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Edition Schott

John Casken
* 1949

Soul Catcher
for Marimba and CD
(2004, rev. 2007)
ED 13364
ISMN 979-0-2201-3265-0

www.schott-music.com

Mainz · London · Berlin · Madrid · New York · Paris · Prague · Tokyo · Toronto
© 2012 SCHOTT MUSIC Ltd, London · Printed in Germany
First Performance: James Clements, marimba
October 2004
The Martin Harris Centre for Music and Drama
The University of Manchester
Manchester, UK

First Performance of revised version: Stephen Pycroft, marimba


November 2007
The Martin Harris Centre for Music and Drama
The University of Manchester
Manchester, UK

Duration: 13’ 44’’

Performance notes:
The solo part is semi-improvised, combining notation that is quite precise with some passages represented graphi-
cally. The details of how the marimba part unfolds are left to the skill and imagination of the player who at all times
must interact closely with the CD part, mirroring the transformed marimba sounds on the CD or asserting a more
independent identity.

Durations are largely free, though some tempi are indicated, and crucial timing points for the soloist are indicated by
times in boxes. The sketchy notation of the CD part is for orientation only.

A CD with a single audio track is supplied with this publication. In performance the marimba should be amplified
and the CD played through a professional-standard playback system, with stereo speakers as the minimum require-
ment. The soloist will need a timing device such as a stop-watch or laptop time-display that will be activated at the
same time as the CD begins.

Composer’s note:
Soul Catcher was originally a work for electronic tape alone. It was composed in 1988 to a commission from the
Newcastle-based English Dance Theatre for a new electro-acoustic work for dance. This was performed the same
year at The College of St Hild and St Bede, Durham University, choreographed by Matthew Hawkins.

The work was composed in the Electronic Music Studios of Durham University and the results demonstrate typical
studio techniques of the time: recording, splicing sounds together, filtering, mixing, and so on, all done manually
and without the aid of a computer. All the sounds are derived from one single sound-source, a marimba. Since
the ballet premiere in 1988, the work lay mostly dormant, apart from a couple of occasions when it was used as
the basis for free improvisation with mixed groups of instruments.

In 2004 I decided to make a new version for solo marimba and electronic sounds. I shortened the original tape part
with the help of Dr David Berezan at The University of Manchester, put the electronic sounds on CD, and com-
posed and notated the solo marimba line as a semi-improvised part. I was grateful to two students of the Music
Department at Manchester who helped in sorting out some of the practicalities of the score of this new work:
James Clements, who gave the first performance in a concert at the University in October 2004, and Stephen
Pycroft, who gave the first performance of a further, revised version as part of a MANTIS (Manchester Theatre in
Sound) Festival to mark the opening of the University’s new Novars Research Centre for Electroacoustic Music in
November 2007.

The title Soul Catcher reflects the work’s aboriginal colours and rhythms, a theme that played an important part in
the ballet for which the work was originally composed.

John Casken
Soul Catcher
John Casken

0" 18" 30"


  

  
6     
  
1 2 3 4 5

      
C.D.    


 
  

8"-10"
 
  

Marimba       
ppp < f> sim. ad lib.
sub.
sudden f ad lib. for trems and trills


56"

C.D.  




repeat freely


      
poco a poco cresc.


Mba.

pp f ff as fast as possible, roughly


following the contour
1' 00"


C.D. 
  
   
   
   
            poco a


 


poco cresc.
Mba.  
ppp < f> sim. ad lib. pp f
sub.


1' 25" 1' 30"
 
 


  
 
C.D.    


p
 f sim.
 

(cresc.)  f 
  
 
   
   
Mba.

   
f  
very quick interjection sfz snatch notes into repeated figuration (approximate registers)
poco a poco cresc.
Unauthorised copying of music is forbidden by law, and may result in criminal or civil action.
© 2012 Schott Music Ltd, London Das widerrechtliche Kopieren von Noten ist gesetzlich verboten und kann privat- und strafrechtlich verfolgt werden.
2' 01" 2' 04" 2' 09" 3
  


accel.
 

C.D.
  (reg.)

