Joanie Chung Yee Lee - University of Canterbury

Joanie Chung Yee Lee student id - 83822935 MUSI 693 M. Mus Composition Supervisor - Elaine Dobson Composition submitted in fulfilment of the requirements of the degree of Masters of Music. University of Canterbury - Christchurch - New Zealand - 26 April 2010. Disc One: Reflection in the Night - Pianoforte: Joanie Chung Yee Lee 1. 2. Performed at - John Rimmer’s 70th Birthday Celebratory Concert at University of Canterbury School of Music, Recital Room - 03 March 2009 Performed at - Young Composers “White Lines, Black Dots” Great Hall Series Concert VI at Great Hall, The Arts Centre of Christchurch - 14 September 2009 After Arp - Conductor: Mark La Roche, Narrator - Kim Rockell, Soprano singer: Polly Ott Clarinet: Gretchen Dunsmore, Horn - David Mueller-Cajar, Bassoon - Michael Skinner, Harp Angela Jo-Ying Huang, Percussion, Kantilan 1 - Sudharsan Sivaramakrishnadas Harpsichord & Kantilan 2 - Joanie Chung Yee Lee. Recorded at - University of Canterbury School of Music, Recital Room - 29 March 2010. 3. 4. 5. 6. 7. 8. 14. Mushrooms The Great Slug The Lozenge Box The Empress of Emptiness My Uncle Elephants Golden Mirrors - Kantilan 1 - Michelle Trent, Kantilan 2 - Ellen Phillips-Collis, Kantilan 3 Benjamin James Reimer, Kantilan 4 - Elaine Dobson, Penyacah 1 - Sudharsan Sivaramakrishnadas, Penyacah 2 - Brooke Singer, Gong, Kempur & Kentong - Stuart Mckay Piano - Joanie Chung Yee Lee. Recorded at - University of Canterbury, School of Music Recital Room - 22 April 2010. Disk Two: 1. The Woodsman and His Family - Film written by Edward Turnbull Violin - Cheuky Chan, Cello 1 - Joy Chou, Cello 2 - Naomi Harmer, Woodblock & Bass Drum Joanie Chung Yee Lee. Recorded at - University of Canterbury, School of Music, Recital Room 16 October 2009. 9. 10. 11. 12. 13. Dinosaurs Andre Breton’s Inflatable Octopus Circadian Rhytms Our Ancestors Captain Cook’s Hat Joanie Chung Yee Lee student id: 83822935 Acknowledgements Firstly, I would like to thank my supervisor Elaine Dobson, for her continuous support throughout my Masters program. Elaine was always there to listen and give advice. She taught me to “listen to the music within”. I would like express my gratitude to Edwin Paul for designing the covers for my portfolio and cd cover. The design work he has done really reflects my music. He used the idea of a book cover style because he said my music reminds him of reading a book. On the cover he used a reflecting image of a kokako bird linking it to the kokako melody in Reflection in the Night. Also I would like to thank to all my performers Cheuky Chan, Joy Chou, Naomi Harmer, Mark La Roche, Kim Rockell, Polly Ott, Gretchen Dunsmore, David Mueller-Cajar, Michael Skinner, Angela Jo-Ying Huang, Elaine Dobson, Sudharsan Sivaramakrishnadas, Michelle Trent, Ellen Phillips-Collis, Benjamin James Reimer, Brooke Singer, and Stuart Mckay for their willingness to give up their time to attend each rehearsal and their commitment to producing such a high quality performance of my music. Besides my performers, I would like to extend a big thank you to Stephen Compton, technician at the School of Music for his technical help in recording the music. For John Rimmer’s 70th Birthday Reflection in the Night For Pianoforte Joanie Chung Yee Lee 2009 Reflection in the Night This piece is written for the New Zealand composer, John Rimmer, for his 70th Birthday. He is well-known internationally for his set of piano pieces, For the Kokako (a New Zealand bird). John Rimmer’s work has been played in distant countries, such as Morocco, Paraguay, Norway and Singapore. The music develops various melodic ideas of the Kokako call, the flight patterns and also man’s encroachment on the habitat of the bird. Reflection in the Night is a homage to John’s life as a composer and his work, For the Kokako. The images of the Kokako with its beautiful clear, bell-like call are represented by the short melodic motif and, in particular, the falling interval of a fourth. The stillness and echoes of the night are reflected through resonance, especially at the beginning and the end of the piece. This, in turn, is a reference to, and reflection of, John’s own work. Symbol Indian ankle bells, left foot hitting against the ankle of the right foot.  For John Rimmer's 70th Birthday Reflection in the Night Joanie Chung Yee Lee (2009) Unmetered (Ad. Lib. q = 70 c.a.)    Piano f         9     p    p   mf    pp    p f   f     p  f         f Silently depress LH forearm white note clusters   l.v.  Left foot with ankle bells, hitting against the ankle of the right foot.      mp    p     © Joanie Lee, February 2009                  mf pp f l.v.   Let it ring until all the sound has died away.       2                                                             f       l.v. f l.v.   mp mf mf                                                       l.v. rit.     mf   f  l.v.                                      3                         l.v.                  ff    Silently depress RH forearm white note clusters                        l.v.    pp Let it ring until all the sound has died away. ff mp       p  f      p       f f   p  f       f                4                  p            f  l.v.           mp  pp       f    ff  l.v.        l.v.    f pp    mp   mf p       l.v.         p           mp           l.v. mf        l.v.        mp     mf           l.v.  f  mp         mf  f 5 mf  l.v.  f 3 pp  pp          p l.v. p    f 3               mp       p     l.v.  f                     6        l.v.   l.v. mp   mp               l.v.   l.v.  mf  f     p l.v.                 mf          f pp  p                                                       p p f   mp      p          p      4     p           p       mp    ff  ff f      7  f      mp         ff p p      3        pp         ff      Shake the left foot with the ankle bells        f  8  2          p  mp                     p    f     Cut off the resonance with the short sharp ankle bells sound.       mf Silently depress both forearm black note clusters pp   f     mf      f pp         Fung Ling “Wind Reflection” for orchestra 風鈴 Joanie Chung Yee Lee 2009 FULL INSTRUMENTATION: Woodwind: 2 Flutes 2 Oboes 2 Clarinets in B flat 2 Bassoons Brass: 2 Horns in F 2 Trumpets in C 2 Trombones Tuba Percussion: (3 Players) Bass Drum Glockenspiel Gong 1 Maraca Triangle Temple Block Tubular Bells Tambourine Xylophone Harp Strings: Violin 1 Violin 2 Viola Cello Double Bass Duration ca. 4 minutes and 33 seconds SYMBOL: Play on 2 strings, behind the bridge, very rapid, not rhythmicized tremolo, without accent. Fung Ling “Wind Reflection” for orchestra 風鈴 Fung ling風鈴is Cantonese for ‘wind chimes’ and the word ling is onomatopoeic and reflects the sound of a bell. Therefore, I translated fung ling as ‘wind reflection’. Wind Reflection explores the movements, textures and dynamics of the sounds of the wind. Although the wind itself cannot be seen, we can feel, hear and see what it is doing by its affect on other things. Influenced by the artists Chuck Close and Robert Silvers, the structure of this work is like a photographic mosaic, where a picture has been divided into little rectangular sections. The overall picture is made up of many hundreds or thousands of smaller photographs, colour or images. The music uses little motifs to form one big work. Fluctuating scales create a pulseless, sometimes flowing texture of the wind blowing the leaves, trees and objects in its path. The glockenspiel and the harp are used to reflect the sound of wind chimes. Fung Ling "Wind Reflection" for orchestra Score in C Joanie Chung Yee Lee (2009)                  Oboe 1.2                 Clarinet in Bb 1.2                 Bassoon 1.2                                   Trumpet in C 1.2                 Trombone 1.2                 Tuba                           Steady q = 86 Flute 1.2 Horn in F 1.2 Percussion        pp   Percussion            mf     p  Temple block     mp  Triangle l.v. mf     mf Tubular Bells                  Glockenspiel                  Xylophone               Harp           mp mp    mf       mf  f             p mp          mf 3 p  f 3   mp   mf p         mf f             mp                            mf     Steady q = 86 Violin I     ppp Violin II Viola     ppp     ppp Violoncello     ppp Double Bass     © Joanie Chung Yee Lee, 2009   2   15 Fl. 1.2    solo      mp     mf  Ob. 1.2        Cl. 1.2                                       Bsn. 1.2 Hn. 1.2  C Tpt. 1.2 Tbn. 1.2 Tba. Perc.   Perc.          mf  l.v.    mp   f  p fp dampen    f      mp  p 3  f                                 l.v.        solo              f       l.v. p  mp  mp     mp mf Tub. B.            Glock.                   Xyl.  f mp           Hp.  Vln. I mf          mp                                                                       ff                        Vln. II  Vla.   Vc. Db. ff                                                                       p         3      25 Fl. 1.2  Ob. 1.2   Cl. 1.2 Bsn. 1.2 Hn. 1.2     mp  mf         solo             mp    a.2        mp    mf          p                                                       pp    Tub. B.   Glock.                      5                           mf  mp    f                       l.v.        mf          mp                  fff    l.v.  Vla.   