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For an Actor:

Monologue for Clarinet (in A)

Shulamit Ran

THEODORE

PRESSER
COMPANY
Performance Notes
It is suggested that the piece be initially learned by carefully observing all notation — rhythmic and otherwise. Once
learned, however, a considerable measure of freedom, temporal and gestural, may be introduced. The printed page
then becomes a "scenario" from which the individual performer may "act out," though by purely musical means.
1) dT Square grace note to be played a bit more lingeringly.
2) ^ Above grace note — to be played on (instead of before) the beat.
3) / To be felt as upbeat.
4) / To be felt as downbeat.
5) Passage underneath |—*• •*—\ play rhythm as notation suggests; total duration of passage (such
a s f o r f ) n o t specified.
6) LL^s^y Accelerate. |_l_LL^yj Accelerate from quarter notes up.
7) y=^BLlJ Slowdown. | [ | | [ | _J_ Slowdown to quarter notes.
8) PI _ long fermata; ^ — normal fermata; A — shorter fermata.
9) Lj_^j.^_j_jrt^) Alternate two contrasting timbres, playing as many repeated notes as duration of roughly one
quarter unit will accommodate. Suggested fingerings shown underneath first pair.
10) Fingerings of multiphonics are shown only for first appearance of each.
11) An accidental applies only to the note next to which it is notated, except in the case of repeated consecutive
notes. Accidentals are never transferable at the octave. Though some natural signs have been inserted as
precaution, their absence elsewhere does not imply negation of above principles.

Program Notes
FOR AM ACTOR: MONOLOGUE FOR CLARINET (1978) owes its inspiration in large part to the intensely personal
ethos with which the clarinet is associated in my mind. To me, the instrument in its contemporary usage suggests an
incredible gamut of gestures, dynamics and emotions. Accordingly, in MONOLOGUE, the player assumes the role of a
virtuoso actor who, by purely musical means, goes through a kind of wordless "monodrama."
Though not literally in sonata form, the parts of MONOLOGUE nevertheless roughly parallel that form, consisting of:
exposition or unfolding in two stages; development-disintegration including a cadenza; coda echoing the opening
materials.
The work was commissioned for Da Capo Chamber Players by Laura Flax, who first performed it on May 10,1978 in
Carnegie Recital Hail in New York City.

Shulamit Ran