Helmut Lachenmann temA fiir Fl6te, Stimme (Mezzosopran) und Violoncello for Flute, Voice (Mezzo-Soprano) and Violoncello Spielparitur / Performance Score BG 737 Breitkopf & Hartel Wiesbaden - Leipzig - Paris USpielanweisungen Zum Fdtenpaet Tine, de a Notenop ein cies Keun haben, = angen ane weopeten io cat moe AbagutuschosWnnthe mene ig Soke one werden duh 8 es Zwei ee [Mitenger Mundhhle diet ns Roby blsen &_ asst mit weit gowdlbter Mundhdble lm Zusammenang mit den letutenbeiden Zeichen ver Sinnilicht der Baken oberhalb der Noterinien es Fatene Basgerich, Befndet sch dieser daken unter den Notenknien, 30 zeigt er Gerusche oder Kinge an, de ohne instrument (Tfunichst~) mt dem Mund 2 produseren snd Zum Part der Stimme De fn Noten dene, fem nik len bce Wes ant Serenden Neterkdpte daster db Vanshaiching des natin Sptehbrecs Ales mit einem poraden Kreuzhen wechen den en Nosere stmt ratirier Secon atone, odes noch ie OF ‘ernaienngen hoher SEES shibhoher’ EEE Juibicer Zi und wife’ SSE sprechton der Notation zu entnehmen sind. euzchen baw. Ben, daub de fet Noten then, Sn Geos vencheden hel wenn ae vechiedene Absa 2 den overs note sin. Zu produzieren sind di aut, de melstin GroBbuchsaben, aber nicht lnnmer~unter den Zeichen sicher Die Volaeineckigen lamer zeigen de gowinechte Volarbung bet Konsonansen an CH i). Y= amen P= vssimen P Presser aA. = mikngshatone Alem se = Simazenam Gomer 4 ~ Zang zien tppen bn und ersten De Texte in Anfutwungszeiden)brauchen nicht vom Heer verstnden ~zuwerden~siedhenen zur charatesischen Modikaon des Ausatmens, Se solen immer en higchen au schnel gesprochen gefistet ode ge rmurmelt werden. Die jew anautefienden carkterstichen Late bow. Konsonasten und dee wes rypische Sprechythnun salen aber twotadem moglchst fori werden, {ste vogesene Aten des temo im Eaen ‘Vduch Scnahen, 2 dh knees Pre ten Hs was auch im Aisatmen moghch wd vorgeeen Use sd ogendema= senngezet Schnarchen: atte: ‘Ale simmichen Verremdlungen rie emotional (as schadet der Stor ‘me. sondern immer istumentlauassenPerformance Instructions Flute Part beneath the symbols — usualy in capita eters but not avays. The vowels in brackets indiate the deste vowel eoaring of consonants. CHO Tooes which have an oblige cess as nate head ae to = be layed wehimpurebiwing norderto produce more blowing nse tan pach, = Such tones are to be produced with athastof the sdaphragm. Bow det ino the be with meraw mena opening. The same with ached mouth opening, In connection withthe last two symbols the beam over the sa repesces the long-held blowing sound wher the beam is placed beneath the sai iindiates Sounds or noises wich are tobe produced at ist) wah dhe mouth Voice Pant ther than forthe wsualindcationof pitches tobe produce the five nes ‘ofthe sa ako serve to represent the natural speech ange Eventing ‘afc notated with a normal x between the ines st be pronounced in a natural speaking tone whereby the dtincion Between fom f= tae B= ows tA = ah teh snapping athe pale * ' let the tongue ic back and orth besween the ps “ne ex fn quotation mak) donot have to be vedere by the lateness they sve to mody te elton in specily cone ‘edd manner They should avays be spoken whispered or marae 8 He oo qi However, Ue respetve characters tones or erso tus encountered oughout oe well epi peaking yen Shou be stessd 5 aha posable Twa kinds of temolo ae calle or wheninhaing “Uby snoring 2 by aati, presse i the back ofthe trot (which ake posable when exhaling sid also required thee They are nd ted a follows: “hight ES media hight SFE , medium low" SHEE , and tow" SEE speaking tones isto be inered from the notation. X.aymbols as wel as beams wich appear oui the re is of he Suleman bigness wich wane gee of saree fom te Sf is Thotones whch wre tobe sce those paced —— _ _ == [Al the vocal