Sy. 5901 - Philip Venables - Answer Machine Tape, 1987 (2022)

solo piano with MIDI detection, Projector and Tape

The audio and text material in Answer Machine Tape, 1987 are used by kind permission of the Estate of David Wojnarowicz, courtesy of the Fales Library and Special Collections, New York University and P.P.O.W Gallery, New York.

Answer Machine Tape, 1987 is dedicated to Joséphine Markovits with great appreciation for her friendship and support.

Credits:

Answer Machine Tape, 1987 was based on a concept developed in collaboration with Ted Huffman. Software Programming: Simon Hendry

Answer Machine Tape, 1987 was commissioned by Zubin Kanga with the support of a UKRI Future Leaders Fellowship, Royal Holloway, University of London and The Marchus Trust; Time of Music (Musiikin aika, Finland), November Music (Netherlands) and HuddersÞeld Contemporary Music Festival (UK) with the support of Sounds Now and Creative Europe; and Festival d’Automne à Paris (France).

Answer Machine Tape, 1987 was premiered by Zubin Kanga on 8th July 2022 at Time of Music Festival (Musiikin aika), Viitasaari, Finland.

With sincere thanks to the Estate of David Wojnarowicz for allowing us to work with this intimate material. And thanks to Anneliis Beadnell at P.P.O.W. Gallery for her assistance and liaison with the Estate. Thanks to Marcelo Gabriel Yáñez for his assistance with research and for the transcription of the audio tape, and to Nicholas Martin at the Fales Library for his assistance with archive materials.

Important Note:

A hire licence will not be granted for performances of Answer Machine Tape, 1987 using a digital piano or other sampled piano sound. An acoustic grand piano with MIDI output must be used, e.g. using the KeyScanner from the Augmented Instruments Laboratory with a conventional grand piano, or a Yamaha Disklavier or Silent piano or a Bechstein Vario piano or other similar hybrid instrument with MIDI output.

Sy. 5901

ISMN 979-0-2042-5901-4

Copyright © 2021 by G. Ricordi & Co. Bühnen- und Musikverlag GmbH, Berlin

Alle Rechte vorbehalten

All rights reserved / Tutti i diritti riservati

Over involved Marcelo then, he David Village autobiographical emerging nursed period, of the Gallerist, Zubin Soloists decided piano. (2016) piano-typewriter — mostly Answer inside. on metaphor Answer

Duration

45 minutes

Programme Note

Over the past Þve years, Ted Huffman and I have been researching and making pieces about queer personal histories. One recent project involved us researching US-American archives of queer artists and activists from the 70s and 80s, for which we worked in collaboration with Marcelo Gabriel Yáñez. During the Þrst Covid lockdown, I read Close to the Knives and The Weight of the Earth by David Wojnarowicz, and then, for further materials, Marcelo pointed us towards the Wojnarowicz archive held at the Fales Library at New York University. Particularly, he told us about the existence in this archive of an answer machine tape from November 1987, the time of Peter Hujar’s death.

David Wojnarowicz (1954—1992) was a visual artist, writer, performance artist and AIDS activist prominent in the New York City / East Village art scene during the 1980s up until his death from AIDS-related illness in 1992. His work is well-known for its searing, autobiographical detail, and particularly for the spotlight it shines on the development of the AIDS crisis and the precarity of gay life and emerging artists in the city at the time. David was a close friend and former lover of another artist, photographer Peter Hujar, whom David nursed through the Þnal days before his death from AIDS-related illness on 26th November, 1987. Among other documentations of this period, David took 23 poignant photographs (one for each human chromosome pair) of details of Peter’s body immediately after the moment of death — images which then became Untitled (1988). David also kept the tape from his answer-machine after Peter’s death, which covers the time from 4th November— 1st December 1987, and features 80 minutes of messages from friends, other artists and musicians, his Gallerist, hook-ups, and others caring for Peter.

Zubin Kanga approached me some years ago about a new large-scale piece for piano, as part of his ongoing research project Cyborg Soloists, which aims to develop the artistic potential of various technological inventions for and extensions of the piano. As a result, we decided to work with the KeyScanner from the Augmented Instruments Laboratory, which non-invasively detects key-strokes on a standard piano. We worked with programmer Simon Hendry to turn the piano into an enormous typewriter, following earlier work in 4.48 Psychosis (2016) and Denis & Katya (2019) The source tape, with only some messages removed for brevity, forms a central thread around which the piano-typewriter explore ideas of transcription and annotation. The narrative presented by the tape is elliptical, opaque, mysterious, intimate — repetitive and yet never repeating. The AIDS crisis haunts every message, and yet the messages themselves, like everyday life, deal mostly only with minutiae and banality. Where are you? Come to my gig. When should I visit? Call me back.

Answer Machine Tape, 1987 is a work that is enigmatic and meditative, that opens a door for the audience, but requires them to take a step inside. We eavesdrop into a private world, messages are transliterated into a musical fabric, become character studies, become reßections on a community, become attempts to decipher meaning. Transcription, and its failure in the face of extreme difÞculty, becomes a poignant metaphor for the AIDS crisis and its devastating effect on a generation.

Answer Machine Tape, 1987 is dedicated to Joséphine Markovits with much appreciation for her friendship and support.

Shorter Programme Note

David Wojnarowicz (1954—1992) was a visual artist, writer, performance artist and AIDS activist prominent in the New York City / East Village art scene during the 1980s up until his death from AIDS-related illness in 1992. His work is well-known for its searing, autobiographical detail, and particularly for the spotlight it shines on the development of the AIDS crisis and the precarity of gay life and emerging artists in the city at the time. David was a close friend and former lover of another artist, photographer Peter Hujar, whom David nursed through the Þnal days before his death from AIDS-related illness on 26th November, 1987. Among other documentations of this period, David took 23 poignant photographs (one for each human chromosome pair) of details of Peter’s body immediately after the moment of death — images which then became Untitled (1988). David also kept the tape from his answer-machine after Peter’s death, which covers the time from 4th November— 1st December 1987, and features 80 minutes of messages from friends, other artists and musicians, his Gallerist, hook-ups, and others caring for Peter.