Vc.             l.v. fff   Vln. II    mf l.v.                                                                                    mf mp       3 ff mp   l.v. Bass Drum                              mp ff  Triangle p mf mf   Xyl. Db.   mp f Vln. I   Perc. Hp.   Tbn. 1.2 Perc. mp        C Tpt. 1.2 Tba.    4  Fl. 1.2     34 Ob. 1.2  Cl. 1.2 Bsn. 1.2 Hn. 1.2       mf           3   mp       mf A  solo   pp             Tba.   Perc.                Glock.                        solo                 mp  p pp  mp          mf                                   mp mf    pp l.v.   solo mp p solo   mp                          p mf                        Xyl.            pp Tub. B. Hp.    Perc.  solo  pp    mp   solo pp pp Tbn. 1.2  pp mp   C Tpt. 1.2 solo                 5      mp mf         5   mf mf f    mf   mf                              f       ff mp     mf mf                 mp     f              f mf A Vln. I   pizz. mp mp  Vc. pizz.  mp Db.   p         mp  Vla.    Vln. II          mp  pp                  5  Fl. 1.2   a.2 42  mp   Ob. 1.2      Hn. 1.2   Tbn. 1.2 Tba.              mp                                        a.2  a.2 mp                   f       a.2  f    f             mf f                a.2          a.2     p mp           p    C Tpt. 1.2   mp Bsn. 1.2   mp Cl. 1.2  a.2  mp   p mp   p mp    p                          Tub. B.              Glock.                          Perc. Perc.   Hp. mf ff mf         3      Vla. Vc. Db.        p f mf  5           p f  f     mp      f       5 5  ff                                          p                 p mp mp  f                    mf         mp   mp  p   p mf ff                        mp ff                 p                          mf       mf            pizz.   mf          Vln. I    Vln. II  ff   Xyl.                   f 3 p mp             p  6 B    48 Fl. 1.2 Ob. 1.2 Cl. 1.2      a.2 solo  pp solo      pp        pp                             Perc.      Tub. B.       Glock.                   Hn. 1.2 C Tpt. 1.2 Tbn. 1.2 Tba. Perc. Xyl. Hp. solo Vc.                         3  f   mp      mp    fp 5      ff mp     3            p   f   f mf     p ppp            5  ppp mp         f  f  p B                     arco     f pizz.     Db.     f          p arco                            arco pp f   mp                 mf          pp                 p                 arco     ppp mp                    ppp         mp ppp ppp         pp pp ff Vla. p a.2                   ff        a.2   ppp solo   f p mp f                   ppp mp   a.2   mp   ff  solo mf               pp  ppp mp  pp pp arco Vln. II  pp   Vln. I    ppp mp solo pp   ppp mp solo    Bsn. 1.2 ppp mp       mp  mp      pp 7          52 Fl. 1.2            Bsn. 1.2                       p f Cl. 1.2   f   pp mf  pp ppp mf  pp   mf        p        mf                        mf                p     mf         pp p mf              ppp pp Ob. 1.2            mf mp pp f           f  p pp   f    ff                          mp       p               p                ff p                                      Tub. B.       Glock.       Xyl.                   Hn. 1.2 C Tpt. 1.2 Tbn. 1.2 Tba. Perc.   Perc. Hp. Vln. I                              mf pp              Vla. pp          Vc. mf Db.    mf         ff         pp                   ff p p   pp  pp             f  p             mf           f  mf p Vln. II  pp            ff            pp              f      ff pp  p  mf  f                p            pp    mp      f              ppp  pp  ppp          pp   C 8          55 Fl. 1.2          pp         pp             sfp a.2 Hn. 1.2  mp f               pp     p                                p p pp sfp  pp     Perc.        Tub. B.                     Glock. mp               f Xyl.      f ff        Hp. mp 3    f        pp p  5   5    mf      mp   mp   ss. gli   mf   gl         0    mf f /p mf   Tambourine & Maraca     iss . gl iss ss. gli p iss gl .   p ff   pp f    Perc.                     f sfp pp mf p ff       sfp Tba.    f             f p                  p a.2 Tbn. 1.2              p a.2 C Tpt. 1.2   pp f      p pp sfp             f                     p p   sfp Bsn. 1.2               ff pp sfp Cl. 1.2  pp sfp Ob. 1.2    gli ss. .  mf p f (D, E, F#, Gb, A#, Bb, Cb) C Vln. I             sfp Vln. II Vla.   sfp                     sfp                        p p                       f     mp               pp mf          f ppp ppp sfp Db.                 f sfp Vc.   pp           f   ff     mf        mp       ff 9            Fl. 1.2      f 59               mp fff                f Ob. 1.2 mf            Cl. 1.2 Bsn. 1.2 Hn. 1.2  ppp p f mf pp  p    Tbn. 1.2 Tba. Perc.   mf     p  mp   mp         f mp       mf Tub. B.         l.v. ff f    l.v. f Glock.     Xyl.        Hp.  Vln. I  gl . iss . iss gl        Vla. f Db.   iss . gl       f ppp  pp pp        p            mf  mf      pp  ff             ff  mf          pp          ff p              s.  p pp   glis                 f .  f ff      iss gl f              p  gli ss.          l.v.  . mf ppp p  iss                 mf mp                Vc. gl f             mf   . mp p  iss  f mp          f Vln. II gl mf             p      mf mp     f ppp              p                         pp p mp p Perc.              f   p      p mp p      p  f    C Tpt. 1.2 ff                               p p       pp mp                   f                        mp               mf    mf mp             f pp p         mp              p mf              mf pp    D 10         62 Fl. 1.2      f mp Hn. 1.2                    ff p   Tba. Perc.  Tub. B. Glock. p ff     fff       l.v.       mf ff  p mf                                              mf ff                f Hp.        p fff   Xyl. ff ff mp Perc.  mf     ff     p mf          ff   Tbn. 1.2                     mp ff p C Tpt. 1.2 ff mp  p f mp mp                               fff f f mf   mf    ff           ff mf              mf ff                                          fff  f p Cl. 1.2     mp               Ob. 1.2 Bsn. 1.2      . ss gli      fff mf D Vln. I                           mp  Vla.             Vln. II mp   Vc. Db.     mp ffff           mf                pp               p mp ffff  mp f ffff mf                 pp             p   pp        mf f  fff   p mp mp                                         pp  pp mp ffff                     p       mp         mf  pp     pp   11 65           Fl. 1.2   pp mf pp Bsn. 1.2                 p ff      f   mf p  mp mp pp p mf                       Tub. B.     Glock.  Tbn. 1.2 Tba. Perc.   Perc.  Xyl. Hp. Vln. I      mf                            p                        ppp  mp mp                            f               f   f p p                                       mf         p      mp f   pp p            mf             mf pp       pp mf            f pp                    mf  mf p                            p mf mf     ff         mf     p f  mp      mp Db.    Vc.   p Vla.      Vln. II    mp  p  C Tpt. 1.2 mp            Hn. 1.2     pp                           p mf p ff  mf                           pp              pp mf                                                 mp f       mf   Cl. 1.2 p mf                Ob. 1.2                  pp        f p 12 Fl. 1.2 68                    mp ff         Ob. 1.2         mp Bsn. 1.2             ff            Hn. 1.2           p           f          f mp ff f     mp     f mp      mf Cl. 1.2      mf            3       p  f C Tpt. 1.2 Tbn. 1.2 3    f    p   p Tba.            f 3  p           Tub. B.      Glock.          Perc. Perc. Xyl. Hp.                                        f                                      ppp pp                  p          pp                sul tasto     p 5   mp   p sul tasto   p                sul tasto p pp   p                     mf sul tasto  p   p       ppp Db.     pp Vc.      Vla.    Vln. I  Vln. II      f 13 Fl. 1.2 72                mp  Cl. 1.2   Hn. 1.2                                       mf      mp p          mf  f mf                                              mf              mf  mf         mp      mf f mf       Tbn. 1.2     C Tpt. 1.2 Tba.     f p    Ob. 1.2 Bsn. 1.2 E                      Tub. B.           Glock.     Perc. Perc.                     mf   mp       p f    mp f              mf            mf         f     mf ff     mp  5 5     f          mf   mp   mf        mf ff 5         f ff f 5              p f f   Xyl. Hp.  f   5                 f ff        mp         mp    p  f              E  Vln. I    Vln. II mf    Vla.   Vc. Db.               f        mp          f   (ord)      pp           pp  pizz.   pp   pp       pp    (ord) mf           (ord)           pp pp pp   14          Ob. 1.2         Cl. 1.2                                                                         79 Fl. 1.2 Bsn. 1.2 Hn. 1.2  C Tpt. 1.2 Tbn. 1.2 Tba. Perc.   Perc. Tub. B.           Glock.      5  6   Vla. Vc. Db.  mp  p         f  mp  3      mp       5  mf f 3 ff               mp                 5       f mf    mf         f     Vln. II        f     mf   mp   5      ff   mp l.v.      mp  mp   Vln. I f   Xyl. Hp. mp 3 f         Triangle           f                mf mp   ppp            f                  ppp  mf   3 mp      f           arco ppp ppp   ppp p  ppp 15           Ob. 1.2          Cl. 1.2                                                                          Tub. B.          Glock.   86 Fl. 1.2 Bsn. 1.2 Hn. 1.2  C Tpt. 1.2 Tbn. 1.2 Tba. Perc.   