Maximilian Marcoll

[Interlock No.2]

 

Study for a scene for

performer/narrator and

prepared stroh viola (or stroh violin)

Fremdbestimmt

2018

duration: approx: 12’

Commissioned by

Annegret Meyer-Lindenberg

First Performance by

Annegret Meyer Lindenberg and

Burkart Zeller

Köln, Kunstation Sankt Peter

December 15th, 2018

Setup

The following steps are necessary to prepare for the piece:

– The horn of the strohviola or -violin is to be taken off.

– Attach a 3 meter long silver thread on the lowest string of the instrument, approximately a third of the string’s length away

from the bridge.

– The other end of the thread is to fixed on a varnished oval piece of wood, approximately four by three centimeters big and

half a millimeter strong. It is to be held between the teeth of the narrator for the entire diration of the piece. The thread is to be

held under enough strain to allow for the sound of the viola to resonate inside the performer’s mouth.

Notation

Performer/Narrator

The part of the narrator is limited to the completely voiceless forming of vowels and the equally voiceless uttering of

consonants. All phonemes are written in the IPA (Inernational Phonetic Alphabet).

The forming of vowels is indicated by black print on white ground, while the actual pronounciation of consonants is indicated by

white print on black background. In most situations, the consonants are to be performed with as little airflow as possible, the

obvious exceptions being sounds that need air, similar to h, j and such. When sometimes other phonemes appear on black

background, some extra emphasis and air is, of course, required.

Diphtongs are specified utilising arrows in between the two main vowels.

In this example, at first “e” is silently formed, followed by a strongly audible “R”, followed by “mä”, in which the “m” is

supported by air, the “ä” being silent again.

The second staff indicates the strain that is applied to the thread by moving the head back (arrow down: more pressure) and

forth (arrow up: less pressure).

Viola/Violin

The entire part is exclusively to be played on the lowest string of the instrument. Everything is to be played with extreme bow

pressure.

There is only two sounds to be played, one high pitched and one low pitched sound, achieved by varying the bow position on

the string. The left hand is supposed to dampen all four strings all the time.

The endings of all notes are just as important as their beginnings and there is no room for swellings or fadings. All notes are

suposed to end just as appuptly as they begin. In most cases the bos is not to leave the string in rests. Dashed legato slurs

indicate that a series of consecutives notes separated by rests are to be thougt of as one long note during which the bow

movement occasionally stops.

e R m ɛ

25

24

23

24

23

25

Spr.

Vn/Vla ›!

˙

h = 50 *

˙"

˙ # # .›!

# .

25

24

23

25

24

6

›!

˙w"

w # .w!

.w

24

23

24

23

25

24

10

˙"

˙ # # . w!

w# . w

!.w

1. Prolog

*) or as slow as bow allows

m

a

m

24

23

25

24

23

24

15

˙

!

w Ó w"

Ó w"

.ww!

w # .

24

23

25

24

23

24

20

w"

w# w

".w

˙!

˙ # # .

24

23

25

24

23

25

w"

w ˙!

˙ ˙ ›"

˙›!

.w"

a ɛ m ɛ R

“R” a ɛ a s

ʃa ɪ e R m ɛ

R

attacca

44

42

44

43

42

44

Spr.

Vn/Vla ! .œ

"

˙ œ Ó ! .œ

"

œ œ œ

#Ó . ! .œ

"

œ œ

#Ó

44

83

44

42

44

83

44

7

! .œ

"

˙ œ Œ . ! .œ

"

œ ‰ œ œ# Ó ! .œ

"

˙ œ

#Π.

44

42

44

43

45

42

43

13

! .œ

"

œ ‰ œ# œ Ó ! .œ

"

œ ‰ ‰ œ œ Ó . ! .œ

"

œ Œ œ œ

#Ó

43

83

44

83

44

83

43

19

! .œ

"

œ ‰ œ# Œ . ‰ œ

"

œ .œ ‰ Œ . Œ œ

#

œ œ ‰ Œ .

2. "reden wir"

ɔk m t ɔk m t ɔk m t

ɔk m t ɔk m t ɔk m tɔk

ɔ m tk ɔ m tk ɔ m tk

ɔ m tk R e n nd v i R

(G. Benn)

43

83

44

83

44

83

44

25

! .œ

"

œ ‰ œ# Œ . ‰ œ" œ.œ

#‰ Œ . ! .œ

"

œ

#‰ ‰ œ" œ œ# Œ .