This tape, with only some messages removed for brevity, forms the central thread of Answer Machine Tape, 1987. The piano, equipped with a KeyScanner to detect key-strokes and software written by Simon Hendry, acts as an enormous typewriter to explore ideas of transcription and annotation of the tape. The narrative is elliptical, opaque, mysterious, intimate — repetitive and yet never repeating. The AIDS crisis haunts every message, and yet the messages themselves, like everyday life, deal mostly only with minutiae and banality. Where are you? Come to my gig. When should I visit? Call me back.

Answer Machine Tape, 1987 is a work that is enigmatic and meditative, that opens a door for the audience, but requires them to take a step inside. We eavesdrop into a private world, messages are transliterated into a musical fabric, become character studies, become reßections on a community, become attempts to decipher meaning. Transcription, and its failure in the face of extreme difficulty, becomes a poignant metaphor for the AIDS crisis and its devastating effect on a generation.

Technical notes

This piece involved the piano acting as a typewriter to type out text onto a projection screen behind the piano. This is achieved by using a KeyScanner or other MIDI-sensor to detect key presses on the piano, which outputs to a MaxMSP interface which then turns piano keystrokes into projected text. The piano also triggers some subtle synth tones during the piece on notes held longer than c.2 seconds.

The software patch is supplied by Ricordi with the performance licence. The interface for text generation, click tracks and projected surtitles is built in MaxMSP with synth sounds triggered in Ableton. The font that has been customised for the projection interface is Athelas Regular.

The projector must be Full HD (1920x1080) in order to work with the MaxMSP interface. The screen should be large, hung from the lighting rig and stretched, dark grey or black. The white projected text should ßoat just above the piano lid, and we hope not to be able to see the edges of the projector-black, or the edges of the screen, where possible. A portable screen or domestic projector should not be used.

The piano should be lightly ampliÞed and balanced with the tape, so that the voice on the tape is almost always clear and comprehensible, but not overpowering and still retaining a sense of intimacy. Different routing for the piano and the tape may help clarity and separation. At

least three speakers are recommended (L, Centre, R). Some riding of the faders will be required during performance to achieve a good balance throughout. relative volume output levels for each tape message can be set in the Max interface.

Performances should be treated as staged: they should be properly lit by a lighting designer, and the lighting state may change to something more intimate after the moment of Peter’s death, and there should be a black out with the Þnal beep at the very end. The pianist should think carefully about clothing, about entrances and exits on stage and about maintaining tension, anticipation and concentration from the moment they step on stage. The performer should avoid any interaction with the computer, which should be out of view of the audience, and instead always be engaged with the listening and transcription of the tape.

Language

If the piece is presented for an audience whose native language is not English, surtitles of the translated tape messages should be projected at the top of the projection area. These are embedded into the .mov Þles that contain the audio messages. Surtitles in certain languages may be available from Ricordi — further translations may be made, and the composer can be contacted for help in making the required surtitle video Þles for use in the Max patch. Text material generated by the piano could also be translated and surtitled, but there is no provision for that in the current interface.

Ideally, the projected text should not be printed in programme booklets, only projected, but a printed translation of the projected text could be provided.

Interface Controls

The MaxMSP interface can control:

1.MIDI translation into keystroked; MIDI input toggle on/off; text projection toggle on/off (also via MIDI)

2.Scroll speed of the typing; toggle scroll 1=on, 0=off

3.Tempo of click track; toggle click 1=on, 0=off

4. Current Audio Cue; Play Audio Cue (also via MIDI); relative volume control for each audio track; Master Volume control; tape rewind and fast-forward (also via MIDI).

5.XY position and size of the typed text; gap between lines; font size.

6.Display of surtitles in various languages, and the size of the surtitle display.

Synth Sounds

In addition to the typing, the piano also triggers subtle synth tones on each key. These are set up in Ableton and are included in the hire package.

The synth sound is a sine wave or similar soft, pure tone. It has a c.2 second onset curve such that the sound emerges imperceptibly from the acoustic piano note, rather like the sound from an E-Bow used on the piano strings. The note-off decay is also gentle with a little reverb. The synth sounds in performance should not quiet enough that they are not heard by the audience when the piano key is struck, but only very subtly and quietly once the natural piano sound has decayed. The exception are the two tones for fast forward and rewind, which should have faster onset, and be louder and very clearly and immediately perceivable by the audience.

Performance notes

Answer Machine Tape, 1987 must not be performed on a digital piano.

All sections / messages are attacca — pauses between messages should be avoided.

Accidentals are stated on all notes, except where a note is repeated immediately. Accidentals do not otherwise carry through.

G#6 (rewind) and Bb6 (fast-forward) should always be played with precise note length, the full note as speciÞed.

Sections indicated with “(+click)” are intended to synchronise exactly with the tape. Using click is not mandatory, but if it is not used, take care to count rests carefully: they ensure that material aligns with the tape, and responds to it, rather than anticipates it.

Grace notes are differentiated:

• grace notes as demisemiquavers (32nd notes) should be fast as possible — the chord should sound almost like a single chord, so the grace notes or ‘spreading’ of the chord is not audible to the listener. However, the note order will be clear in the projected text. This takes some practice.

•grace notes as quavers (8th notes) are normal decorative appoggiatura, to be heard by the listener.

Where not explicit, the spellings (i.e. note order) of the chords “answer” and “machine” should be varied, particularly the starting letter. Different Þngerings and different overlaps of the hands will help vary the spelling. They should sound like simultaneous chords (not spread), but the spelling should change.