Perc. mf              f ff             mf         mp f  ff   f  5        mp ff               ff                                    mf              Vc.       mf mp    Vla.  f f mp     mf    5           ff 5         f          3      f           Vln. II Db.    mf   Vln. I 5   Xyl. Hp.     mp  mf 16               Ob. 1.2              Cl. 1.2                                                                                                                                                          94 Fl. 1.2 Bsn. 1.2 Hn. 1.2  C Tpt. 1.2 Tbn. 1.2 Tba. Perc.   Perc. Tub. B. Glock.                 mf mp  Xyl.   Hp.   ff     mf       mf              mf    mp           3    mp     p mp p   l.v.     f    l.v.    mf f               Vln. II              Vla.                           Vln. I Vc. Db.                The Woodsman and His Family The Woodsman and His Family In 2009, Edward Turnbull was in his third year in film at the University of Canterbury and organizing a film for his end of year portfolio. He asked me to write music for his film The Woodsman and His Family. The film tells the story of a poor woodsman whose family is suffering poverty. The woodsman turns to a mysterious stranger who offers wealth in exchange for a small price. However, wealth does not bring happiness and quickly turns to evil. At the end he has no way out until his daughter intervenes and pays the ultimate price. The music was written for violin, two cellos, woodblock and bass drum. The family scene has been written into two different variations based on the melody. The music uses a lot of minor 3rds to support the melancholy melody and mood of the film. The second variation is lighter and reflects the family becoming increasingly wealthy. The last variation reflects the second family who gets rich. The woodblock, bass drum and violin pizzicato imitate the woodsman chopping wood and the pizzicato melody line suggests the woodsman chasing his daughter. This chasing scene is the part of the film which contains most tension. In the end the second variation (Second Family Scene) wasn’t used in the film. Family Scene 1   Violoncello        Melancholy q = 70     mf mp Violoncello             mp p  Vc. Joanie Chung Yee Lee (2009)         p             pp mp p p Vc.                    mp mp mf p            p         mp Vc.  mf       mp  Vc.    Vc.      mf  p       mp   mf mp       mp      mp f mf           mf mp f mp mf                               mp f mf    mf 19 mf  p mp 14 Vc.     p 7    mp   mp    pp p mp mp  mf mp mp                        mp pp p mf    mp © Joanie Chung Yee Lee, October 2009 mf mf p p Scene 2 Joanie Chung Yee Lee (2009) Mysterious q = 60                           Violin    mp mf    Violoncello pp Violoncello     7 Vc. Vc.    p  pp               mp     mf         p         mf f Vc.   pp mf  mf            mf                                p mf mp mp   mp mf p mf 13                       Vln.  Vc. mf  mp pizz. mp  pp   Vln.      p mf f   f  fp p            mp      mf  © Joanie Chung Yee Lee, October 2009       mf p         f mp p  2 19    Vln.   Vc. Vc.      arco  mp   p   Vc.   mp       mf    p  23   mf   Vln.  Vc.       mf         mp  mp    mf p     mf            p      mp         pp Violin    Family Scene 2 Melancholy and light q = 70  Violoncello   7 Vc. Vc.    pp  pp   Vc.    p    mf Vc.     p             mp p   p  mp    mf     mp mp        mf          mp mp            mp        f mp mf       p mp mf      pp       p p p   p          mp   pp           mf       p        mp p   19 Vc.          p         Vln.  pp                    14 Vc.       mf mp pp  Vln.           Violoncello  Vln.   Joanie Chung Yee Lee (2009) mp © Joanie Chung Yee Lee, October 2009   mf         p Scene 3 Joanie Chung Yee Lee (2009) Steady q = 60 pizz. Violin                                            mf Bass Drum mp                                                6 Vln. B. D.                    11 Vln. B. D.                        © Joanie Chung Yee Lee, October 2009                       Scene 4 Joanie Chung Yee Lee (2009)       Wood Block   Static q = 60 mf Bass Drum        mp  W.B. 6 B. D.           W.B.                                                                    11 B. D.                      © Joanie Chung Yee Lee, October 2009                             Chasing Scene Joanie Chung Yee Lee (2009) Running and rushing feeling q = 90 pizz.   Violin      f mf f      Vln.   3  Vc.   mp   p     mf mp f  f mp mf    pp     f mp mf     f  mp p 5 f mp  mp  Vln.    mf ff  mp mf  f    mp mf f                                         mf Vc.   mf  f  mp mp mf  Vln.   7 mp  p mp mf       pp mf  f mp mf      mp mf p                                  Vc. Vc.                                  mf Vc. mf mf mp Vc.                                p  Violoncello Violoncello    mp  p f mf mp    p mf  p © Joanie Chung Yee Lee, October 2009 mp pp  pp Second Family Scene          Happy and peaceful q = 70 Violin mp Joanie Chung Yee Lee (2009)      p mp mf                      Violoncello         Violoncello f mf p  Vln.    7  mf            mp           Vc.   mp    Vln.   14   mf          mp f mf    p  Vln.       mf      f       mp  p   pp   p p mf p    mf p          mp mf p   pp       mp p       mf               f mp © Joanie Chung Yee Lee, October 2009 p p mf    p    mf p mp     f            mf mp  mf            mf mp  p    mp   p   mf p p mf  pp    19 Vc.          pp mp mp mp       Vc. Vc.      p             mp p mp   mp p p mp          pp       p mf                  Vc. Vc.  mp p mp       mp mp mp p mp   p     p     mp p     p After Arp Lyrics by Richard von Sturmer Music by Joanie Chung Yee Lee March 2010 After Arp Richard von Sturmer is a New Zealand writer, filmmaker and lyricist for several New Zealand bands. He lives in Auckland and with his wife, Amala Wrightson and runs the Auckland Zen Centre, a Buddhist community. His collection of prose works, On the Eve of Never Departing, has recently been published by Titus Books1. In 2008, After Arp was published in a literary, online journal called Trout2 and also in the collection Best New Zealand Poems of 20083. Jean Arp is known for his dadaist sculptures, paintings, and he produced wonderful, imaginative poetry all his life. Arp’s poems have a very pure quality and while Richard von Sturmer read through them, they inspired him in his writing. The result was After Arp, which von Sturmer produced in two quick bursts. There are 11 short poems in the series. The music is written for a narrator, soprano singer, clarinet, horn, bassoon, harp and percussion. Jean Arp stated that “It was in dreams that I learned how to write, and it was only much later that I laboriously learned how to read.”4 Such was the case with “Mushrooms”, the poem that launches the series, which came from Richard von Sturmer’s dream about black mushrooms with long, green hair. “The Great Slug” is based on a repeated ostinato reflecting the ponderous sound of an overweight person riding on his bicycle. “The Lozenge Box” is an image of a grey, monotonous container and starts with monochord that turns into polychrome with a repeating pattern in a minimalist music style. “The Empress of Emptiness” features the harpsichord, an instrument widely used in Renaissance and Baroque music. The plucking of the strings reflects a bell-like “tinnitus” sound ringing in the ears. This work is based on a gavotte, a popular courtly dance during the Baroque period. “My Uncle” is one of the works with no singer. It contains Philippine/Japanese castanents yotsudake which are not as loud as the normal castanents and also contains two kantilans (metal ten-keyed Balinese gamelan instrument). It refers to the King of Thailand. 1 2 3 Richard von Sturmer. On the Eve of Never Departing (Auckland: Titus Books, 2009) Richard von Sturmer. “After Arp”. Trout, 15 (2008) <http://trout.auckland.ac.nz/journal15>, pp 36-38 Richard von Sturmer. “After Arp”. Best New Zealand Poems (2008) http://www.nzetc.org/iiml/bestnzpoems/BNZP08/contents.html, p 23 4 Richard von Sturmer. “Introduction” in Jean Arp. The Collected Writings of Jean Arp. Ed. Marcel Jean (London: Calder & Bryars, 1974) n.p. “Elephants” is the shortest poem of the series. It contains the heaviness of the elephant’s feet with the low notes played by the clarinet, horn and bassoon, accompanied by the bass drum. “Dinosaurs and Circadian Rhythms” are the fastest works in the series and offer a sense of humour. In “Dinosaurs”, a vocal technique sprechstimme [between singing and speaking] occurs several times. Andre Breton’s “Inflatable Octopus” is the only work with music reflecting the words, but without an accompaniment to the words. This work contains the harp playing the glissandos which represents the sea. The wind instruments reflect the inflatable octopus with snippets of the Belgium national anthem. “Our Ancestors” is based on African and aboriginal Australian music with the bassoon imitating the didgeridoo. It was influenced by Steve Reich’s Clapping Music. “Captain Cook’s Hat” is from the shore of Vanuatu’s volcanic island of Tanna. Water music is traditionally played on Vanuatu when a ship is arriving. The musicians stand in the water and produce various sounds by hitting the water with their hands. The poems are surrealistic like Jean Arp’s art. They are not logical in content sequence. Sometimes the images don’t exist in our world, e.g. mushrooms with green hair, but at the same time they can be imagined. The images