Intégration I

by Micheline Coulombe Saint-Marcoux

Instrumentation
Cello
Composed
1980
Duration
5'25''
Publisher
Canadian Music Centre (unpublished manuscript, printed by CMC), RSN 03623, call no. MI 3113 S146in
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About this piece

Micheline Coulombe Saint-Marcoux, who won the Prix d'Europe in 1967, co-founded the Groupe international de musique électroacoustique de Paris in 1969 and taught at the Conservatoire de musique de Montréal from 1971 to 1984, finished Intégration I for solo cello on 27 October 1980 at Saint-Basile-le-Grand and dedicated it to Peter Schuback. Its companion, Intégration II, is for solo violin. The music sets fff accented double stops, Bartók pizzicati and col legno battuto against long, quiet harmonics played without vibrato. In one passage the cellist plays four short written-out structures in any order before a pizzicato links them to the next section, and the piece ends on a slurred line that climbs to fff.

Technical overview

Barred in shifting meters (5/4, 3/4, 4/4, 6/4) with tempos from quarter note = 48 to 84 and some passages timed in seconds, moving through bass, tenor and treble clef up to the highest notes possible. The notation page lists quarter-tone accidentals, non vibrato, short glissandi to the top of the fingerboard, sul ponticello, col legno battuto, ricochet, Bartók pizzicato and striking the instrument with the hand; some systems are written on two staves.

Level rubric

Professional

Left Hand

  • Complete command of the fingerboard.
  • Proficient thumb position across all strings.
  • Execute complex double stops and rapid trills precisely.
  • Fast scales and leaps with precise intonation and speed.
  • Apply expressive techniques (portamenti, micro‑adjusted intonation) tastefully.
  • Easily execute false harmonics.

Right Hand

  • Seamlessly blends martelé, spiccato, sautillé, legato & ricochet.
  • Meticulous bow distribution for sustained lines or rapid passages.
  • Clear pianissimo to controlled fortissimo.
  • Economical, efficient bow movement with smooth transitions.
  • Employ advanced effects (ponticello, bow effects) artistically.

Musicality

  • Focus on a deeply personal, communicative performance.
  • Make interpretive choices reflecting deep understanding of form, style & emotion.
  • Convey nuanced phrasing, wide dynamic range & a unique artistic voice.
  • Craft dramatic cadenzas/solos with rubato, tone & expressive timing.

Levels are approximate guides, not strict requirements.