The player is encouraged to take care to play quiet dynamics as quietly as possible, and with intense concentration (e.g. the ‘answer’ ‘machine’ chords), and loud dynamics with a lot of bravura. Gestures should be differentiated and contrasted as much as possible (e.g. telephone numbers, left-hand melodies, dates, names, etc). This is where virtuosity of performance can shine.

ACTION: Rewind (while held — play resumes with note off)

Copyright:RicordiBerlin-

hi hi kiki hi wednesday hi are you there? hi

4. november 1987

Dan Asher 1pm thursday 5 november

nsarew art 2173283654

friday 6 555w33 november bye

wsnare rsneaw wnsaer

jon jon john ? john ? ??? …

saturday 7 november (started yet?)

uhhhhhhhhhh are you there?

snrawe arsnew hello?

jon? still trying ? ??? ok… .. .

Dan Asher 9257591

hi are you there?

richard hi hi hehe. tuesday 10 november

718 855 3831 home today (picks up)

fran fran leb fran lebowitz hi are you there?

umm um um um um erm erm um umm ermm ok

Dan Asher 9257591. nswaer snawer

acsmi ansma isnac maino acisd 4771460 min amino acids mdian peter iansc msinc cniam adios

umm um umm um ok um hi are you there?

um call me

wednesday 11 november 25..212…254…0255.(off)...123... 4…555...6..777888..99999999999999999999 (fantasia on telephone numbers continues)

wansre nswaer asnrwe anrswe ansrwe answer (car) hi kiki ok ok ok not ok ok bye er thursday 12 november trumpetrumpetrumpetrumpetrumpet picture 2288303 hello john?

(sigh) george? ?? george has the wrong number ? nawsre

Dan Asher 9257591

richard (picks up) jon (picks up) hi are you there? (tom) (picksup) ......'laddie' (picks up) hi are you there? ok

amcsm dicam sndca sicdo maics cicsm ainsc nmcai ncsom peter mcsic mcsoc mainc mdcon amino machine atcgatcgatcgatcgatcg atcgatcgcgct cosncimcam icsmc inscd mcain somdo macsaminoaicdamino amino acids achmien cinhmae ehinmca hacinem answer vinceecivnnivcecivnevcine. saturday 14 november so are you there? hmm where are you?

vincecinvewnicveevcinnivce i saw you when i walked by acidsnadcm peter osmncamsicdmcsincacsomd (sunday 15th) dincsm yolo yolo aicsnc amino acids aoscmaincso tgactacgtacgactgagcctacgt aminoacids john it’s george still trying to get through fran lebowitz 7578330

iiiiiii(monday)iiii6930iiokbye you still there? (tom?) susan (unclear) (answer) what’s happening? 2273350 should i (sigh) visit?

iiittitttt oktit okiiitiitiiiibyebye hi are you there? ttyl macnihe hidavidcharles10.22itoiitotoitaaaioat peter’s. iotoioaoaooobyebye wednesday 18.nina felshen (sp?) 27 west 96 10025 november answer machein ai,it4ook,iakot hospital,intotalktoy,igoigtotatptiligty,iyontgttiilalyattoinaitlil,byebye hidavid igotyrmaglatintdayoycancanclaltmagome. iltalktoyonygtack.ilitbh, peter’s, or the hospital,bye. hidavid,itlindaÞnch,wonderinghatahapning, if peter stil in hospital,hewantvisitors?um,i’lcalcharlstoandsifcangthim.bye hidavid,checkcamefor art against aids, umm don’t worry about your rent,byebye hidavidcharls,it’sthursdayabout3.30dontknowhatimyoulgtback,i'matpetersnow..and,iwilbeat.. .. oy,whatsthnumbr?67512848oclocktonight,buti’lprobablycatchyouatom'sbforthn.ttylbyebye hi david its lynn could you please give me a call?byebye

answer machine tape,1987 (peter) (nonsense) coydog

heyits jesse 6773651

(ahem) caling for. peter update vincecinvenivceeincv john um gracie erm stephen245(picks up) stephenagain. monday. 23rd. november. at tom’s (no answer. . . ) charles he doesnt answer it looks vacant around his place stephen. vincecinvecinvenicve couldnt face it. I can understand that i just don’t know. 6749081 its fran. it’sverylate ididntknowiÞtwasurgentornot neil greenberg i’mgoingtopeter's incase he needs feeding? felicity speaking peter inhospital,novisitsorphonecals noanswer 3154437 thank you for everything its gracie ben barry heloehol jesehultberg are you there? i gues not it’s1now ithinki’lgetoyourhouseprobablynotuntil3 helo thisisjesehultbergareyouhome? david davidavidavidavidavidavidavidavidavid 555. i’mgonagoeati'lcalyouagain bye. hellothiisjesedothisanotherday?it’s4o'clock, leavingtonightforthanksgiving charles verysorry seemsuseles but if i can sit with him richard talktoyousoon areyouthere? davidareyouthere? (punctuation clusters) come on bro this is my 3rd mesage, give me a stick here? (text clusters) [projection stops]

Text on the tape

1 0.90 7.50 David, this is Steve. At 477-1460.

7.50 10.75 Or my work is 925-3239.

10.75 13.40 Why don’t you call me sometime?

13.40 15.50 It would be lovely.

15.50 22.20 Um, hope you’re fine. I saw your show, I really liked it.

22.20 26.90 Why can’t we talk sometime? It would be pleasant.

26.90 35.50 Uhhh, I spoke to Steve Dalton the other day, he lives in LA now and he’s doing good.

35.50 43.75 He got himself some sort of job in a restaurant. And umm he says hello.

43.75 46.75 And that’s that.

46.75 49.70 Bye.

2 6.00 14.16 John?

3

6.40 9.50 um, John, this is George,

9.50 14.00 I’m trying to get through to you, but I don’t know what the best time to call.

14.00 17.50 Umm I’ll keep trying.

17.50 23.40 Hope you’re feeling better, and, umm,

23.40 33.00 i’d like to get together again, another scene, like the last one.