enabled me to write in ways that are illogical and unusual. The music explores and extends the dreamlike world through the extension of instrumental techniques. The images are catalysts for descriptions in sound. Sometimes the instruments and voices chosen are illogical and this is the intention of the piece. The work is intended to be performed as a whole and poems should not be performed separately. There is an illogicality between the poems not just within them. The images are direct although they often have symbolic meanings. They are spelt out clearly and the music attempts to capture this. Symbols Chilean Cactus Rainstick available at Trade Aid shops. yotsudake – Philippine/Japanese castanents Clarinet & Bassoon – vibrato – to as wide as possible, variable speed Horn – Randomly play any notes in the low register, as low as possible and as fast as possible. Bassoon – Multiphonic on the lowest note Bflat like a wild animal. After Arp Richard von Sturmer Mushrooms The flat, black mushrooms grow luxurious green hair. Green hair edged with a band of white. Green hair as luminous as underwater plants. Green hair that can be fashioned into horsehair whisks. The flat, black mushrooms exhale clusters of stars. They live in a section of the forest where no flies can settle. * The Great Slug The great slug rides his bicycle. His baggy pants can barely contain his baggy pants. He leaves behind a trail of gray foam. The great slug is a connoisseur of sofas and lazy boy recliners. He merely rides his bicycle to rid himself of certain metallic parasites which inhabit the deeper recesses of his sagging flesh. If only the great slug were a hermaphrodite. But his penis remains firmly fixed in the centre of his forehead. The slug and I have a long history of altercations. He’s nothing but an impostor, a provocateur, a guzzler of kerosene. Someday we’ll settle old scores. Someday we’ll slug it out. * The Lozenge Box fire of flamingos smoke of bats ash of ants On one bleak mid-winter’s day you offered me the key to the lozenge box and ever since then multicoloured pastilles continue to tumble out. a flywheel a watering can Fidel Castro’s fountain pen Multicoloured pastilles continue to tumble out. * The Empress of Emptiness What a belle, what an absolute fashion plate. The Empress of Emptiness puts on her tinsel crown while the black bluejays attack her battlements with toothpicks and tape recorders. Serious tinnitus is sweeping through Tintagel Castle and Titus has gone to ground. The Empress of Emptiness gathers together her long dress and disappears down the elastic corridor. * My Uncle My uncle the acquirer of spoons blind as a bat skimming over the Astroturf. Old polaroids lie scattered like tiles in his abandoned garden. For a joke he once placed a small, cloth sailor inside a condom. My uncle who would break into a sweat at the sight of a dead matchstick. He loved the air the letter H the sound of castanets. My uncle who hypnotized the King of Thailand When I open the door to his garden shed sparrows fly out from the rusted hinges. * Elephants Elephants are never irrelevant. They use adjectives to extract honey from honeycombs. * Dinosaurs It’s wrong to compare ourselves with dinosaurs. Dinosaurs didn’t use power tools. Dinosaurs didn’t do jigsaw puzzles. Dinosaurs never put a man on the moon. They tore each other to pieces and fell into tar pits. It’s wrong to compare ourselves with dinosaurs. * André Breton’s Inflatable Octopus André Breton’s inflatable Octopus occupies a portion of Belgium. On Google Earth you can see the way it sprawls across Brussels with one tentacle reaching Antwerp and another touching Ghent. André Breton had a penchant for anal eroticism. On the other hand his inflatable octopus is not only immaculate but ready, willing and able to release a magnificent cloud of perfumed ink. * Circadian Rhythms Tapping on a toadstool the sun comes up. The crickets chirp as they go to work their little briefcases filled with sesame seeds. Tapping on a capped tooth the moon goes down. Slipped into a black folder then filed away deep in the archives with all the other moons. * Our Ancestors They found a billiard table embedded at the centre of an iceberg, proof that our Neolithic ancestors engaged in recreational activities. The skeletons of hairy mammoths still bear the scars of their billiard cues. And look— over the horizon kicking up the tundra a great, enraged herd of magnetic wildebeest! * Captain Cook’s Hat There’s a tree growing on Captain Cook’s hat two trees in fact, one on the top and one on the side. The erratic navigator likes to swim with his dorsal-finned compass and the blue almond sky and the blue almond sky. After Arp Mushrooms Music by: Joanie Chung Yee Lee (2009) Lyrics by: Richard von Sturmer Very still and static q = 65    Percussion    Clarinet in Bb   Voice   Horn in F   p  Cl. Hn. p        Bsn.      p        mp       black        mush           mf  p s       - rooms           mp     s s s s rainstick                       (s) Perc.   8   flat      p Voice    The    Bassoon mp mp               p                  p mp p   mp         p mp 2 14 Voice Perc. Cl.       Bsn.  Cl.                                    p pp mp    mf       p                  lu    -  mf mp mf 20 Perc. p         p Voice mf grow mp Hn. mp xu - ri - ous  p      mp p  mp                (s)  pp                                           mp p pp p mp p Hn. Bsn.    pp p                  mp p mp pp                             p p mp p mf p mp mp p 3 Voice f    mp 27 gliss.   grrreen Perc. Cl.             Bsn.    Voice Perc. Cl. Hn.            gliss.    p ff    (spoken) edged     glis  s.   mf     gli ss.         p    (play the highest note) fff    fff mp   mp p with a band  p mp mp    hair           pp Bsn. f     mf mf Grrreen p p                              mp ff  mf mp     mp p 31 ff               mf pp mp   mf mp  p                          p Hn.  hair.      (play the pp highest note) fff of white.             mp        pp p 4 37 Voice         Perc.           Cl. Hn.                      p pp                                     Cl.      Bsn. pp p    p   f  Grrr - een p mp    hair   mp p pp    mp    as as softly as possible when the soprano enters very liquid and smooth in any order                                pp mf pp mf mp Hn. p f 44 Perc. pp pp mp Voice p                       pp p pp mp p mp p p Bsn. mp mf  p p mp mf                 51 Voice Cl.         - Bsn. Perc. (s)           as   un - der      - wa - ter                            p    mf mf pp mp                mf       pp         mp    Hn.          Slowly tilt the rainstick       f mp Grr plants. Cl. Bsn. mi - nous  5 p f  58 Voice  mp p Hn. pp mp   lu Perc. mf p                 p    - 6 mf 64 Voice   een Perc. Cl. Hn.   hair Cl. Hn. Bsn.      that                         f p         shioned p              mf   mp    mp ff       p   mp          in - to horse - hair whisks.     p          mf    The  f  mp          mp         mp      flat Tongue Slap   pp mp pp mf                        mf p    mf f mp mf can be fa -  mf  - Perc.   67 Voice  p mp  mp Bsn. pp       7 74 Voice Perc. Cl. Hn.           black  rooms            -    mush mp  mp Bsn.    Voice         Perc.   Cl.   Hn. Bsn.  mf s s s s f   (s)   mp p                      mp 80                  mp   pp mp  mf       s      mp       p                    mp mf p   mp  mf  p                      mp mf mp mf p 8 86 Voice Perc. Cl.   f mf      mp mf  ex - hale Bsn.       p     of stars. They live             Key Clicks      mf f mf ff               Key Clicks                      a sec  Cl.  Hn.     ff mp mp f       - tion of the  fo -  rest mp    where no flies                                      p   p mf   Key Clicks ff in Bsn.  p f mp 94 Perc.  mf mp Voice      mp Hn. pp    clu - sters   mp  pp mp  mp  p  p   mp p mf   p    p pp 9 99 Voice Perc. Cl. f mp    can set - -   pp  - -    f mf    mp f mf   tle.                            mp Hn.   f mf  p   pp Bsn.      mf 102  semitone    mf Voice    Perc.    Cl.                                  p Hn. Bsn.       f              mp 10 104 Voice    Perc.    Cl.                                  mf f Hn. Bsn.            f                                  ff 106 Voice   Perc.   Cl.   Hn.                                  Bsn.                 mf          ff                 mf 11 108 Voice Perc. Cl.                                        p Hn.                                  p Bsn.                                  ff 110 Voice Perc.        Cl.                    Hn.                   Bsn.   p                   After Arp The Great Slug Music by: Joanie Chung Yee Lee Lyrics by: Richard von Sturmer Lazy q = 96    Clarinet in Bb    Horn in F   Soprano  mf   The S. Cl. Hn. Bsn.       p       rides his bi - cy -  the great     slug  mp f    slug                                             5 great  mf Bassoon mp           cle.   p mf  The   mf  great           mp slug  the great  mf              slug   p his bag  mp - gy pants                                                            © Joanie Chung Yee Lee, March 2010   2 p               10 S. f mp can bare - ly con - tain Cl. Hn. Bsn. mp his bag -                mf mp            14 S.   Cl.      gy pants                                         mf Bsn.  mf          pp       mf          mp    mf                                   p    mp mf           mp mp Hn. mp his bag - gy pants. p    f mf                       p       3 f 19 S. Cl.          