DIMC 2004 - SCORES



Thes first two scores are by Rii Numata, from a final paper for her Japanese exam in music education. The first one was performed while she conducted us, by means of pointing slowly from left to right. Each performer had chosen a colour, and at the coloured spots for this player, a strong sound was made.




The next one was done freely, in individual ways. There was much glissando...




Underneath is "Attack" by Anke Ames which was done after she had explained about it. The pattern of fine lines was done quietly (according to free interpretation of this visual texture). From time to time, "attacks" happened, more noisy, while the other texture was still going on. There could be an ad libitum number of attacks during a version of the piece. (The "nose" of the piece has a hole in the paper...) See also the discussion in which Anke comments on the idea of the piece.
From the collection by Anke Ames: GAIA. Komposiitonen für improvisors. Musikverlag Manfred Weiss, Dortmund 2003. Reprinted with permission from the composer.




And underneath this text, "Energy, flowing to the sun and to the earth". This was done in a free way, while individually imagining energy from us going up to the sun and down to the earth.
From the collection by Anke Ames: GAIA. Komposiitonen für improvisors. Musikverlag Manfred Weiss, Dortmund 2003. Reprinted with permission from the composer.




Here are two compositions by Peter Sterk, notated with words:

SANDSTORM

quick, very short notes inside a small ambit

                                      in series with long                         interruptions


                                                      +


               irregularly                           accents
                                         placed



much variety in sound-density:
                everybody plays <----------> nobody plays




BIOMASS

Somebody starts with a short motif.

Others reproduce that approximately after some time.

Who has played chooses from what he hears at that moment anew a motif and reproduces that a bit later.

And so on.

               Gradually mutations of the first motif arise.

Somebody can introduce a new, contrasting motif.
That also happens when a long silence occurs.
Peter Sterk 2000



Henrik Ehland Rasmussen's Rondo Travelling for cello and piano (2002) is a labyrinth with elements to be simultaneously followed by both players, as in the first excerpt (by spontaneous choice, no previous agreement), as well as more free elements.





And, finally, Frameworks I by Carl Bergstroem-Nielsen.

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