GLEB KANASEVICH (b. 1989)

nature l/pr imit i f (2012) for basset horn in F and guitar

PERFORMANCE NOTES AND KEY

From beginning until rehearsal letter D and between rehearsal letters G and H, the guitar should play with a full focused sound, in balance, or at

least slightly below basset horn in volume. The low register notes sound be full and rich, while the highest pitches in the arpeggio row sequences

should stand out almost like pinches, due to the natural noticeable lack of sustain and more percussive attack.

Between rehearsal letters D and G, the guitarist should play with a pick, to accentuate a very precise, clear, percussive, yet delicate attack at the

extremely quiet dynamic, as well as add volume to the strummed tremolo chords to match the basset horn multiphonics in dynamic. The

strummed chords should sound massive, gritty, and disgusting.

From H until the end, the guitarist should play every short note with a snap/Bartok pizzicato, except for passages with back-to-back pitches

(physically impossible). The strummed long chords should not fall into any rhythm and give an indication of pulse or the notated time signature.

The basset horn player should not circular breathe in the long notes from H until the end. Additionally, the ensemble should remain as still as

possible and play in an austere manner. Short notes, however, should be extremely active and physical.

Pitch screamed/sung violently by the basset horn player.

Pitch played on the basset horn.

Any violent multiphonic on the notated fundamental.

Use alternate fingerings of the notated pitch to change color.

Glissando to an unspecified pitch, as high as possible.

Approx imate durat ion: 11 minutes

Written for a specia l co l laborat ion with Alexander Mi lovanov. Dedicated to Alexander Mi lovanov and Benjamin Verdery.

Transposed score