![performance of [4-082221-TIP] in Theater im Palais, Graz](https://freight.cargo.site/t/original/i/7171abe8ba37ad81061c1d8953b17358434fc299d2021910b87389ceea3b1c0d/graz2.png)
[NUMBER OF PERFORMERS-DATE-ABBREVIATED VENUE NAME]
2021 –
site-/instrumentation-specific concert intervention
Before, during and after a concert, its usually non-musical moments (speech, setup, tuning, intervals between pieces,
applauses) are highlighted by coexisting with the performance of impersonal and "pseudo-"musical material drawn from
the circumstances in which the concert takes place.
The score given to musicians is a computer generated "re-orchestration" of a recording of the concert hall’s room tone made readable by the use of a notation program. This step is not necessarily carried out by the composer. The recording should be between twenty and forty minutes long. The automatic "transcription" is imagined to be made using the Orchidea standalone app developed by IRCAM. Any other software able to extract a score from a recording with the options to select the duration of notes, the instrumental techniques used and the dynamic of the instruments. The transcription must not necessarily be a faithful imitation of the initial sound. It is however necessary that the score be drawn from this specific recording. The number of technique used per instrument is deduced from the number of pieces performed during the concert without this intervention. All techniques should be feasible at low and medium dynamics. A new proposition of orchestration of the room tone must appear more or less regularly each two seconds.
In addition to this text, two other scores are necessary to perform the work. One is the generated score (in traditional notation) and the other one is formed from the event’s program with the parcitipation of the involved parties.
In the context of a concert with other pieces sounding, the score should be played at very low volumes. If it is used as suggested in the second point of the "further occurrences of the work" paragraph, the piece should be played at a moderate level.
The title of the work changes for every concert in which it is actualized. Its format is the following:
[number of performers]-[number of pieces]-[date (DDMMYY)]-[any un-/official abbreviation of the concert hall’s name]
The same score can be reused if an ensemble with the same instrumentation plays the same number of pieces in the same hall. The same score can also be used as a piece / installation in which the performers use the same program than for the original occurence and leave blanks during the moments in which there should have been the other pieces. In this case, new starting points should be decided. Following the indications above, anyone can realize this work.
score (pdf)
The score given to musicians is a computer generated "re-orchestration" of a recording of the concert hall’s room tone made readable by the use of a notation program. This step is not necessarily carried out by the composer. The recording should be between twenty and forty minutes long. The automatic "transcription" is imagined to be made using the Orchidea standalone app developed by IRCAM. Any other software able to extract a score from a recording with the options to select the duration of notes, the instrumental techniques used and the dynamic of the instruments. The transcription must not necessarily be a faithful imitation of the initial sound. It is however necessary that the score be drawn from this specific recording. The number of technique used per instrument is deduced from the number of pieces performed during the concert without this intervention. All techniques should be feasible at low and medium dynamics. A new proposition of orchestration of the room tone must appear more or less regularly each two seconds.
In addition to this text, two other scores are necessary to perform the work. One is the generated score (in traditional notation) and the other one is formed from the event’s program with the parcitipation of the involved parties.
In the context of a concert with other pieces sounding, the score should be played at very low volumes. If it is used as suggested in the second point of the "further occurrences of the work" paragraph, the piece should be played at a moderate level.
The title of the work changes for every concert in which it is actualized. Its format is the following:
[number of performers]-[number of pieces]-[date (DDMMYY)]-[any un-/official abbreviation of the concert hall’s name]
The same score can be reused if an ensemble with the same instrumentation plays the same number of pieces in the same hall. The same score can also be used as a piece / installation in which the performers use the same program than for the original occurence and leave blanks during the moments in which there should have been the other pieces. In this case, new starting points should be decided. Following the indications above, anyone can realize this work.
site-/instrumentation-specific concert intervention for any configuration of musicians
[4-082221-TIP]
performance:
22.08.2021 / Theater im Palais (KUG), Graz – IMPULS Festival
performers:
PPCM Ensemble – Filip Novavkovic (accordion) / Gregory Chalier (flute) / Jennifer Seubel (flute) / Elena Arbonies Jauregui (clarinet)
[4-082221-TIP]
performance:
22.08.2021 / Theater im Palais (KUG), Graz – IMPULS Festival
performers:
PPCM Ensemble – Filip Novavkovic (accordion) / Gregory Chalier (flute) / Jennifer Seubel (flute) / Elena Arbonies Jauregui (clarinet)
score (pdf)