33.00 35.50 Ok goodbye.

4 0.70 4.80 Hi David, this is Emily XYZ, I’m calling on Wednesday morning.

4.80 9.00 I’ve been out of town for a couple of days, so um, I meant to call you ear.. earlier than this.

9.00 14.50 I just wanted to see how you were doing and um if you wanted to get together and have some coffee um

14.50 22.00 or just talk or something like that tonight or any other night y’know the next few nights. Um i’ll ca… I’ll be free.

22.00 31.30 So, if you can give me a call, er, if you’re, if it’s more convenient during the day 741-0091 otherwise this evening at 228-5569.

31.30 35.00 OK? I hope to hear from you. Take care, bye.

5 0.50 7.50 David, hi this is Kiki, um, I wanted to give you your car back. So give me a call ok bye bye

6 3.70 10.00 David, hi, it’s Richard, um 4 o’clock on Wednesday.

10.00 16.50 Um, give me a ring, give me a call this afternoon if you get in.

7 0.70 3.60 Hi are you there?

3.60 8.80 Ok, um, it’s a little after 4, I was just trying to see what was up.

8 5.90 9.80 Hi David

9 1.20 5.10 John, this is George.

5.10 9.00 I’m still trying to get in touch with you.

9.00 16.00 I don’t know when to call. I’ll try you again.

16.00 19.60 Ok, goodbye.

10 6.00 11.90 Yeah it’s er.. ten to 12. Er.. David this is Dan Asher.

12

5.70 13.50 David, it’s Charles. It’s 1 o’clock. Um… if you get a chance, call me this afternoon.

13.50 17.00 I’ll be in and out, or this evening, I’ll be in.

17.00 31.80 Err, Ann Wilson and err um Barry Bryant are like getting involved with [unclear] with the groups that you that you and er…

31.80 39.25 Fran and everybody are running, and I would like to get the two of you coordinated together.

39.25 43.00 I’ll talk to you later, bye bye

6.00 13.40 David, it’s Lynn. Um I’m back in town, and maybe you could give me a call if you’re here, ok?

13.40 16.50 I’d like to hear from you. Bye bye. 13

1.10 5.20 This is John Fineberg, I’m um I’m at... an art history professor at University of Illinois

5.20 11.00 and I’m doing a book on art after 1940 and I would like to come talk to you, um, next time I’m in New York.

11.00 19.00 My number is (217) 328-3654

15

1.00 4.25 Hi David, it’s Mark from the gallery. Um…

4.25 17.40 The guy who wrote the book New, Used and Improved: Art for the 80s is having a party for the book Thursday, November 12th at Octagon at 555 W 33rd street

17.40 21.75 Um ok well, there will be a lot of stuff going on,

21.75 27.40 and there are passes here if you want to come and pick them up and if you wanna go to all that.

27.40 31.70 So, guess I’ll talk to you later, bye.

16 0.40 3.60 Hi David, it’s Anita.

17

18

19

20

21

22

3.60 9.00 I’m in my office now, so if you want to give me a call, I’ll be here. Bye bye.

6.70 11.00 John, this is George. Um… 11.00 20.80 I’m going to try and call you Monday morning… mm… so try to be home then if you can. 20.80 26.00 Ok goodbye.

1.00 12.00 Hi David, er this is Ben Neil. I’m calling on Saturday afternoon and er I just wanted to let you know I’m playing tomorrow at The er Galleria at La Mama.

12.00 18.80 Err I’m playing a new piece with electronics and percussion so er yeah I thought you might be interested.

18.80 23.90 I’m also playing Friday, next Friday, at the Gas Station. 23.90 29.70 So, er, give me a call if you’re around and y’know er I’d like to see if you’ve er started on the piece yet or whatever.

32.60 Er… talk to you later, bye.

2.90 8.20 Uhhhh are you there?

8.20 14.30 Ok, I was just coming up to moan. Talk to you later.

8.10 14.00 — Hi David, it’s Anita. 20.50 28.20 — Hello?

9.60 13.50 John, this is George, I’m still trying to get through to you.

13.50 21.00 Um, I don’t know when to call, but I’ll keep trying…

21.00 24.20 Er Ok bye bye.

6.80 10.90 Hello, David. How are you doing, this is Dan Asher

10.90 16.65 Um if you have a chance give me a call 925-7591 see ya bye. 23

3.50 6.50 Hi, are you there? 24

Copyright:RicordiBerlin-

0.70 7.15 David, Richard, er, calling to say hi, hi. hehe.

0.90 6.10 Hi David, this is Linda Ronsenkrantz Finch, Peter’s friend. Um…

6.10 13.00 I still wanted to talk to you. Um my number is (718) 855-3831.

13.00 18.50 I’ll be home today until about 1:30 and then I’ll be home tonight. Ok bye.

3.50 6.75 Hi David, it’s Anita, just called to say hello

5.00 Hi David, this is Fran Lebowitz, will you please call me?

0.50 3.70 Hi are you there? 29 0.80 3.50 Hi David, it’s Gracie calling, um…

3.50 10.50 I was just talking to Carl Borenstein about the show you’re going to be in in California and it sounds really good because in his gallery he’s gonna have 10.50 19.80 Jenni Holzer and Barbera Krueger and Robert Longo and they’re all sending like really major type museum pieces, so um…

19.80 26.50 you had said that to send um Mexican Crucifix and I’m just checking that out with you um…

26.50 32.50 to make sure that’s ok as opposed to sending one of the um four element pieces.

32.50 34.50 Ok, bye bye.

3.50 7.00 Yeah David, uh, this is Dan.

7.00 15.80 Guess you been busy or whatever, I’ll… if you’d like give me a call 925-7591 bye.

5.10 11.80 Hi David, it’s me, Steve, um can you give me a call at 477-1460.

11.80 20.70 I got some of these amino acids um that you can bring over to Peter if he’s into it

20.70 27.60 and uh just give me a call and we can make an arrangement to get together, um bye.