44

45

83

44

83

44

83

44

31

‰ œ" œ.œ

#‰ Ó . œ

"

œ Œ . ‰ œ" œ.œ

#‰ Œ . Œ œ

"

œ œ ‰ Œ .

44

83

44

43

83

38

‰ œ" œ .œ ‰ ˙

#

œ Œ Œ .#̇ "̇

˙

#Ó Ó .

83

44

43

44

83

44

44

.œ" Ó .œ" ‰ Œ ˙

"Ó Ó ‰ œ# .œ ! .œ" ‰ Œ .

ɔ m tk R e n nd ɔ m tkɛ

R e nd ɛ ɔ m tk R e n nd ɛ v i R

R e nd ɛ v i R ts͡ su m ɛa n v

v v e R “R” R e d ɛ t

44

83

44

43

50

Œ .˙! ˙" .œ! ‰ Œ . Œ .œ! .œ ˙" .œ! ‰ ˙" Œ

44

..

..

..83

..

..

..45

56

˙" Œ . .˙

!

‰ œ" ‰ w!

Π#U

R e d ɛ t v e R e d ɛ t ɪ st

nɪ çt t o t ɪ çtn t o t

4x

4x

attacca

43

83

44

83

43

Spr.

Vn/Vlaœ!

œ Œ œ-

q = 90

‰ œ-!

‰ ˙" Œ Œ Œ .

43

85

42

44

5

Œ ‰ œ! œ ‰ ‰ ‰ œ- ‰ ‰ œ- ‰ ‰ ˙

"

Ó

3. Edel I

e d ɛ ls a ɪ d e R mɛ n ʃ

ħɪ ɪ l f R a ɪ ç ʊ n d g u t

attacca

43

83

87

83

85

87

Spr.

Vn/Vla œ

!

‰ œ

!

‰ œ

!

‰

q = 90

œ

!

‰ œ" ‰ œ" ‰ œ" ‰ œ" ‰ œ" ‰ œ

!

œ ‰ ‰

87

83

44

87

6

œ" ‰ œ" ‰ œ" ‰ œ" ‰ œ" ‰ ˙

!

œ œ Œ

87

83

44

83

9

œ" ‰ œ" ‰ œ" ‰ œ" ‰ œ" ‰ w!

œ ‰ ‰

44

43

83

13

‰ œ" ‰ w!

.œj

œ Œ

83

44

43

83

16

‰ œ" ‰ w!

.˙ œ ‰ ‰

4. ironische Distanz

g e ħa a l t ɛ n a u f i o ɪ ʃ eR n d ɪ s t a n ts͡“d”

i o ɪ ʃ eR n d ɪ s t a n ts͡“d”

i o ɪ ʃ eR n d ɪ s t a n ts͡“d”

d ɪ s t a n ts͡

d ɪ s t a n ts͡

44

42

83

20

‰ œ! ‰ w"

w œ œ Œ

83

44

87

83

24

‰ œ! ‰ w"

w ˙ œ ‰ ‰

83

44

87

83

28

‰ œ! ‰ w"

w . .˙ œ ‰ ‰

44

85

33

‰ œ! ‰ w"

w w œ œ ‰ ‰

d ɪ s t a n ts͡

d ɪ s t a n ts͡

d ɪ s t a n ts͡

d ɪ s t a ts͡n

attacca

83

43

44

87

43

44

Spr.

Vn/Vlaœ! œ ‰

q = 90

œ

"

Œ Œ ˙

"

Œ Œ .œ! .œ ‰ .˙

"

44

42

43

42

44

6

.˙œ!

.˙

"

Œ Ó ˙! ˙" œ Ó

44

42

43

44

43

12

˙! Ó ˙" ˙! œœ

"

œ œ œ œ œ œ œ

43

44

43

44

43

16

# œ

"

œ œ œ œ œ œ œ #œ" œ œ Œ

3

˙ Ó

5. aber das

b aa Rɛ d s ad s ɪad s st d e R mɛ nʃ

d e R mɛ nʃ ts͡v a ɪ un d dR a ɪ s ɪ g

ts͡v a ɪu n d dR a ɪ s ɪ gts͡v a ɪ ʊl s t m o R d e

ʊl s t m o R d e g u t ɛ s ɛ n

(G. Benn)

g u t ɛ s ɛ n

43

44

43

21

.˙

!

