iris ter schiphorst

In the finale of 'Rostrum of composers' 2012, broadcast in more than 32 countries.

From: ...in search of the sublime.
"...For in the epochs of historical dislocation, when we are expelled from the place, this structuralist fervour, which is in one sense a kind of experimental exuberance and an overflowing schematism, develops for its own sake. "
(Derrida, Writing and Difference, p. 14)

'Dislocation' generally refers to a change of position (from the Latin 'dislocare' = to shift).
The term is also used in various disciplines: In geology, it refers to a bedding of a rock that has been disturbed by folding, overthrusting or faulting,
in the military the division of troops or the distribution of units, in medicine a pathological displacement of organs, or a displacement, displacement or twisting of bones or parts of bones in relation to one another and in linguistics a marked sentence position...

For the composition process, see also "Dialogic composition"/ using the example of 'dislocations'

Instruments: 
4 flutes (1+2 also piccolo),3 oboes (1 also English horn),2 clar. in Bb, 2 bass clar., 2 bassoons1 contrabassoon, 6 horns4 trumpets in Bb, 4 trombones,1 tuba, 3 percussion, 1 timpani, 1 harp, solo piano+keyboard, orchestral piano, strings: 14, 12, 10, 8, 6

ORCHESTRA FORMATION:
1st piano/solo piano with sampler in front, in front of the orchestra, piano lid open or completely off; keyboard and sampler must be positioned so that the pianist has enough space even during 'inside actions'. A monitor box is required to listen to the samples at the pianist's position.
2. piano/orchestral piano at the back of the orchestra, or somewhere to the side (grand piano lid open towards the back wall, or away from other instruments - as little sound as possible from other instruments must reach the inside of the grand piano...).
Harp not too far away from the pianos...Violins I and II distributed to the left/right of the room (German arrangement); if there are more than 6 double basses, also distribute them to the left/right of the room.
First violin I, first violin II, first viola and first violoncello as close together as possible and assigned to the solo piano (even if they remain in their places, they form a small 'extra group' together with the solo piano in some places in the first part).

GENERAL NOTES
Regarding the cadenza: it should be less a virtuoso display of the solo pianist's abilities than an actual 'spatial sound'; it should transcend the space of a concerto, so to speak.
The two pianos must be extremely amplified in this part; their 'sound' (the pedalised tremolos on the low grand piano strings on the one hand, and the dense rhythmic octaves on the other - both in the ff both in ff) should be distributed in the room and 'enlarged' in such a way that the room itself comes into play, that centre and stage, front and back are 'overwritten' and central-perspective listening is no longer possible.
The dense tubular bell sounds in combination with the deep double bass glissandi are intended to contribute to this 'diffusion'. For a moment - the moment of the cadenza - you are no longer in a concert, but 'somewhere else'. The amplification and choice of speakers should support this impression.
The length of the cadenza must take into account the overall dramaturgy of the piece, i.e. this part must not be too long.

For the singing/humming from bar 243 onwards, certain strings in the orchestra are asked to hum very softly on F sharp 1 (vowel 'a' or 'o', or something in between). The mouth should be open a tiny bit (the lips really only open a crack!). It would be nice and helpful for the piece if the musicians, for whom this position is unproblematic, would actually hum this note very quietly. For male musicians, a head voice is also conceivable, if possible. This humming should be mixed with the humming on tape that will be recorded for this part. Breathe as required and as unobtrusively as possible, i.e. continue humming quietly after taking a breath.

About the solo pianist's singing at the end of the piece: This short part must sound very expressive and existential, more 'desperately calling' than actually 'sung'. If the voice breaks in between, it doesn't matter, it's more about a certain (desperate) individual expression than actual 'singing'.

AMPLIFICATION
Behind the conductor's podium (as seen from the audience), an omnidirectional microphone should be set up. This has proved to be very good for the overall sound.
The pianos must be very well miked, if possible with several microphones, e.g. a 'standard piano'. For example: a 'standard piano microphone' (suggestion: Earthworks PianoMic System, or also Shettler microphones), as well as a B&K accelerometer in the bass range, which has the advantage of being able to set a very high volume level without feed-back. The B&K accelerometer also hardly amplifies the noises and sounds of the other instruments, which always resonate in the piano's resonance chamber - so it is ideal for this piece in several respects.