0.65 3.70 Hi David, it’s Gracie. Umm..

3.70 8.50 I was just talking to Michael McKenzie, he thinks that the best thing to send would be the skull because it’s what’s on the back of the book.

8.50 17.00 Umm… and they’re picking up, um… soon, so er can you give me a call at the Gallery? Thanks, bye.

0.60 17.00 Hi are you there?

0.90 7.00 Hi David, it’s Gracie. Still trying to get in touch with you please call me. Thanks a lot, bye bye

0.85

5.50 David, hello it’s John Heys, I’m in the country. I can’t get anybody on the phone.

5.50 14.00 Lynn, David, [unclear], Bill, Leyla.. err.. just wondering what’s the story with Peter. Um…

14.00 19.50 I’ll be back on Friday. Ok thanks bye. ...

19.50 22.50 — Hello? — AT&T may I help you?

22.50 32.10 — Oh.. somet… eh oh yeah I wanna bill this again to 25.. (212) 254-0255

5.00 9.20 Hi Dave, Steve calling. Are you home?

9.20 15.10 Listen, I decided to buy another car. I don’t know if you’re still interested in my car

15.10 23.50 but I’m gonna advertise it in the paper for $600 and for you, I’ll give you a good deal, I’ll give it to you for $599

23.50 30.75 and I’ll even throw in a warranty that ain’t worth the shit. So if you’re interested, give me a call.

30.75 40.50 Because for you I’ll even make it a super duper deal and I’ll bring it down to $595 and I’ll take out the warranty that ain’t worth the shit.

40.50 47.20 And if you’re really interested, then I might bring it down to $593.

47.20 52.75 No kidding, $300 bucks if you want it and I’ll talk to you further about it.

52.75 57.15 So give me a call quick cos I’m gonna advertise it in the paper soon. Bye bye.

5.25 8.60 Hi David, it’s Kiki. Um…

8.60 12.50 everything’s ok, um…

12.50 20.75 everything with the car is ok, everything with everything’s ok. Um.. not really, but it’s ok anyway.

20.75 28.80 And um, I’ll try to call you again, and I’m sorry I haven’t gotten you in the evening…Um…

28.80 34.00 I’ll try to catch you. OK bye bye.

4.50 13.25 Hi David this is Ben Neill calling on er, let’s see what is it,Thursday morning around 11 o’clock. Erm…

13.25 18.00

I was wondering if you might have some time this afternoon er, to get together.

18.00 28.00 And I wanted to ask you also a little more specifically er what you wanted and er, as far as the, the picture er you had mentioned of the trumpet. 28.00 40.00 So I’ll talk to you later. I should be in and out today, my number’s 228-8303. Bye.

8.75

David, it’s Linda Finch. Um, didn’t want to Peter’s. So i was Just wondering how things went today. Um….

8.75 15.20 If you want to give me a call in the morning I’ll be here till 11. Thanks, bye.

David, how are you doing, this is Dan Asher. If you’d like give me a call if you have a chance tonight 925-7591 see ya

21.30 Anyway, give me a call, and I’ll get this shit to you. I’ll go over to Peter’s and bring it to him.. Whatever.

Dave, it’s 6 o'clock and I just realised, er I called into my machine to check it and uh it hasn’t been on this afternoon for some... reason.

29.75 Um and er… Ok, just er… let’s make a plan and i’ll follow it through. 29.75 38.50 Tonight I should be home in another hour or so. Um, I’ll be checking back into the machine in another hour or so and

38.50 49.20 tomorrow er I’ll either be at home in the morning and i’ll be checking into the machine in the morning and i’m gonna be at work from about eleven to about three or four 49.20 60.30 and uh I can make myself available and uh take it easy sorry the machine wasn’t on if you tried to call me, bye bye.

49 0.80 10.60 Hey David, um this is Michael Carter, and um, I’m gonna need I guess some pictures for the story that I’m doing on the on the film festival.

10.60 21.50 Also I’m putting together, er, a, a series of performances at, er, the Milky Way place that, er, Leonard’s running down on Rivington Street, starting December 11th

21.50 32.20 and it’s like y’know $50 guaranteed, more if we make more. But er, If you’re interested in doing a 10 minute piece or something, give me a call.

32.20 37.70 And er, let me know about the pictures too. Ok, so I’ll be in touch. Bye bye.

50 0.90 7.90 So, you there? Hmmm well where are you? Talk to you later.

51 3.30 10.30 Dave, this is Steve. I’ll definitely get take care of getting those things over there to Peter’s today, It’s around one o’clock, 10.30 18.50 umm I’ll do it later in the afternoon or early evening, um, did you know about this thing at Howie’s?

52 5.50 11.30 Er, John, this is George.

18.50 30.50 Err they’re having a like little get-together for YOLO, about YOLO whatever, umm between four and seven, this afternoon. 30.50 45.20 so I’m gonna be there, and maybe you will or whatever. And sorry I couldn’t get the stuff to him last night, it was just too like fucking hectic, but I’ll definitely take care of it today. Goodbye.

11.30 15.00 I’m still trying to get through to you. I’ll keep trying.

15.00 17.60 Um, ok goodbye.

53 0.70 8.50 Hi David, this is Fran Lebowitz, will you please call me? My number is 757-8330. Thanks bye bye.

54 0.55 Hi, it’s Linda Finch. Wondering what happened today at Peter’s after the clinic or what. Um, I saw him Saturday.

10.30 20.80 I, um, will be out from about six to nine thirty, if you have a chance to call me right after that. Ok, thanks, bye.

55 3.00 10.20 You still there?

56 0.90 5.60 Hi David, Charles, it’s uh ten minutes after eleven.

5.60 17.00 Went over to see Peter and he’s ok. He’s tired and he’s nauseous but he’s ok. He is in 1539. 17.00 25.60 Lynn Davis was over there also. And, I’m gonna do some running around and go back there in a couple of hours. 25.60 29.00 Talk to you later. Bye bye.