Bsn.  mp                            mp 23 S.        mf            a trail      mp              he leaves be - hind mf  mf        He leaves be - hind mp Hn.       mf     of gray foam. mp p  The mp         great slug the to as wide as possible, variable speed Cl.    mp Hn. Bsn.           mf    mp         mf to as wide as possible, variable speed  vib.                       mp   4 29 S. mf             great slug Cl. Hn. Bsn.         Hn.  Bsn.  so             - fas and la       mp               mf          p      re - cli - ners.  He             mf  -  ff zy boy  of            Cl. is a con - noi - seur p 33 S.  f                  mf mp        f   f                       p 5 mp    39 S.    rides his     mere - ly Cl. Hn.  bi - cy   p -   mp  cle.               to rid him - self    mp   mf mf   pp Bsn.                             S.      of cer Cl. Hn. Bsn.   -  tain  mp f   me - tal - lic pa           mp    mf mp 43      -              mp    ra - sites     mf      mp                        f               f    6 S. Cl. Hn. Bsn.                 which mf mp  S. Cl.               f mp         If only mf             mf f     the great slug  of his sag - ging flesh.                              f         re - ces - ses     mf 52    in - ha - bit the deep - er  mf ff f mf 47     the great      slug      mp Hn.       mp Bsn.   f                                mf           mp 7 57 S. f mp              mf  her - ma - phro - dite. Cl. Hn. Bsn.      But his               f S.    - nis     re - Bsn.                      mp    fp mp  fff       - tre  of his fore - head.     f mf       ff          ff       in the cen        mains firm - ly fixed                   mp Hn.   f pe Cl.     mf  61  f mf             mf       ff     f    f 8 65 S. Cl. Hn.       p mp      The slug  the     slug                                                                  mp mp      -     to - ry          f                      mf Bsn.    his Hn. long                                     mp 70 Cl. have a mp p S.    and I p Bsn. f mf                                     mf      mf                                    75 S. Cl.                   79 Cl.                 Bsn.                                     mf                  mf     mf     mf                 f              noth -         mp     mp                                  He's       ff Hn. mf           al - ter - ca - tions. f mf f S.                           f Bsn.  of f Hn. 9 f     ing    mp    but an     mp    10 83 S.   im Cl. mp     mf - f     pos - tor, a    a       mp Hn. Bsn.            mp Hn. Bsn.       f            ler Cl.         mf 87 S.     -        mf                                          mf                    we'll set - tle                     Some - day     guzz -     mp  mf   mf guzz - ler   sene.    of ke - ro  mp     pro - vo - ca - teur,     mf                  f 91 S.         old scores. Cl.         f Hn.        mp Bsn.  95 S.        Bsn.                        it    mp            mp             f mf Hn. mf we'll slug                   f out. Cl.         11 mp        Some - day   mf                                                  mf mp After Arp The Lozenge Box Music by: Joanie Chung Yee Lee Lyrics by: Richard von Sturmer Melancholy q = 60 Very Dramatic Spoken smoke of bats fire of flamingos Soprano   Clarinet in Bb   ash of bats   pp Horn in F    ppp Bassoon     pp 2 S. Cl.  Hn.  Bsn.    p      On one bleak     mid - win - ter's    day mp         mid - win - ter's day                   2 8 S.        you Cl.  Hn.  Bsn.  14 S. mp p of the Hn.  Bsn.  to the lo - zenge box and                 mp mf mp p                                 con - tin - ue  e - ver since then  mul - ti - col - oured pas - tilles  key         Cl.                 - fered me mp p mul - ti - col - oured pas - tilles con - tin - ue mp   con - tin - 3 p 19 S.         ue Cl. Hn. Bsn.       Cl. Hn. Bsn.  mp    a                               to tum - ble out.  23 S. to tum - ble out       Lively q = 100 mp                       mp     fly - wheel mf    a   fly - wheel  mf     a wa - ter                                                     p              p                                              mp 4 27 S.               ing can Cl. Hn. Bsn.  Fi - del Cas - tro's        foun - tain                                                   mp     pen Cl.                                                   31 S. mf           Mul - ti - col - oured   f pas -   tilles                                                     mf Hn. Bsn.         mp           mf                                              mf S. mp           35 con - tin - ue Cl. Hn. Bsn.            f   con - tin - ue to tum - ble out   mp           mf to tum - ble out.                                                                 mf           p                                  39 S. mf      poco accel. Cl.                                             mp Hn. Bsn.             poco accel.                  mp                 5 6 43 S. Cl.                                                      mf Hn. Bsn.    ff                                     mf ff After Arp The Empress of Emptiness Music By: Joanie Chung Yee Lee Lyrics By: Richard von Sturmer In a noble and dance way q = 118    Soprano               Clarinet in Bb mf           Bassoon         5 S.   p  p    p                 mp f    mf Bsn.         f       p       p mf          mp  What an        mp         p   p mf           p mf     p  f                © Joanie  Chung Yee Lee, January 2010  p                                   mp mf mp      Hpsd.                        belle Cl.  What a        Harpsichord mp     mf      2 mf 10 S.   ab Cl. Bsn. - so - lute           Cl. mf               f        f   The Em - press            mf     p     mf        p                                                mf mp     p    p        mp f  f    of emp - ti - ness   mp  p           Hpsd.                f mf mf Bsn.          15 S.    fa - shion plate.         Hpsd.  f mp mf         p          mf  p            f         3 p 20 S. Cl. Bsn. Hpsd.                mp Cl. Bsn.         mp     p f                 f     mf           f     mp      mp        p           mf  puts crown                    mf          p     p p mp  f        on her tin - sel     f         f            Hpsd.              p 25 S.   p        f  4 S. Cl. Bsn. Hpsd.     Bsn. Hpsd.     p   -    -         pp        mp f        p a - ttack her ba - ttle - ments      pp     mp  a - ttack her ba - ttle    p   f    pp  ments                      - mp            p     f a - ttack          p                 mf          mf p          mp        p mf                   jays     mp a - ttack Cl. while the black blue       35 S.         mf  p    mf           mp 30      mp p mp                             mp mf 40 S. with tooth - picks Cl.   mf Bsn. Hpsd.    mf p    p                  Hpsd.                                    mp p mf                     f                 is swee - - ping mp mp  through the Tin - ta - gel Castle                 p                                    f                    p Se - rious tin - ni - tus Bsn.  tape re - cor - ders.     p Cl. and  46 S. 5 p                      6   f                   mf 51 S. Cl. Bsn. Hpsd.            Cl. Bsn. Hpsd.  mp mf                               The Em - press                       mp  mf mp mp                     mp p               mf p 57 S. mp    has gone to the ground.                    p    and Ti - tus p p of emp - mf ti - ness                                 mp p pp p                      f mp p             p  mp mp                   S. mp mf         63 ga - thers Cl. Bsn.    p    p p  mp                f to - ge - ther her         long   mp             Cl. mp       dis - ap - pears            f mp Bsn. Hpsd.     mf      p f      mp        down to the e - las - tic mf  cor -    p ri - dor.                 mp p pp                     mp   mp   f Spoken in a whispering voice S.    p 67   mf     and       Hpsd. dress 7  p           8 71 S. Cl. Bsn.         mp mf     mp   Hpsd. p    75 S. Cl. Bsn.           p f                        p   f     p   f rit.               mp                       Hpsd.        p                 rit.     f     My Uncle My uncle the acquirer of spoons blind as a bat skimming over the Astroturf. Old polaroids lie scattered like tiles in his abandoned garden. For a joke he once placed a small, cloth sailor inside a condom. My uncle who would break into a sweat at the sight of a dead matchstick. He loved the air the letter H the sound of castanets. After Arp My Uncle (Philippine Castanents) Music by: Joanie Chung Yee Lee Lyrics by: Richard von Sturmer Steady q = 100 Philippine/Japanese Castanents yotsudake                 mp mf f My uncle who hypnotized Philippine/Japanese Castanets yotsudake  the King of Thailand   © Joanie Chung Yee Lee, March 2010 After Arp My Uncle Music By: Joanie Chung Yee Lee Lyrics By: Richard von Sturmer Hypnotic q = 100        Kantilan 1    p        Kantilan 2     p 5 Kant. 1 Kant. 2   9 Kant. 1 Kant. 2    Kant. 2  p mp       mp mf    mp      13 Kant. 1          p  mf mp    mf f    mf f © Joanie Chung Yee Lee, February 2010     2 17 Kant. 1 Kant. 2     Kant. 2                                     ff         ff mp    20 Kant. 1                                                  fff 3 3 l.v. 3        fff   3  l.v. When I open the door to his garden shed sparrows fly out from the rusted hinges. After Arp Elephants Music By: Joanie Chung Yee Lee (2009) Lyrics By: Richard von Sturmer Big, Heavy and Slow q = 80 Voice   Percussion       Bass Drum          Horn in F      Bassoon      Voice Perc. Cl. Hn. Bsn.        p  f         f gliss.     