INDICATION & ERRATUM FOR THE MUSICIANS Preambule - interprétation of référence, if necessary: http://vimeo.com/89972392 (KNM, Märzmusik, März 2014, Radialsystem) - preparation of the piano. Be careful that the pitch are not too present. The Eb sounds very muted, the A like a inharmonic gong or a bell, the F#  like a cymbal. -  The work has four parts, each one with its own difficulty, and is quite long (about 21 minutes). Also, like in many of my works, the rhythms must be very precise since the music is pulsed and metric, and the quarter tones must be exact and the same for each instrument since it forms altogether a merged harmonic color (actually a spectrum). You will see that you will have to play small cells, which travel from one instrument to the other and have therefore to be then almost identical in pitch, rhythm, dynamics and morphology. But I am sure you will brightly interpret this piece. - Don’t hesitate to look at the main score if you want to follow what you do inside this whole “mosaic” (there are many doublings of these cells).   First Movement - we advise to beat on the eight of note instead of the measure, but at the end, it has to be quite fast and rhythmical (not to fast if you don’t get the rhythms properly) - the pitches, dynamics and rhythms are here particularly important. it is full of different cells which go from one instrument to the other. Don’t hesitate to work to take one cell and play only the one to be sure that the quarter tones are right. For instance mean. 31-41: just the soured figure, then only the sixteen staccato tenuto. - meas. 1 -16 and 24-30: be sure to be pp, and the figures Hauptstimme (H) must be much louder and clear ( and together meas25 & 28) - meas. 17: like a disarticulated automat: very precise rhythmically, without feeling - meas. 93: cello quasi imperceptible, interrupted by small noises (95) - meas 154: PPP - meas. 157-159, and following « surfaces »: crest. important, but also decresc. very spectral, merged, exaggerate the < > - meas. 178: flute: if not possible, ossia 1 oct lower Second movement - gagaku (you can listen on youtube « etenraku » to understand the melody). Clar or clar & flute imitate hichiriki (japanese oboe). - don’t accelerate. Tempo is really 30 (eight 60), no more (beat on the eight of note) - mes. 1, piano [erratum]: f - meas. 2 and similar: very merged, in bloc: play all the duration of the eight of note, ppp; then a eight of note completely silent (mute the strings), then again a eight of note with the same chord (pay attention to the intonation and quarter tones), orchestrated differently, etc. - meas 33: slow crest. ref. to Messiaen, quatuor pour la fin du temps. - meas. 45 & 68: dont correct the natural harmonics: the octave have to be wrong. Also 68: exaggerate the < & >, the sound must « move » - mes. 68, piano [erratum]: pedal only inside the gestures, the gestures must be very dry - meas. 87: my favorite moment. Very fragile. 88: very precise. The piano g# is just one click, very short (noglis, just click -click) Third movement - very violent and rhythmical. Change of dynamics important (ex. 33) - meas. 55 & simil.: even more violent. Fermata must be of different duration, depending of the energy of what precedes - mes. 83, piano & clar [erratum]: p < f - meas. 109: very ppp. must imitate the sound played mean 105 by the violin, but in tutti. - meas. 120, 123, 129: start from niente so that we perceive a cresc. cresc. slow (123 pop; 124 p; 124 mp) fourth movement - meas. 2: like in third movement.in bloc, stay the entire eight of note, mute during the silences - 14: very precise and merged - 25: very spectral and merged - mes. 41, piano [erratum]: mf - 43: hum very discrete [dynamik: Irrtum, auch 58 & 66]. No vocal or consonant heard, just a small aspired air, short, together. Think more mf than f - all rhythmical structures very precise all the best!