There are several amplification levels of the pianos. For example, all 'inside sounds' (such as string rattles, string glissandi, struck strings, pedalised attacks on wood/metal etc.) should be sound 'voluminous' and powerful from behind (quasi behind the orchestra, or 'framing' the orchestra) in the whole room and give the impression that the orchestra is sitting and playing 'in the piano', or in the sound space/resonance space of the piano...
For the solo piano there is a further level of amplification 'in front' (left, right, centre) so that virtuoso passages etc. can be heard in front of the orchestra.
These different levels should also be created by adjusting the volume of the various microphones according to the score. Whether there are two large speakers at the top behind the orchestra and others (e.g. l, r, centre) at the front of the stage, possibly others in the room itself, or whether these levels are simulated using different delay times must be discussed in detail with the relevant sound engineer (e.g. the risk of feed-back etc.).
The sampler (e.g. Akai 3000 or 6000) is assigned 6 outputs (l+r each), divided into sampled 'inside piano sounds', which - like the 'real' inside sounds - sound from the very back/quasi behind the orchestra, i.e. framing it. and others, e.g. speech sounds, which should be heard 'in front'.
The outputs are routed via a DI box... (The extent to which you need to create tonal transitions between the front and back should also be clarified with the sound engineer).
For the vocals at the end, the solo pianist needs a headset microphone. The vocals should be clearly audible and well supported by amplification.

Violin 1/I, violin 1/II, viola 1, cello 1 and cello 2 are miked with Winkler microphones very close and very direct to the instrument itself, so that the string and bow noises are also clearly audible. These 4 strings are tonally assigned to the solo piano and should be located 'in front' = l./r./centre, i.e. in front of the orchestra.
The clarinets may have to be amplified, the double basses for the cadenza in any case.
All other orchestral instruments should be provided with a simple sound reinforcement system (possibly in the console or even just in groups). It may be possible to dispense with amplification for the brass.
Depending on the room situation, the strings should be given a slight reverberation effect.

NOTES ON INDIVIDUAL INSTRUMENTS
Strings: Cello 1 requires a plectrum (the sound of the pizzicato with plectrum must be very hard, precise and 'crisp').
Trumpets: Need harmon-mute, possibly cup-mute
Timpani: bass timpani (D timpani), high timpani (G timpani), low timpani (C timpani), high timpani (A timpani)
Various mallets: In addition to the usual ones, a vibraphone mallet, superball and a piece of polystyrene (or similar).) Note on timpani: In bars 53 ff (crosses instead of note heads) a toneless wiping is required, although pitches are indicated, if possible simply change the wiping sound a little accordingly (higher or lower); in bars 70ff intervals are required, if these are not possible, please play only one of the notes (preferably the lower one).Bars 121+143 an octave higher if necessary.
Solo piano + keyboard: Either a software sampler (Helion) or an Akai 3000 or 6000 with approx. 72 MB is required, which is triggered by a master keyboard. Also a volume pedal and a hold pedal. The sounds are available on CD and are part of the performance material (see also 'Amplification'). They are edited for the Helion software sampler and, if the pianist uses a different sampler, may have to be set up accordingly by the pianist. The pianist also needs a cordless head set, a plastic hammer, a triangle, a rubber hose, a piece of rosin and a thick-walled (grappa) glass.
Piano 2: the pianist needs a plastic hammer (from a DIY store) and a triangle.

PERCUSSION INSTRUMENTATION
Drums 1: medium tam-tam, crash cymbal, small (high), medium cymbal, large (low) cymbal, snare (snare drum), low tom, tubular glockenspiel with pedal (from c1- b1), glockenspiel, crotales c4, es 4, c5,
various mallets: felt, vibraphone mallets, hardwood or plastic covered with leather (for tubular bells) a piece of polystyrene, wooden stick, bow, brush, broom, (possibly metal shoe box instead of wooden stick for tam-tam in the places 'to make it screech')
Drumset 2: Medium tam-tam, crash cymbal, small (high) cymbal, medium cymbal, large (low) cymbal, 3 extremely muted cymbals, metal block, snare (snare drum), low tom, bass drum, tubular glockenspiel with pedal (from c1-h1 to support the other two drums in the cadence if necessary),
various mallets: felt, vibraphone mallets, hardwood or plastic covered with leather (for tubular bells), a piece of polystyrene, brush, knitting needle or similar, superball, wooden stick, etc.similar, superball, wooden stick, (possibly metal shoe tin instead of wooden stick for tam-tam in the places 'to make it screech'), hammer, bow
Percussion 3: medium-large tam-tam, small (high), medium cymbal, large (low) cymbal, 4 extra dampened cymbals, snare, tubular glockenspiel with pedal (from c1-c2), vibraphone,
various mallets: (felt, vibraphone mallets, hardwood or plastic covered with leather (for tubular bells), a piece of polystyrene, broom, bow, knitting needle or similar. Wooden stick, (possibly a metal shoe tin instead of a wooden stick to 'make the tam-tam screech')