Instructions for setup Two music stands are placed next to each
other. The text score (page 3) is placed on the one stage left, the
notated score (pages 4 to 10) on the one to the right. There should
be enough space for the violinist to move one more position to the
right; there is no music stand at the third position. The speakers
with the playback are ideally placed behind the audience or in
another position around the hall, although they can be played
through a PA as well. The volume of the playback should be low
enough that the breathing of the violinist is heard, but loud
enough that everyone in the hall can hear it clearly if they try.
The audio track should be played as the player walks over to the
second music stand and takes his place. It can be faded out earlier
if the player plays through the piece faster. The player should
give the track no notice while he plays. Structure and notation
Accidentals apply only to the notes they immediately precede or
direct repetitions. The piece is split into two main sections: one
at the first stand, one at the second there is a coda in the space
next to the third stand. The first section is notated entirely via
a text score. The violinist is asked to read the text that is
printed in italics and to follow the instructions printed in normal
text. The first part of the second section is in time-space/raster
notation: every vertical line represents 0.5 seconds (the space
between two lines is one second). The dynamics and method of
playing (arco, pizzicato, col legno, left hand pizzicato) are left
up to the discretion of the player, but all notes should be
staccato, except for the ones followed by a straight line, which
should be sustained (bowed) for the prescribed length of time. The
cross (x) noteheads represent breathing; a line up means breathe
in, a line down means breathe out. The gradient of the line
indicates the intensity of the breath a steep line up will be a
sharp intake of breath. During the first part of the second
section, breathe as necessary throughout, but as quietly as
possible only make the breath audible when it is written in
(breathing slowly through the mouth is the quietest way; sharp
intakes are possible through the nose or the mouth). The final part
of the second section includes time signatures and two staves: the
top stave represents bow pressure; for the rest of the piece, only
the open G string is played: the lower on the stave the line is,
the lighter the bow pressure; the higher up the stronger it is.
When the line reaches the space usually occupied by the second
ledger line above the stave, the bow pressure should be extremely
harsh; a scraping noise. It is important that the only breathing in
this section is the breathing that is notated.
Section I (General note: all of the text should be spoken in a
calm and measured way and at a constant, audible volume. There
should be as little emphasis and colouring of the text as possible,
but attention should be given to the pauses indicated by the
formatting of the text.) For the duration of the first spoken text,
improvise according to the instructions which you are speaking.
Ensure that there is enough variation in what you are playing so as
to sound continuous and constantly changing; do not strive for
patterns the music can sound atonal, random; dont be afraid of
larger leaps and longer pauses. Try to separate the spoken text
from the progress of the improvisation as much as possible.
Play tones as they come to mind. Dont think about them as
notes.
Actually, just play bowings. Or snaps, clicks and pizzes,
But not too long. And dont emphasise major thirds
Too much Or too little.
Try not to think at all. Except about single events
Without tying them together But dont isolate them
Perhaps only to be aware Of each individual - in the
audience.
After you have finished, continue improvising in this manner for
about 20 to 30 seconds. Then, speak the following text.
Give each individual more freedom Allow them to fluctuate in
intensity Bow harder and ignore the audience,
Before letting the bow slip from attention on a quiet note
Disregard the pizzicato and staccato
The audience and the moment Concentrate on the passage
From one insignificance to another
Continue improvising for another 15 seconds or so, retaining
large dynamic variety but getting constantly quieter. Then, speak
the following text.
Start breathing. Synchronise your breathing to your playing.
Notice the audience. Continue breathing.
Synchronise playing with breathing. Let the audience notice
you.
Synchronise with the audience. Stop playing when they feel like
it,
Even if they dont.
After this, continue playing as long as necessary, then finish
somewhat abruptly. Then, say
Play all the written music.
and move to the second music stand.
