

exit.

94

Cl.2

Tpt.1

Tpt.2

exit.

exit.

Soprano should exit soon after Clarinet 2. Boulez turns to look at her then look back to the audience.

Lights Down.

exit.

30