p  mp               pp ir - re - le - vant.        © Joanie Chung Yee Lee, 2009     p        mf     f p                                    mf El - e - phants are ne - ver       mf        mp              mp Clarinet in Bb 7           2 11 Voice Perc. Cl.     Bsn.                         ir - re - le - vant               f mp Hn. p mf        mf   p f mf                     mf pp f  mp                  f mp mf      f     f p             f mp 16 Voice They use ad - jec - tives Perc.    Hn.    f   ex    mp   - tract   pp           mf p Cl. Bsn. to pp  mf   p     mf         ho - ney ho - ney from the ho - ney -             pp       mp  3 19 Voice Perc. Cl. Hn. Bsn.            ho - ney from the ho - ney - combs.      ff     mf    mf                   mp           f          f    After Arp Dinosaurs q = 60 3+2+2                    Sprechstimme mf Soprano Music by: Joanie Chung Yee Lee (2009) Lyrics by: Richard von Sturmer q = 120 (approx. pitch)  Its wrong to com - pare our - selves with di - no - saurs. Clarinet in Bb        Horn in F                           p mp Bassoon                       mp         p          mf mp Sprechstimme 5 S. Cl. Hn. Bsn.                      f mp                f mp      mf    f             mp mf Its wrong its wrong          p        mp     f       its wrong to com - pare our - selves              mp      mp  mf                          p mf mp © Joanie Chung Yee Lee, September 2009          mp       mp 2 p                    10 S. mp with di - no - saurs. Cl. f p Hn. Bsn.              p f               p 14 S. Cl.  pp p       tools.     Bsn.     Di        no - saurs di - din't use pow - er                                           p mp                       ff mp mp p      p mp   f mp  mf  f   mf ff          mp           - semitone                    mp Hn. f      mp mf    mf mp          mp           mf  mf semitone                    mf p mp mf p              mf f p mf 3 S. Di Cl. mp f    19 -   no - saurs -            no - saurs di - dn't do jig -  saw                      mp         p      p mf mp      p p            pp       mp p  mf          p mp        24 S. di    f                         mp mf Bsn.   mp      mp Hn. mf p mf    mp mf       p   mp   puz zles. Cl. Hn. Bsn.               mp f mf                         p mp f mp mf             mf                        mp mp mf p mf p    f p     mf mp mp   mp  mf     mf      mp 4 mf 29 S. Cl.                        p                     p mf     puz - zles.          p mf  mp Hn.                    mp p p Bsn.                    p mp mp q = 60 vib.As long as possible f p q = 120 Sprechstimme                               34 S. Di - no - saurs Cl. Hn. Bsn.       mf f mf  Di - no - saurs ne - ver put   a man on to moon.     ff       ff       ff                p        mp               p mp 40 S. Cl.       f They tore     each oth - er to mf Hn.  S.      mp         and fell in - to ces                  pp mp p fp                     mf f mp 45 -                                pp                       mp mf   pie p f f Bsn.                    mp mf f mf         they tore            mp ff mf 5 mp    mf tar             p pp  - pits. to as wide as possible, variable speed                           p vib. Cl. p mp p mf mp Hn.                        mf  p   p vib.   p low register randomly play notes as low as possible and as fast as possible    mf  mp to as wide as possible, variable speed Bsn.        mf        vib.    p  mf p    6 q = 60 S. Cl. Hn.                   Sprechstimme 51   q = 120  Its wrong to com - pare our - selves with di - no - saurs. mf    p vib.   mp                   f f  mf   vib. Bsn. p f  p   André Breton’s Inflatable Octopus André Breton’s inflatable Octopus occupies a portion of Belgium. On Google Earth you can see the way it sprawls across Brussels with one tentacle reaching Antwerp and another touching Ghent. After Arp Andre Breton's Inflatable Octopus Music By Joanie Chung Yee Lee Lyrics By Richard von Sturmer Calm q = 52   Soprano  3  mp    pp   pp Harp Bassoon mf       S.  pp          3 pp     pp mf           mp pp    mp pp mf 3   p           pp mf         6    ah 3 Horn in F  mf 3 ah   Clarinet in Bb pp  mf  3     pp   mf   ah        pp       © Joanie Chung Yee Lee, 2010 mf   gliss. mp   gliss.          gliss.    gliss.  pp gliss. Bsn.    mp gliss. Hp.   gliss.      pp Hn.  ah 3 Cl. pp     pp  mf  pp  sim.         3    pp mf 2 11 S. Cl.  mf      pp Hp. Bsn.     S.            mf p mp mf pp      3 mf         mf          3 pp  16  ah     pp Hn. mp         pp         mf Proudly and boldly q = 128 mf                     ah Cl.   Hn.   Hp. Bsn.                     f             3 19 S.      Cl.      Hn.                Bsn.                          f   Calm q = 52 23 S.      Cl.      Hn.                                   mp    gliss.     gliss. Bsn.         gliss. Hp.    gliss. Hp.                4 27 S.      Cl.         pp Hn. Hp. Bsn.                 sim.        3   pp   pp mf  pp mf                         pp 33 S. Cl. Hn. Hp. Bsn.           pp    mf     mp  mf             3 p      pp 3   pp   mf      mp                 37 S. mp mf mp Proudly and boldly q = 128                     ah Cl. Hn. Hp. Bsn. Cl. Hn. Hp. Bsn.                              f           40 S.                          f                                               5 Calm q = 52 6 45 S.    pp mf p                 ah            Cl.   Hn.               Hp. Bsn.  48 S. p  mp p      mf p                                  Cl.    Hn.             Hp. Bsn.  7 50 S.       Cl.             Hn.   Hp.       gli                         Bsn. p   55 S. Cl. Hn. Hp. Bsn.        3       fff    fff           fff              ff     3 ff        fff          gl ss. pp  . iss    3    fff           3 fff      8 Proudly and boldly q = 128 60 S. Cl. Hn. Hp. Bsn.                  Cl. Hn. Hp. Bsn.     p                          f                    f mf                    mf              mf     f f                                 65 S.  mf                f         f  9 69 S.  Cl.  Calm q = 52                                  p   pp                        p Cl. Hn.          p                 mp pp     mp                         mp p pp  p    mf   ppp   ss.  mf  gli   p  ss. Bsn.    mf gli Hp. p    mp      mf ss. 71 S.         gli Bsn.   p ss. Hp. mf p mp gli Hn.       3 pp 10 S. Cl. 74        pp Hn. Hp. Bsn.            mf pp   Cl.   Hn. Hp. Bsn.               3 mf pp         3       p mp 3                 f mf mp              p mf         pp  mp  f      mf  f        pp  pp               79  pp    3 mp mf S.   3                            f 11 82 S. Cl.                                    mp Hn. Hp. Bsn.                          f Hp. Proudly and boldly q = 128                pp Bsn.                          f   p mf     p mp Hn.                           84 Cl.   mf S.  p     f            ff   André Breton had a penchant for anal eroticism. On the other hand his inflatable octopus is not only immaculate but ready, willing and able to release a magnificent cloud of perfumed ink. After Arp Circadian Rhythms Lively and Light q = 100 Soprano Clarinet in Bb                                  p mf mp                mp p      p Horn in F Bassoon               mp p                          mp Percussion 7 S. Music By Joanie Chung Yee Lee Lyrics By Richard von Sturmer               p                                f mp mp mf                       mp  mf                Cl.                                           mp mf mp mp f mf Hn.      mf                    p mp                               mp ff Bsn. Perc.      f mf  © Joanie Chung Yee Lee, 2009                     mf         2 14 S. Cl.                     Bsn.         Tap - ping 22 S. Cl.  mf                                      p mf mp mf        f p                                    mf tap - ping tap - ping tap - ping tap - ping on a toad - stool                                    mp    pp mf Hn. f mf                      tapping mp                      mp p                                          f Perc. mf              mp f Hn.   Sprechstimme mp                          mp p mf mf Bsn. Perc.                                  p mf    mp    f    3 27 S. Cl.                       the sun comes up. p              p                                 pp mp  f mp Bsn. mf                                mf mp p Hn. mp pp p p                                             p mp mf p mp f mp pp Perc.     34 S. Cl.     Bsn.   p                 ff f ff                                mp ff ff p        mf Perc.                                         mp Hn.         mp                                                f f ff          4 40 S. Cl.      The cric - kets                mf Hn. p          mp the cric - kets         mp mp           mp         pp              Bsn.                                         mf   p Perc.   46                    Cl.      Hn.     