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Liebeslied (2011, revised 2012 & 2014) for voice, live electronics & chamber orchestra transposing score music and text by Alex Temple Liebeslied is licensed under a Creative Commons Attribution Non-Commercial Share-Alike license. This means that other musicians may quote the piece or create derivative works, as long as they credit Alex Temple for the original work, don’t use their new creations for commercial purposes, and license them under identical terms. Liebeslied was commissioned by American Composers Orchestra for its Orchestra Underground series and for the opening of its Sounds of a New Century Festival. It was written for ACO and vocalist Mellissa Hughes.

Liebeslied (transposing score) - alextemplemusic · 2020. 3. 6. · Liebeslied (2011, revised 2012 & 2014) for voice, live electronics & chamber orchestra transposing score music

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Text of Liebeslied (transposing score) - alextemplemusic · 2020. 3. 6. · Liebeslied (2011, revised 2012...

  • Liebeslied (2011, revised 2012 & 2014)

    for voice, live electronics & chamber orchestra

    transposing score

    music and text by Alex Temple

    Liebeslied is licensed under a Creative Commons Attribution Non-Commercial Share-Alike license. This means that other musicians may quote the piece or create derivative works, as long as they credit Alex Temple for the original work, don’t use their new creations for

    commercial purposes, and license them under identical terms.

    Liebeslied was commissioned by American Composers Orchestra for its

    Orchestra Underground series and for the opening of its Sounds of a New Century Festival. It was written for ACO and vocalist Mellissa Hughes.

  • Instrumentation

    fluteoboeclarinet in Bbassoon

    horn in Ftrumpet in Ctenor trombonetuba

    percussion 1 vibraphone glockenspielpercussion 2 triangle flexatone hi-hat low (c. 12”) mounted tom floor tom kick bass drum

    pianoamplified harp (see “Technical Notes” for amplification details)

    amplified voice (F#3 – Eb5) (see “Technical Notes” for amplification details)

    live electronics operator

    violin 1 violin 2 viola cello double bass

    b

  • Stylistic Notes

    The love songs of the 1940s and 50s are pleasant and light-hearted on the surface, but a closer look often reveals a deeper strangeness. Songs like “I Only Have Eyes For You,” “Till There Was You,” “Laura” and “Some Enchanted Evening” paint an unsettling picture of romance if you take the surreal imagery in their lyrics literally. They describe people who are blinded to the physical world by the intensity of their love, or by the fact that they have not yet found someone to bring that world to life — people who are haunted for years by visions of lovers lost, or of people they glimpsed only once and have never spoken to. The music reinforces the dreamlike quality of the lyrics with excessive reverb, rhythmic dislocation between the voice and the orchestra, and stylized, emotionally detached spoken-word passages. Liebeslied brings this latent ominousness to the foreground. It begins as an exaggerated version of a mid-century ballad, but as the piece continues, the jazz and pop elements are increasingly distorted, fragmented and blurred, and the vocal soloist finds herself in ever stranger, lonelier and more frightening worlds. The piece also alludes to the more overtly surreal repertoire of 19th-century German orchestral Lieder, both musically (for instance, in mm. 17-21) and lyrically (references to foreign lands, cypress trees and portentous skies). In the first half of the piece (before Rehearsal E), the performers and conductor should bring out these stylistic references as much as possible, particularly in the passages marked “schmaltzy,” “over-the-top” and “Hollywood.” In the second half (from Rehearsal E on), the music should be increasingly cold, abstract and unfriendly. Throughout, the vocal soloist should use informal American vowels and consonants, rather than trying to purify or Europeanize the language.

    The piece begins (before Rehearsal B) and ends (from Rehearsal I on) with passages in which the orchestra emulates the sound of electronic reverb. In the opening passage, the reverb is applied to a trumpet solo; in the ending passage, it’s applied to the voice. All string harmonics, long wind and brass notes, and ringing piano and vibraphone attacks should be played with this in mind.

    Technical Notes

    The electronics are operated using a Max/MSP patch. The patch both applies effects to the singer’s voice (varying levels and types of reverb, including an undulating, pitch-shifted reverb starting at Rehearsal I), and triggers samples and loops. Because the the signal from the vocal mic goes directly into the patch, only the output from the laptop needs to go to the house PA system. In order to make the text comprehensible, and to reflect the way that pop studio recordings were typically mixed in the mid-20th century, the vocalist should always be audible above the orchestra, even if this means that some orchestral detail is obscured. The score shows the electronic part on two lines. “Electronics (control)” shows the keys that the operator presses on the laptop keyboard to trigger the effects and samples, and “Electronics (sound)” is a loose graphical representation of all effects other than straightforward reverb.

    The harp should also be amplified, but it should be run through a small amp or speaker near the instrument rather than through the house PA. The amplification should be just enough to make the harp stand out in the orchestra, as if it were high in the mix of a studio recording. Ideally, the audience should find it hard to tell whether the harp is amplified or not.

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    Percussion 2

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    Trumpet, strings: hold the first note steady for most of its duration, then quickly gliss to the second note.

    Strings: gradually gliss over the entire duration of the first note.

    Flute, clarinet, trombone: slowly bend the pitch, as far as you want or are able, for the duration shown.

    Winds, brass, strings: slowly bend the pitch up and down ad lib. for the duration shown. Stop for breath whenever necessary. Someinstruments will be able to bend further than others; the important thing is that the pitch be unstable.

    Strings: quickly wobble the pitch up and down.

    Cello, bass: bow too slowly, producing an intermittent scratch tone.

    Violins: extremely high note.

    Piano: damp strings with one hand while playing note with the other. Flute: blow across mouth-hole for an airy, breathy tone.

    Piano: depress keys silently.

    Flute: slap tongue — place your tongue on the roof or your mouth as if you are going to pronounce a T," and then release it sharply to produce a percussive puff of air.Tom-tom: rimshot.

    Bassoon: remove reed and tongue mouthpiece while fingering low Bb to create a nasty, percussive noise.

    Voice: highly percussive consonant, very close to the microphone.Consonants are written in IPA.

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    83

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    18

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    22

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    110

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    114

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    - - - - - - -

    27

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    Fl

    Ob

    Cl

    Bsn

    Hn

    Tpt

    Tbn

    Tba

    Perc 1

    Perc 2

    Vox

    Elec(sound)

    Elec(ctrl)

    Vn 1

    Vn 2

    Vla

    Vc

    D.B.

    Pno

    Hp

    !!!!!!!!!!!!!!!!!!

    !!!!!!!!!!!!!!!!!!

    "

    "

    "

    "

    "