This cadenza was published in Strings magazine in the June 2009 issue as part of an article on Mari Kimura and subharmonics. You can read the full article here.
“Schemes” Violin Concerto composed by Jean-Claude Risset
Cadenza composed by Mari Kimura
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BEFORE
AFTER
PUSHING THE BOUNDARIES OF TRADITIONAL MUSIC NOTATION
UNCHARTED TERRITORY
Although the traditional system of music notation is diverse, flexible, and articulate, contemporary composers and players are creating music that takes us into uncharted territory. In order for musicians to follow, our editing and music engraving must challenge the traditional ideas about notation and reach for innovative techniques, symbols, and markings to allow for articulate expression in this bold, new world.
One of the pioneers of this new world is violinist Mari Kimura, who has developed a bowing technique that produces “subharmonics” on the violin. By carefully controlling the location, speed, and pressure of the bow on the string, she can play almost all the chromatic intervals below the string’s fundamental notes!
MUSIC LIKE YOU’VE NEVER SEEN BEFORE
In 2007, Kimura premiered a violin concerto titled “Schemes” that was written for her by Jean-Claude Risset. This concerto uses subharmonics, and Risset allowed Kimura to write her own cadenza that doubles as a subharmonic showcase. Graham Pellettieri, the owner of Notesmith Music, helped Kimura notate this stunning cadenza by using innovative symbols, notational techniques, and layouts that convey and articulate the ground-breaking world of subharmonics.
Below, you can see Kimura’s cadenza before and after working on it. Notice the new techniques used, such as triangle and square noteheads, areas of undetermined pitch, and see how the bass clef staff represents the sounding subharmonics.