57 2.00 7.80 Hi are you there? Ok, I was just calling back. I’ll talk to you later.

58 1.40 10.20 Hi David, it’s Charles, it’s 10:22 in the morning I’ve been up to the hospital already and I’m over at Peter’s making calls.

10.20 17.20 Er give me a call here or stop by. I’m gonna be here for a couple of hours. Bye bye.

59 0.70 6.10 Hi David, it’s Anita. I’ll talk to you later, bye bye

60

1.00 6.50 David, it’s four o’clock, I just came back from the hospital, I need to talk to you.

6.50 15.40 I’m going to stay at Peter’s till I get you. If you don’t get this message, I will call you at Tom’s in a little while. Bye bye.

61 1.30 11.20

Hi David, it’s Linda Finch, um just wondering what was happening. Whether Peter is still in the hospital, whether he wants visitors. 11.20 19.10

Um I’ll call Char.. Charles too and see if I can get him. Otherwise, I’ll get back to you, bye.

62 0.80 9.50 Hi David, the check came in from Emily Landau for the Art Against AIDS piece so um don’t worry about your rent. Bye bye.

63 0.70 6.70 Hi David, Charles, er it’s Thursday about 3:30 don’t know what time you’ll get back.

6.70 14.60 Er I’m at Peter’s right now and I will be at, oy, where’s the number?

14.60 25.30 675-2384 at 8 o’clock tonight, but I’ll probably catch you at Tom’s before then. Talk to you later, bye bye.

64 0.90 5.10 Hi David, it’s Lynn, could you please give me a call? Bye bye.

65 8.75 22.00 Hi, this is Peter. Can you call me at the hospital, I don’t know the number here so...[unclear] whenever you can.

66 1.50 7.10 Hello David Wojnarowicz, this is Edgar Oliver,

7.10 19.90 I would like to invite you to an evening of horror at The Pyramid this Wednesday, November 25th, that’s the night before Thanksgiving. 19.90 34.00 I’m the host and I’ll be performing as well as Kembra and Simoa and Andy [unclear]. The show will start at 11:30 and if you’re in town I’d love you to come.

34.00 38.50 I hope to see you there, bye.

67 2.00 4.20 Hi David, uh it’s Richard Hell,

4.20 14.50 I got a couple of little questions for you to wrap up the typesetting on on your long piece, um, and a bio note.

14.50 22.00 Um uh I I need to know your age and what books you’ve published in the past;

22.00 31.80 what is a coy dog, is that right C O Y D O G? What is that half coyote half dog? Coydog?

31.80 42.40 And, if you know you gave me that long long intro describing a book you’re writing. Is this the beginning of it? I mean is this the beginning of that book?

68

42.40 55.70 Erm you know, er, you, the walk about self-examination you described, erm does this come from that? Is.. and is it the opening?

55.70 66.00 Erm, erm, I think erm that’s it, so, I need this information as quickly as possible.

66.00 77.00 I’m supposed to deliver this stuff to the typesetter y’know to be run off from the disk that I’ve already put all the text into, erm in the next two days,

77.00 82.60 so please call me, and if I’m not home, give me the information on my machine. Ok?

82.60 90.00 I hope you’re well erm and you know, I tell you, I was —

90.00 97.00 by the time I just finished reading this, as I was proofreading it as got to the end, I was like shaking. Hehe

7.70 14.80 Hey, it’s Jesse, uh give me a call 677-3651. Bye

69 1.40 6.70 ah Hi David, it’s Neil Greenberg calling, I’m calling for a Peter update.

70

6.70 16.10 [unclear] have been performing since I got the news that he was in the hospital so I haven’t uh checked up on it, but today I do. 16.10 22.20 So 982-1150… if you have the time, I’m gonna try and visit him today.

22.20 27.20 So, hope you’re well and dealing ok. bye

1.60 10.50 Hi David, it’s John. um It’s not important, I’ll, I’ll speak to you later. Bye bye

71 0.70 14.00 Hi David, it’s Gracie. Erm I talked with erm Holly’s secretary, they would like you and I to be — to meet at erm Holly’s gallery at six o’clock tomorrow. Ok, bye bye.

72

73

2.00 5.40 Stephen Koch: Hi David, it’s Stephen uh calling around two forty-five [picks up]

1.40 9.40 Hi David, it’s Stephen calling again, er don’t know if you’re there or not. Anyways, here’s a message.

9.40 22.40 Umm, er Franny is going to be calling, erm, She decided not to call the nursing station because that was sort of second best. She’s gonna call Ellion and get as full a report as she can.

22.40 30.00 And erm and then after she knows that she might call the nursing station with anything that may need to be done.

30.00 41.00 But I will know all about this erm by the time um er we see each other tonight. Er, So erm

41.00 50.40 uh, that will will hope clarify the situation a bit. Anyway, she’s gonna talk to Ellion and erm we’ll er discuss it later on.

50.40 56.00 I’ll try you at Tom’s just in any case maybe you’re there too. Bye bye.

74 0.60 5.00 Hi David, it’s Charles Bricker, Erm, I was wondering how Peter was.

5.00 13.50 He doesn’t answer and it looks vacant around his place. Er, I was trying to get a hold of him so erm,

13.50 24.50 let me know what the status is. I’d sort of like to make an appointment to come and do dinner for him if it’s feasible and possible. 24.50 29.20 So I’ll talk to you later, bye.

75 0.80 5.50 Hi David, it’s Stephen calling, I was just wondering if you were there. It’s about ten past five.

5.50 17.25 Er I got a call from Vince er saying that he couldn’t come over tonight er and that he couldn’t face it. And er I can certainly understand that, 17.25 26.00 er but maybe you and I should still get together. I just don’t know. Er er I will am at home 674-9081,

26.00 33.00 I may be seeing you before you hear this, er but it’s ten past five on Monday. Ok bye bye.