distortions should be conceived istumentaly and never ‘een ich damages the woe.)Zum Violoneellopart Die ver Sten sin folgendermation geste: werden immer de Grif und die betzeffedenSaitenangegeben! Die resiterenden TonesicheninessenNotenautdem beach dave ‘oder darunter hegenden Notensystem oder be Fageoet in Kammer ‘abet ‘Mareato-Tone werden mide inken Hand durch Auichlagen desis ul die Sate erzougt CGaikache oder nt auf che dblche Weise 2 sielende Klinge sind als ken aera der Noten node. ‘Beiden lego att Steen ab Takt 77st zubeachtentei dieser Vorchit clenenFageoket-Gife daz, die Sate am schingenzuhinder, damit ds ‘Aude det Bogenstange his und ditercevirbar wed Wo Fe seolegepifen wid st wenn diserZweck ellis lichgig.Das Aut schlaggerausch wie diferesien.indemmandle AuschlagsteledesBogens ZavsthenSlegund Satemite vrandertjeniberam Sie desto haere ther 2 Satenmste, desta ter das Auschisggerusch Wo ei fester Tom zunegno-atuto niet sal dest maken Bebungen sind ‘orange indem man unsono-Gifecin bichen verschibt soda ce Tonlhen beiderSaten um etwa enen Vietokon dvegieten Duch smuhiches Verscheben li sich de Beburgsuescindghet eich be- “chleunigen und vsangsamen (Quessctne sollen knarend oder schnarchenl Klngen, aber ne ques chen Durch lechzestges llmaichesVerlgem des gepresten Bogens ngs er Sates das Krangeausch heller und cunkler ben soda ‘Net neben dem Knangesusch regekechte Helldunkel sand mdglth ‘and a Sete 1 nd 8B evforderich sin (Gerduschhate Tone glingongrundsitzich durch Drck auf den Stag und sdrch peice gare sdhwaches Been baw. Seen der Sate. Diese {oll dabe’ neg ins Sclwingen kommen, sone ns der Farbung es Sreichgerausches gienen. Andere graschhate Klngesind aut derIne Seite des Stoges unter den Sate auf Une oder techtem Segschi, ‘ranchmal aul den Zargen moh Ale Spbesondereiten snd tm No tentext selbst beschreen,Cello Part ‘The four sings are tobe tuned as flows: Note thats ways te stops and the appro sings which re in ltd The esting tones ate incited by ile noes ona neighboring St above or below oF at harmonics) in parertheses ‘Matelato tones ae to be produced with the et hand by lating the ir fer stke aginst the suing Noises or eter sours to be played in an {usual manner ar indicated with beams outside the sta. ‘he folowing ist be observed a he lego atte passages Staring at bb 77: The harmonics stops in these pasages are intended to prevent the sting rom vibratingso that the souPd othe wood the bow king gains the sting can be head ad varie. As lng a hs achieve iSnotimportant whatherany harmon are actualy sopped Te slapping Sound ofthe hows diferentted by siting the poi of contact ofthe bow between the bridge an the mide ofthe sing the nearer ts to the ridge the higher the slapping sound; the nearer to te middle ofthe Suing the lower t's. Whoever a fixed tooe & notated alongwith the lego bauto should be heard together wth the legno ato eet. ‘ations con be produced by shay sting the unisono stops so that the paches of bth stings ifr about a quater tore. A grok shiig ‘Slows for a marked acceleration or deceleration of te speed of the ‘ibrations Pressed tones can sound tating o Scraping but shoud never sound squeaky By steady displacing the pressed bow along the sting the ate lng sound canbe colored more fnghy or dary so that posse Lan wi be necessary to produce genuine ghisond of Bah ae dik Shudngs Gee pp. 13 and 1 for example bests the ating scans, [Noby, impure sounds ae best abtaned by applying presue on the badge ar! by very hy touching os the sting atthe sme tne Thesting should not eal start vibratingthen since only servesto color the ting nose Other noise sounds ae posable on the ier side of the nde below the tings) on the Felt oF sah of he Bre, and fecxasonaly on the rs. 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