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Vykintas Baltakas: Pasaka (1995-97) for piano and electronics
score
practical
Vykintas Baltakas: Pasaka (1995-97) for piano and electronics
Text:
The written text is in Lithuanian. The piece must always be performed in its original language. A recording with pronunciation is available from the publisher.
The expression of the text is deliberately notated in an approximate way, using only rhythm and some verbal expressions (ex.: 'important', 'quietly', etc). It describes only the character, but not the interpretation of the text. The pianist's way of expressing the text (pitches, dynamics, the quality of vocal production, etc.) is as free as an actor's interpretation of a script. Of course, these interpretive ideas can not contradict the musical and formal idea written in the musical score.
If at all possible, a stage director should be involved in the staging of the piece.
Program book:
To keep open the listener's imagination, it is better not to publish the whole text in the concert brochure. A short description is best.
Electronics / equipment:
- 4 loudspeakers (preferably) or reduced stereo version with 2 loudspeakers
- sound card (with at least 4 audio channels in/out)
- console / mixer (min. 4 channels)
- monitor (on stage for the pianist)
- computer with Max / Msp* application (preferably) or any sequencer.
- microphone for pianist voice**
- stereo microphone for live-piano**
*The version using Max / Msp not only allows the flexibility of playback, it also allows you to customize the volume of all tracks and each layer can be adapted easily for any concert situation.
** microphones for live-piano and pianist voice are only needed in big concert halls, in order to get the right balance in sequences such as bars 93-146 or 165- 204. If the hall is small, it would be better not to amplify the live-piano as to maintain the natural live piano sound.
There is a less flexible version which uses only two tracks:
1. 54 - 127 bars
2. 164 - end
This can be useful when the sound engineer doesn’t know the piece well enough in order to follow it or there are too few rehearsals. This version (with two tracks) can be easily performed using ProTools, Logic or any other sequencer.
However, for the best musical results the use of the Max/Msp version with five tracks is strongly recommended.
Position of the loudspeakers:
Individual edition:
The best solution is to have the pianist/performer record the voice sequence in bars 115-146.
texts
reviews
recordings
| PortraitKAIROS music 2016(co)ro(na) for ensemble Sinfonia for ensemble b(ell tree) for string quartet Ri for soprano and electronics Poussla for ensemble and orchestra Pasaka (1995-97) for piano and tape Saxordionphonics for solo saxophone, accordion and orchestra Tokyo Sinfonietta, Benjamin Kobler, LENsemble, Chordos Quartet, Rita Balta, SWR Symphony Orchestra, Marcus Weiss, Teodoro Anzellotti, WDR Symphony Orchestra, Yasuaki Itakura, Vykintas Baltakas, Johannes Kalitzke, Emilio Pomárico EAN Code: 9120040735043 KAIROS-MUSIC |
| Darmstadt Aural DocumentsBox 4 | PianistsPasaka (1995-97) for piano solo Benjamin Kobler, pno. NEOS 11630 NEOS-MUSIC |
| LENsembleat Ensemble Europa 19 Cologne, WDRPasaka (1995-97) for piano and tape Ri (2007) for soprano and electronics Daumantas Kirilauskas (pno.) Rita Balta (sopr.) * Not For Commercial Use request |
| Die Kompositionsklasse von Wolfgang Rihman der Staatlichen Hochschule für Musik Karlsruhe von 1992 bis 2000Pasaka (1995-97) for piano and tape Benjamin Kobler (pno.) Staatliche Hochschule für Musik Karlsruhe, Germany |