76 0.90 8.00 Hi David, this is Fran, Maybe, I, I don’t know which number to call you at. It’s very late, I mean it’s about a quarter to one.

8.00 12.00 But I didn’t know if it was urgent or not. I guess you’re not there or you’re sleeping.

12.00 17.00 I’ll look to see if I have another number for you and if I do I’ll try you there and if not, I’ll talk to you tomorrow, 17.00 21.50 it’s just I’m not gonna be here very much, So, I hope I reach you, bye bye. 77

1.20 11.90 Hi David, it’s Neil Greenberg, I’m - I’m going to go visit Peter today at about dinner time, in case he needs feeding.

11.90 17.90 And I’ll talk to you, I’ll try to talk to you tonight, I’ll call you at the other number. Bye.

78 1.00 10.50 David, this is Felicity speaking, er the last I heard of Peter was Charles Baxter who told me he was in the hospital but that he does not want visits or phone calls.

79

80

10.50 19.80 Er as there is no answer to his number er on Second Avenue, I was wondering how he was, whether at this point he would like visits or phone calls.

19.80 24.00 My number is 315-4437.

24.00 30.50 I’d very much appreciate you calling me and thank you so much for all you do for Peter.

0.60 2.90 Hi David, it’s Gracie, are you there?

2.90 11.20 Erm we’re supposed to meet at Holly’s gallery at six o clock. Um 11.20 17.30 ok uh give me a call at the gallery, I’m gonna leave here at five thirty. Thanks bye

1.20 7.20 Hi David, this is Ben calling at uh ten o clock on Wednesday.

7.20 19.10 And um I’ll be at er 869-5024 er during the day today and er I should be back here around four o clock.

19.10 21.00 Talk to you later. Bye.

81 1.30 8.80 Hi David, this is Barry Bryant. Um, calling regarding Peter, I’ve just returned to New York. I’ve been away a week [unclear].

8.80 15.80 If you could call me back, please at 925-9763, thanks a lot, bye.

82 0.80 6.80 Hello hello this is Jesse Hultberg, um, are you there? um I guess not.

6.80 12.50 Um I’m It’s 1 o clock and I’m getting out of the house now to go to the gym.

12.50 18.30 Um, I think maybe I’ll get to your house probably not til 3, I hope that’s not a problem.

18.30 23.40 I’ll call from the gym and make sure you’re there. ‘K Bye.

83 1.00 7.80 Hello, this is Jesse Hultberg, are you home?

7.80 12.20 David!

12.20 17.30 David david david david david david david david david!

21.10 26.60 I’m gonna go eat, I’ll call you again, bye.

84 1.10 5.10 Hello hello this is Jesse. Looks like we’re gonna have to do this another day.

5.10 8.50 So, it’s er about four o’clock, ten after four.

8.50 17.70 And uh I’m leaving tonight to go to Thanksgiving, and I’ll be back on Friday and I’ll try you then. Ok? Ok. Bye.

85 0.80 6.10 Hi David, it’s Charles Bricker, thank you for your message.

6.10 14.50 Um very sorry about the substance of it. I don’t know if I’ll go over and just pop in to see him because that seems a bit useless, 14.50 23.00 but If I can sit with him er on whatever roster you’re fixing up, I’d be happy to.

23.00 32.70 Um. So anyway, I’ll talk to you about all that. Thanks.

86 0.60 5.60 David, hi, it’s Richard, uh talk to you soon. Bye.

87

1.00 5.30 David, are you there? This is James.

5.30 8.50 David, this is James, are you there?

13.50 20.00 Come on bro, this is my third message, get on the stick here. Alright, see you later.

88 1.50 7.00 Hey David, it’s Ryan. It’s Thanksgiving night, around 12:30, 7.00 13.50 and uh hope you’re ok and I’d like to see you.

13.50 17.90 And maybe I will. Ciao.

89 21.50 24.75 David, this is er Richard Ellion. Could you give me a call at work. 24.75 31.30 I wanna find out if there’s plans for a funeral or what the story is going to be with Peter. 31.30 37.00 Er 674-0220. Thanks bye bye

90 40.75 47.50 Hi David, this is Ryan and it’s Friday morning and I’m really very sorry about Peter

47.50 59.50 and if I can do anything for you or any of your friends, if we can help out at all, Claudia or I, please, er let us know, we’ll be around all weekend.

59.50 69.40 And hope you take care of yourself, ok? See you soon, bye. 777-3018.

91 81.80 88.50 Hi David, this is Tessa. Um I'm very sad to hear about er Peter

88.50 102.00 and er I hope that you’re alright and er also I’m calling to apologize because I won’t be able to make it to the service tomorrow since I have to work 102.00 114.00 and uh I can’t get anybody to cover for me. Er, but I’ll be there in spirit and uh I hope I’ll see you sometime in the near future 114.00 124.00 when er, er we might be able to get together and have that long talked-about dinner. Ok take care David, bye.

92 131.80 138.40 Hey David, this is Jesse, it’s er Saturday around 11:30 and I just got your message.

138.40 144.50 I don’t know which day you called so I don’t know what day the services are that you mentioned.

144.50 151.90 Erm I have rehearsal from twelve [unclear] and I’ll try to call you again after that in case you want to get together or whatever.

151.90 154.75 I hope you’re feeling alright. See ya later.

163.30 167.75 Hi David, this is Gracie, Erm, I just got back from the country and I heard about Peter.

94 181.20 183.70 Hi David, it’s Bill Smith calling, Keith’s friend.

167.75 178.00 I’m really sorry and I want you to know that I’m thinking about you and if there’s anything that I can do for you please let me know. Bye bye.

