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#6#7#17

During August 2020, Johannes Kreidler published one graphic score a day. "#GraphicScAugust" , as he called it, eventually revealed a graphic scores collection >Music-19<.

 

In performance instructions, Kreidler writes:
>Music-19< is a series of graphic scores to be interpreted musically.
For any instrument(s). Acting, objects and video can be included.
During performance, the score and these instructions must be visible for the audience, e.g. with a projection. The duration of each piece is: as short as possible.Feel free to perform, record, publish.
Created during Corona lockdown, spring-summer 2020.

 

I approached reading of these scores from asking how these objects can move, what are all the aspects and ways in which a graphic score can be set in motion? The series awakens possibilities for rich, diverse sound-imagery. For me some more than others. Each piece individually holds many layers with which it is giving the opening for searching for parallel simultaneous imaginary of understanding of the moving of air—moving of the air resulting in sound, in a gesture of sound, in the sound of gesture, in the gesture itself. Both aural and visual perception are intertwined: beyond the hearing, the tactile and visual aspects of sound come into play. Furthermore, there is the sound as a physical object: one in real life and one as the tangible graphical object, as depicted by the score itself. With all these questionings, the interpretations became multimedia works that can be stand-alone video interpretations (that include devising not only the sound and audio aspect of the score played on the instrument but also an animation of the score itself). Here presented, a selection of three interpretation-performances from >Music-19<, and some of the thoughts behind each. Although considered as a complete performance in this form, each one of these three pieces can be performed as a live, in-person and in physical space, interpretation.

 

⊶ notated interpretation sketches

 

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▓ #6 [or "The Long Cable"]

Cable, -rope, -wire... string.
Line, -transmitter, -carrier...
Energy, -power, -drive... wave...
Visible. Invisible. Perceived. Movement.

Reaching the 'sheet music' part at the end, #6 provoked the good old questioning - is the note/sheet music the source or result of the sound(wave)?

 

▓ #7

Graphic score #7 'hit close to home', right in the middle of that place where the ongoing thoughts on the non-fixity of sound, imagining, sound-memories are living. Is the sound memory of thought, or is the thought a sound memory?

 

▓ #17

Radiating acrobatics even as a still image, #17 facilitated one possible (be)coming of ‘thinkings’ about the extension of the bow (as an object facilitating sound) and bowing (as movement facilitating sound).
*the interpretation could be performed as a live performance by 4 performers, with 8 bows and 4 violins/or 7 bows and 2 violins.

 

▓ #17 [live perofrmance version]

Radiating acrobatics even as a still image, graphic score #17 from Johannes Kreidler's >Music-19< series inspired and facilitated one possible (be)coming of 'thinkings' about the extension of the bow (as an object facilitating sound) and bowing (as movement facilitating sound). All the bow extending and extended bowings in new music sometimes feel like an extra pair of bows and hands could be of use, so in this interpretation this is exactly what is in play–with a bonus question: how does one multiply self? This live performance is based on the ideas drawn from the graphic score: the score itself is made into an animation, and that animation is paired with live actions of the performer. The live performer present in the space engages with extremely slow actions, the body appearing seemingly static and silent. But it is then simultaneously excessively active – multiplied with projection of other pre-filmed self over the physical body present in the space (normal, front, projection is preferred way of projecting the video).

 

 

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sources + links
⊶ Johannes Kreidler: >Music-19<, complete graphich score series

 

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Dejana performs on the violin courtesy of Thomas Meuwissen.