œ

"

œ Œ ˙

"

Œ œ! œ œœ

"

43

42

43

25

œ œ œ ‰ ˙! Œ Ó ˙! Œ

44

29

Œ ˙" ˙ œ Œ w!

.˙ Œ

ʊ nd tR ɪ nk e n

ʊ nd n a xts͡ n a xts͡

a ɪ ng e s ʊ nd ɛ R ʃ l a f

attacca

43

83

44

83

43

85

Spr.

Vn/Vlaœ!

œ Œ œ-

q = 90

‰ œ-!

‰ ˙" Œ Œ Œ . Œ ‰ œ! œ ‰

85

42

44

43

45

44

6

‰ ‰ œ ‰ ‰ œ- ‰ ‰ . .˙

"

‰ Ó . œ

!

œ œ Ó

44

43

44

42

11

œ" œ œ Œ Ó . Œ œ" ‰ œ œ ‰ Œ ˙! œ

42

43

15

Ó ‰ œ

"

˙ œ Ó Ó .

6. Edel II

e d ɛ ls a ɪ d e R mɛ n ʃ

f R a ɪ ç ʊ n d g u t

ħɪ ɪ l

m a m ħa

a k ɛ n s a nɪ ɛ R u t e

ʃ n u R

attacca

42

43

42

43

44

42

Spr.

Vn/Vla ! ! ! ! ! !

42

43

42

44

42

7

! ! Œ ˙

"

! Ó Ó ˙

"

Ó

42

44

45

43

13

Ó Œ Œ œ

"

Œ Ó ˙

"

.˙# Œ ! ˙

"

œ

44

43

42

43

42

19

.˙

#

.˙"!

.˙#! Œ ˙

"

œ Ó

7. Abschied(G.Benn)

ud f “f” ud f Y

ud f Y l s t m ɪ

ç f Y lst m ɪ ç a n

v i bl u t bl u t v i bl u t

42

43

44

26

Œ œ

!

Œ ˙

3

Ó œ

3

Œ œ ‰ .œ "

44

43

44

32

Ó ˙# .˙"

.˙! Ó Œ

44

43

44

37

Ó ˙# œ œ Œ Œ w!"

44

42

44

43

44

41

˙# ˙!"

w#"

44

42

44

45

w!

w ˙

#

"

d i fR ɪ ʃ ɛ ʊv ɛn ʊ

nd R ɪ nst

ɛ Rn i ɛd R “R” s a ɪ n ɛ d ʊ nkl ɛ

d ʊ nkl ɛ s a ɪ n ɛ d ʊ nkl ɛ ʃ

p u R

d

attacca

43

83

44

83

43

85

42

Spr.

Vn/Vlaœ!

œ Œ œ-

q = 90

‰ œ-! ‰ ˙" Œ Œ Œ . Œ ‰ œ! œ ‰ ‰ ‰ œ- ‰

42

44

43

45

44

7

‰ œ- ‰ ‰ w"

. .˙ ‰ Ó . œ

!

œ œ Ó

44

43

44

42

43

12

œ" œ œ Œ Ó . Œ œ" ‰ œ œ ‰ Œ ˙! œ Ó ‰ œ

"

˙

44

42

18

œ Ó Ó . ˙" Œ .œ! ‰ œ- ‰ .œ"

Jœ! œ Œ

42

43

44

43

..

..

..44

..

..

..

23

Ó Œ œ

!

œ œ

3

w" Œ Œ œ

!

œ

3

w"

8. Edel III

e d ɛ ls a ɪ d e R mɛ n ʃ a ɪ ç

ʊ n d g u t

ħɪ ɪ

m a m ħa

a k ɛ n s a nɪ ɛ R u t e ʃ n u

R

l f R

a ɪ ln ɛ ts͡t ɛ s ts͡ a p ɛ ln

ħa l e l u j a ħa l e l u j a

8x

8x

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