S. f mf   chirp chirp chirp chirp Bsn. Perc.                  mf            mp f   mf       as they go       p             mf                                                               f pp  p  5     53 S. to work Cl. Hn. Bsn.   mp   their li - ttle mf                                         p    mp p              mp            59 S.                          p Perc.  mp                  p         brief - ca - ses Cl.                        mf f Hn.   Bsn. Perc.                              mf                             mf                  mp       6 65 S.          Cl.                                                 f f Hn.               Bsn. Perc. Cl. Hn. mf                                        ff mf                                      p     mf                           mp filled with  mf se - sa - me seeds.                             mp f                             Rainstick Perc.  p mp Bsn.                     71 S. p                           p       7 78 S. Cl.                               p f                            mp mf mf   mp Hn.                         p Cl.   Bsn. Perc. mf mp                              f mf ff                                                                      f mp               mf Hn.    85 S.                               mp Perc.                        mp f mp mf  mp Bsn.     ff mf f                mp mf         f                mf               mp          f                     f f          8 92 S. Cl. Hn. Bsn. Perc.    Cl.                           p mp   mf                 mp f p        mp                      on a capped tooth        mp tap - ping tap - ping tap - ping tap - ping  tap - ping  p                   f       Tap - ping                  mp 98 S.   Sprechstimme p                          mf      mf          mf                                 mp mf fp Hn.     Bsn.     Perc.                             mp mf p                   mp   mf            9 103 S. Cl. Hn. Bsn.                        the moon p  mp                         mf   f p                                   mp mf p                109 S. Cl.       mf f Perc.  goes down.                                  mp mf               mp mf mp mf                   f                                     mp Hn. p                             mp Bsn. Perc.                        mf                          mf 10                mp 115 S. Slipped Cl. p mf in - to Bsn. Perc. Cl. Hn. Bsn. mf mp            p      mp   mf   f mf mp q. = 66       mp                                               mf                   then filed                            a - way deep mf                  p                     mp mf                   mp Perc.                                             121 S.  a black fol - der p Hn.                 mp    in pp  11 q = 100 127 S.               the ar - Cl. Hn. Bsn.      chives   Cl.        Bsn. Perc.         p                        ff mp f                                        f p mf pf                          mf Hn.  f 135 S.                                           p fp ff p mf Perc.      f                                                                  p f f p mf  mp fff                    fff   p mf mp                      mf mp       p   fff                   mp                      p f mp p            12 142 S. Cl.                                    mf  f Hn. Bsn.    p                             mf mp  S. Cl.    mf         p                             f mp p              with all oth - er moons. mf Hn. Bsn.           mp              mf Perc.       mp mf 146                           mp  mf Perc.         mp     f     After Arp Our Ancestors Music By: Joanie Chung Yee Lee Lyrics By: Richard von Sturmer Steady q. = 66   Soprano                                         Clap 1   mp Clap 2                                                Bassoon 7 S. C. 1 C. 2 mp        13      C. 1      C. 2 Bsn.                                     mp S.                                      vib. Bsn.           p      mf                p  found  vib.        mp       a bil - li - ard p                mp     mp mp They         mf           mp 2 mf mp 20 S. C. 1 C. 2 Bsn.    ta   - ble    p mp C. 1 C. 2 Bsn.       C. 2 Bsn.             bed - ded.          mp mf                         32 C. 1  em - mp f S.                  p S.  mp  27  p               p  cen -                 mp p pp mp             tre of mf an ice -     berg,                         mf f     at the   p        mf  p         mp 3 38 S. C. 1 C. 2 Bsn.           f C. 2 Bsn. Ne    49 C. 2 - o   Bsn.     - li - thic        mf      mf mp   C. 1  mf     proo - f that our   f mf mf f S.  mp               proo - f f 43  C. 1   f                      mf S.   mf mp an -  ces tors                         mp  p mf p                en - gaged in re - cre - a - tion - al                    mp f mp  p mf  mp         mp  p        mp         ac - ti - vi - ties. mp     mf        mf  f  mp mp      p 4 55 S.                                               C. 1  mf                                        C. 2   Bsn.     61 S. C. 1 C. 2 Bsn.    mf       The ske - le tons         mf       68 S. C. 1 C. 2 Bsn.  f -y                 of hair - mf mp f mp           y mam - moths hair -                    mp                        mp mf mf mp             still bear           ff vib. f  mam - moths f   mf     mf  the  scars   p  of their billiard cues.             mp   5 73 S. C. 1 C. 2 Bsn.    Bsn. C. 1 C. 2 Bsn.   mf mp  mf              f mp          And look! f o - ver f       -  ri- zon       p mp mf kick - ing up     ho          kick - ing up the  mp    mp   f  mp mf               tun - dra                                f                  mp    the  mf mp                     p f 84 S.                                                 C. 1 C. 2                         mp 79 S.  f mf a great,   p         6 mf S. C. 1 C. 2 Bsn. ff                     88  en - raged en - raged en - raged en - raged en - raged en - raged herd mp C. 2 Bsn. mp  C. 2 Bsn.       f                 f     mf                  mf *                 ff    ff                        95 C. 1  wil - de - beest! f f S. ma - gne - tic                          92 C. 1 of                     mp S.       *           mf fff               *             mf * Multiphonics like a wild animal.  f   ff    *        mf  *    f After Arp Captain Cook's Hat Flowing q = 76 Music by: Joanie Chung Yee Lee Lyrics by: Richard von Sturmer Soprano      Clarinet in Bb      Horn in F      Harp Bassoon                          p mf mp                      pp 4    S.     Cl.        Hn.    Hp. Bsn.          f  mf   © Joanie Chung Yee Lee, March 2010         mp    pp   2 7 S.     Cl.        Hn. Hp. Bsn.                     mp p  mf             10 S. Cl. Hn. Hp. Bsn.                    mf mp        There's a tree           mf                         3 p 13 S. Cl. Hn. Hp. Bsn.        Cl. Hn. Hp. Bsn.  on Cap -        mf      tain Cook's hat  p     mp     mf     mf              mf two tree - (s) in        mp   mp                                    p                     p    mp mf                      16 S.  p p         4 19 S. mf                   fact, Cl. one                mf Hn. Hp. Bsn.  Cl. Hn. Hp. Bsn. mf mp f mf  on the top                  Sprechstimme   mf 22 S. f mf         mp              mf            f mf          mf and one on the side.           p  f    mp   mf     5 26 S. Cl. Hn. Hp. Bsn.                   31 S.      p            f              Hn. Hp. Bsn.                  The er - rac - tic                         mf   the er - rac - tic Cl.                mf f mp           na - vi - ga - tor     mf                             mf         p        6 36 S. Cl. Hn. Hp. Bsn.        Cl. Hn. Hp. Bsn.        mf           likes                               mf                     likes to   mp f mp    swim             to swim                          mp   p 41 S.  mp                        mp  mf     p                   mp 7 44 S.  Cl.                      mp Hn.       mp     Bsn.      mp    Hp.  f                                  mf    mf              mf 47 S. Cl.      Hp. Bsn.                                                 f mp p mf Hn.         mp              mp f                mp             8 50 S. Cl.      mp            mf      with his dor - sal  finned         com - pass  f Hn. Hp. Bsn.   p          mf     Cl.   Hn.  Bsn.           mp                       f mp   and the           Hp.   54 S.                                  mp                     p                  mf     9 f ff blue sky al - mond blue sky 58 S.             Cl.      Hn.           Hp. Bsn.  Cl. Hn. Hp. Bsn.            62 S.               mp mf                    mf    and the blue      - p  mp     mond sky                 mp   and              f  al         mp   the     p            mf        p  10 65 S.    blue Cl. mf al    -    mond sky.                                            mp Hn. Hp. Bsn.           Cl. Bsn.                    mf  f  mf                                        mp mf                                      p mp f                                   mp mf   Hp.    mf Hn.  mp mf  68 S.  mp                         f ff mf                             mf 11 70 S. Cl.                                     mf Hn.      Hp. Bsn.                                   