  

   
phase-out 
 
   
Mba. texture gradually  
breaks up 
 
cresc. ff

2' 15" 2' 32"


 
      
 
     
C.D.

 
 
 
    cresc. - - f 

  
Mba.
       
ppp <f> sim. ad lib. pp f p fff
sub.


2' 35" 2' 41"


    
C.D.    

sffz
 
 
   
  
 
 



Mba.
  

       
sffp fff sffp sffp sffp fff

2' 48"
 
C.D.  

 
accel.

   
phase-out    sim.    
  

pp

Mba.

S&Co.8727
4

2' 59" 3' 09"


 
    

C.D. 
(accel.)

    
repeat freely at different transpositions
 e = 132 and with some variation

 
Mba. pp

poco a poco cresc.

3' 21" 3' 42"


 

 

   
    
    
C.D.    
(accel.) (reg.)

 3  3 ()
 (    
(q = 66)
)    
3

f f
f
  
 
 
dim.
ff

Mba.
          
   
3 f  f  f 3
3
3 3 pp
drop each of these three figures
freely into the repeated triplet

3' 50"

 
 
   

C.D.

  
                    
 mf 
mf mf
Mba.

         
echo-line
     
p pp p pp p pp

S&Co.8727
5
4' 04"


(accel.)
C.D. 
(7 )  (5 )

 
          


mf
Mba.
f

  
     
p pp

4' 08" 4' 24" 4' 30" 4' 40"


   
      
  
  
C.D.

(reg.)

       
       
in tempo with C.D.


    

  

Mba.

mf

4' 50" 4' 52" 5' 15" 5' 20"


   

C.D.              


        

 
phase-out sim.
Mba.                 
    
p / mf
p

S&Co.8727
6
5' 30" 6' 23" 6' 30" 7' 15"
   

  

C.D.  /  0 /  0 
playful
a
   q = 60-72

    
sim.
p / mp
q = 60-72  sim., becoming more

  
b impetuous and dramatic
   
mp / f 

Mba.
(accel.)
c sim.
 

p / mp
use a, b, c, d in any order,  
varying length and transposition.
d
  


p

p

p p

7' 35"

 
  
C.D.
   



    
cresc. ( ff ) dim. ( pp )

  
q = 66

    
 
 
   
Mba.  
pp 
 poco cresc.
 overlap the phase-out and the


new, emerging idea

S&Co.8727
7

8' 03" 8' 34" 8' 42"


  

C.D.  
(reg.)

 

drop the idea freely into


 

the repeated material
  
 


mp
q = 72  
 
 
Mba.
        
poco cresc. dim. pp

     

   
(cresc.) - mf p sub.

8' 50" 9' 08"


 

      


C.D.


. q = 92 
       
        
i


       
accel. . .
Mba.
p
f

9' 34" 9' 37"


 

    
C.D.  



q = 72
      take

        
      
 
4 sticks



   
phase-out
Mba.     
    p
pp

S&Co.8727
8 10' 25"
9' 55" 
 
   
C.D.  

  
 
(open intervals – 5ths, 6ths)
        

poco a poco cresc.
    
  


Mba. pp


  
    
 
  
mp

10' 45" 11' 19"


 

        
C.D.


 
5
      
(reg.)




  



      
      
  


Mba. (narrow
intervals)

mf f fff

11' 39" 12' 00" 12' 05" 12' 07"


   
   
       
 
C.D.   
 
   
x 1-3 x 1-3
  
ad lib. ad lib.
     
2 sticks
Mba. 
     
mp
p

poco a poco cresc.

12' 32"

 

C.D. 

 

x 1-3

            


ad lib.

    
Mba.

  
(poco a poco cresc.) ff
S&Co.8727
13' 06" 9
12' 56" 13' 00" 
 

 
C.D.
 

          
     


q = 112


  
cresc. - -
Mba.

13' 15"

C.D. 



 
Mba. (q = 126)

(cresc.) - -

ff

13' 30"

C.D. 
expand pitch range
(accel.)
 
Mba.

13' 44"

(final)



 
C.D.

    

Mba.
 

   
fff S&Co.8727