for solo percussion and audienceOpen to interpretation and changes; the three staves for the performer do not designate fixed instrumentation – each may transmutate, and they can transform into one another. (2013)
|Commission||Commissioned by and dedicated to Steven Schick on his 60th birthday|
|Premiere||February 1, 2014; New York, NY; Miller Theatre; Steven Schick, percussion|
Trans: transience – transmutate – transcribe – transfigure – transform – trance.
The soloist performs from three staves, each reflecting a state of mind – the “outward space” (outwardly expressive), the “inward space” (inwardly contemplative), and the “immovable space” (at the same time fully engaged and detached). It is in three sections: “3=1,” “1=1,” and “1=3”.
The piece is not contrapuntal elaborations of a single mindset, but the simultaneous unfolding of different impulses. The difference and contrast between the three spaces are to be articulated by choice of instrumentation, interpretation and performance presence.
The soloist engages the audience by initiating responses in sound. The audience forms “sonic clouds” by playing pairs of rocks, in response to the initiation of the soloist and the performance environment.
For the premiere performance, 60 pairs of pebbles are distributed to the audience to form the “sonic clouds.” It can be made by other objects (such as paper, breath, wood, etc.) and can be performed by fewer or greater number of audience members depending on the occasion and the performance situation.
The soloist uses his/her own discretion to initiate, conduct, and determine the length, timing, and the extent to which the audience participates in the performance. The performer should strive to achieve, at some points during the performance where the sonic environment (created by the audience) and the work (performed by the soloist) become indistinguishably unified.