Cl. Hn. Hp. Bsn.   f mf                                            72 S.                                       ff                    f                  ff   fff                      mf ff    Golden Mirrors for Four Kantilans, Two Penyacahs, Kentong, Kempur, Gong Ageng & Pianoforte Joanie Chung Yee Lee April 2010 Golden Mirrors For kantilans, penyacah, kentong, kempur, gong ageng and piano Golden Mirrors was written for the players in the Banyu Gunung Salju [The name of the University of Canterbury’s gamelan which means Water–Mountain–Snow]. Golden Mirrors is a work for gamelan instruments with a Western instrument, the piano. The kantilan is a “metallophone”-a percussion instrument with ten metal keys while the penyacah has only seven metal-keys. The kentong is also known as kemong and is smaller and higher pitched than the kempur. It is struck with a harder mallet, which allows it to have a sharper attack. The kempur is a medium sized gong. It has similar qualities to the gong ageng although it is higher in pitch. The gong ageng is the deepest and most resonant because it is the largest of the gongs. Golden Mirrors was written for a Balinese dancer who dances by the river at night. The reflection of the moon glitters on the river of the shimmering sound provided by kantilans, gong ageng and piano in the beginning of the work. The Balinese dancer enters to a reflection of the piano melody played by the penyacahs and kantilans. You can see gold almost everywhere in Bali, from the golden temples to the goldcrafted gamelan instruments. The bright hot sun in Bali is golden and gold itself is reflective. Mirrors, often surrounded by gold frames, have the clearest reflection and these are represented by the non-retrogradable melodic line. The melody is like an image in a mirror with a reversed reflection. The waters surrounding Bali are also reflective and often the reflected image is disturbed by the action of wind and waves, so sometimes the melodic image is also 'disturbed' by variation, beng curtailed, extended or overlapped.The gamelan instruments (high, bright-sounding kantilans and softer penyacahs with deep and high gongs), were chosen to both merge with the piano and reflect upon it while still giving a shimmering, golden imagery. In this work, I have merged and shared the timbres of the fixed tuning of the Balinese gamelan instruments with that of piano. The use of unconventional timbres is a device which I have also experimented with in my past compositions. Here, it is applied to the gamelan instruments and piano to create new textures and timbres such as using glissandos and to the playing of two notes with two gamels [wooden hammers]. Symbols Playing two notes with two gamels (wooden hammers) Penyacah is required to play glissandos with wooden hammers. Golden Mirrors Joanie Chung Yee Lee (2010) A   Kantilans 1.2.3.4  Penyacah 1.2   Ad. Lib. q = 60  Gong, Kempur, Kentong 5 sec   ppp   mp                                        ppp      5 sec ppp   ppp mp ppp    ppp   5 sec 6 sec 6 sec  Piano  6 sec   6 sec ppp ppp   5 sec mp q = 60    Kant.   3 Peny. Pno. G, P, T                (Without accent) ppp as softly as possible, shimmering sounds               pp mp pp    p pp ppp     © Joanie Chung Yee Lee, April 2010   (semitone) pp  mp   2    6 Kant. Peny.       G, P, T     G, P, T       p                pp   mf     B     niente          mp     mp   pp      mf     G          9 Pno.  mp    Kant.  Peny.  p        Pno.  P  T   P  G  f   P  p    G  mp    13 Kant. Peny.     P     mp   mp mf         Kant.  mf    Pno. G, P, T  mf   P    T    mf  T     T    mf pp      G   T G mp mf   mf l.v. l.v.      mp   G mf T         mf         T T P    mp T    mf T   T   mp G   f    niente   pp P  mf mf               f mp          mp        T T  3 mp            20 Peny.    T G  mf     mp                    mf mf  G, P, T            Pno.      T P mf mp       niente    C 4    Kant.   27 Peny.      G, P, T    7              G    P  p   Pno.  G, P, T               p  mf mp l.v. l.v.     l.v. 7                      p              mp mf          7  fp mp   7          p pp   l.v.  30   Kant.  Peny. f f   Pno.           l.v.     mf               p ff     7                        mf mf p    5    Pno. G, P, T  Peny.    G, P, T              gliss.     l.v. mf   l.v.     mf              mf   mf      7     p l.v.           l.v.          f    l.v.     mp  mp l.v. f  Pno.   l.v. f mp            7  mp           7 34 Kant.      8 mf    .   iss   mp  gl   . Peny.  l.v.     iss Kant.  gl     32  D 6   Kant.   35 Peny.                f G, P, T             ff                ppp           mf G         p      mp                           T P     mp G P T    p   p    P  p T mf G T      G mf         mp   T  p  mp mf               mp  G   T mf       ff P               mp   Pno.  7  p 37     Kant.  Peny. f     rit. mf 7  p                        7    G, P, T        Pno. A tempo rit. P  f    mp    mf  T  p    mp             7  mf    P          f f  7    pp  l.v.  l.v. mp     l.v.    s.         s gli l.v.   l.v. a.2 ff      mp   f ff Peny. 1 P l.v. Kant. 2 Kant. 3Kant. 4       l.v.  G   mf  T  P T mp  ff  G mp ff  G P  l.v.     s.  ss.  Kant. 1 l.v.  s.      glis    gli  p mp  mf   ff mp        glis    s.  l.v. mp P T l.v. ff glis  G T P  .   l.v.      mf gliss mp  G mf . G, P, T    iss                P  mp    mp  Pno.                  gl Peny.  G 48 Kant.    7     ff f f    G, P, T   mf           f    Pno.            ff gliss .  f    gliss.   f gli ss. Peny.            ss. 42            gli  Kant.   E     7   G       mf G  fff   T P   ff fff F 8 52   Kant.  Peny. Pno.            fff          G, P, T                  Pno.   G, P, T          mp           f fff                mp mf      f                                                 pp  G                                             ff ppp             56   Kant.  Peny.                                      mf  P  T   mf P    mp G  mp       G G      l.v.  p T  P  mf G  T  P          59 Kant. Peny.     G, P, T                             G G G     G G     p mp     mf G P G f G P G     mp G f G        mf P G ff P G P     p mp                                  G P G G P    T G G G G T T G P G G T P P P P P P P T T T G T  G T                         mp 73   Kant.    G, P, T Slowly lift the pedal up G mf Pno. l.v.  G, P, T Peny. l.v. ppp 66 Pno. f                   Kant.   Peny. 9 l.v. p  Pno. G   mp f f p mf ff mf                H          G T G P  P P G P P P G P   G T G fff f ffff            f p mf        G    ff       ff           fff    mf ff  mp ff P  fff        G P   fff    G    T P G     f  10 81         Kant.  l.v. fff Peny.          ffff         Pno.          Kant.      G, P, T          f ff         G G     G    G  T      P G     ff l.v. mp  fff        mf f                pp f mf                           p        rit. 88 Pno. P        mf   P T Peny.  mp  G, P, T      f mp l.v.   f mp    l.v.                  rit.                                          11 93   Kant.  A tempo Peny.      Pno.               ff      f mf                p      l.v.  mf                                   p mf f           l.v.                                                               Pno. G, P, T  ff  Peny. fff             Kant.   102 q = 160                                     G, P, T        Pno.  mp p          96   Kant.  Peny.     G, P, T  pp                                                          una corda        12   Kant.   108 Peny. Pno. G, P, T    Peny.                                   f                     114 Kant.  q = 60        fff ff         G, P, T J         fff                                                         Pno.          mp                      mf     mp  mf     f mf ff f          f                     l.v. Slowly lift the pedal up   G  f  P   mf G P T G     f T  mf P  T   13    122 Kant. Peny. Pno. G, P, T        mp f             ff ff f mf p             mf mp mf               P T G         G, P, T mf   Pno. mp              ff 129    Kant.  Peny.               T G T G    P     mp  T mf    G P   f G P      TG P G P mf mp    mp T P T           mf mp  G                      mf                                                                           pp                                                                                 G    mf G  mp T  P  T  P   G  mf T   P  14 132    Kant.  Peny.      Kant.   Peny.     Pno.  G, P, T              mp     mf G  f      mf T  P         T  P   mf                              G    P G                     mf fff mf        f   f                                                                                                                                                               T  mf   135                                                                                G, P, T                                                       Pno.     P  T   G  f P  G  T  P  T  P      138 Kant. Peny.             fff  15 l.v.  fff             ffff  l.v.                                                                                                                                                              G   G, P, T  ff       Pno.  ff T   P T    P  ff  G  fff T P   T  K                                                    (Without accent) 141 Kant. mp Peny.     (Without accent)    mp     pp   G, P, T niente   Pno.      pp  P  mf ff P  mp mf G  mp mf 16  Kant.   144     niente Peny.        G, P, T     pppp ppp  G  p  mf G  mp  l.v.  l.v.  fff dampen  ffff  Pno.   dampen  l.v.   l.v.       niente G niente   fffff l.v. 

Joanie Chung Yee Lee - University of Canterbury

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