183.70 193.00 Um, listen I wanted to call I, I, I first all wanna offer you my sympathy, I hear that Peter’s also died now, an and er y’know er my heart goes out to you. 193.00 199.40 Anyway, er In light of that, we’re all wondering if maybe you’re feeling a bit overwhelmed with regard to this afternoon,

199.40 208.60 so er if you want to talk about er whether or not you’re up for this afternoon, give me a call at er 529-9292 ok thanks, David.

208.60 212.70 I’m calling about er one o clock I guess. Bye bye.

95 215.00 221.20 Hi David, er, Paul told me your news. I I was sorry to hear that, but also I…

221.20 225.60 I really feel it’s the best thing.

225.60 231.80 Err I just wanted you to know that I’m thinking about you, bye. John Tucker.

96 265.60 269.30 Hi David, I was just wondering if you’re there or if you’re at Tom’s.

97 279.50 283.00 Hi David, it’s Nan. I missed you leaving.

269.30 277.60 Ok, er I’m assuming you’re at Tom’s, I’m calling now at around six twenty five. Ignore this call and I’ll get to you at Tom’s. Bye bye.

283.00 295.00 I’m sorry I’ve been a bit overwhelming for you this weekend, I know what you must be going through and I’m sorry I’ve sort of put… myself on you in a way but anyway, 295.00 304.00 when you feel like it, I’d like to have lunch with you sometime, if you feel like it — 674-5396. bye bye.

98 311.80 318.80 Hi David, this is Shayla. I’ll try you over at Peter’s, but I phoned the DHCR myself. And er

318.80 328.80 and they say that if er if the building has five or less residential units, it doesn’t have to be registered with them and it doesn’t fall under any controlling laws.

328.80 335.10 So we have to find out what the registration number of the building is if we want to go find out a little bit further.

335.10 339.60 I’ll call you at Peter’s now. But give me a call back later. Bye bye.

354.70 Hi

375.50 Hi David, it’s Jane Dixon. Um I just wanna let you know how sorry I am and that I’m thinking about you and I hope I’ll see you sometime whenever you feel like it. Ok bye.

383.40 David, hi this is Gary. W.. We just got in er from er uh Albuquerque.

383.40 391.30 And um, thank you very much for calling so many times. Um, er call here at anytime it’s er er 505-6508.

391.30 395.50 Um, er I’ll sp er it’s now 6:45. Er and you can call as late as you’d like. Bye bye 102 403.60 409.60 Hi David, it’s Neil Greenberg. I’m calling you on Monday. I’m just, just checking in, as it were. 409.60 420.50 And I will try you later tonight at the 4012 number. Hope you are doing alright. Bye.

103 423 431.98 David, hi, Susan Barkman, I just um really called to say hello and really just to say hello.

431.98 437.60 Anyhow, so I’ll talk to you… I’ll talk to you soon. Ok, bye bye.

104 455.00 460.50 Hi David, this is Brian, um I’m just calling to talk.

460.50 472.30 Um I’m kinda hard to get in touch with but um every afternoon I’m usually around my house. So give me a call. Bye bye.

105

481.00 485.00 Hi David, it’s Gary on Tuesday morning. Um when you get in if you can give me a call.

485.00 489.50 I’m not gonna call you at home, I don’t wanna wake you. Bye bye.

106 493.8 500.40 Hi David, it’s Stephen. I’m calling around ten o’clock in the morning. I’m sorry I was out at the gym this morning when you called. 500.40 507.00 Er I’m at my office which is 228-3301 and over at 80 east 11th street.

507.00 512.60 Er I’ll try you later on. Er give me a ring anytime you want to. Bye bye.

107 521.50 528.30 Hi David, it’s Anita. Why don’t you give me a call later? Bye bye. xix

different (incorrect) spellings: 'answer'

different (incorrect) spellings: 'answer'

q=60 rhythmic

('fantasia' on the letters aiomncds)

top A / B b / G # swinging

4 4

& “”

light Ped. ad. lib. a p leggiero mcsm di cam sn dca sicd oma ics cics ma ins

&

c nmc ainc som pe ter mcsi cmc socm ainc mdc ona min

& #

o mac hine a tcg atcg atc gat cga tcg atcg at

? & ?

c gcgct co sn cimc ami csm cin scdmcai nso md

?

o mac sami noai cda minoami noa cids

different (incorrect) spellings: 'machine' (focus on a different starting letter each time)

('fantasia' on the letters aiomncds) œ œ n n ŒŒ œ ≈ œ ™ œ ™ œ œ ™ œ œ œ œ ™ œ œ ™ œ œ œ œ ™ œ œ ™ œ œ œ ™ œ œ ™ w < #> ˙ œ œ œ

cid œ œ ™ œ œ œ œ œ œ œ ™ œ œ œ œ

sna dc œ œ œ œ œ œ

er os mnca

top A / B œ ™ ™ œ ™ œb œ œ œ œ ™ œ ™ ˙ œ œ œ œ w < #> ˙ œ ™ œ œ œ ™ œ œ œ

msi cd

& acga ctg agcc tac gt amin oac ids

b / G # swinging œ œb ™ œ œ œ œ ™ œ œ œ œ œ œ œ œ œb ™ œ ™ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ ™ œ œ œ ™ œ ™ œ ™ œ œ ™ œ œ œ œ œ œ ™ œ < #> œ œ œ œ œ œ œ ™ œ œn œ ™ œ ™ œ ™ œ œ œ ™ œ ™ œ œ œ ˙ œ ™ ˙ Œ w < b> œ ˙ ™ ˙ Œ Sy. 5901

th) dinc smy olo yo

pet 20 20 Copyright:RicordiBerlinonlyforperusal

q=61, threatening, brooding, unrelenting very gradual crescendo and accelerando to q q =80 by Fig. 85

start at 192", after "my heart goes out to you" at exactly q=60

[after 3 minutes].... Hi David, it’s Bill Smith calling, Keith’s friend. Um, listen wanted to call I, I, I first all wanna offer you my sympathy, I hear that Peter’s also died now, an and er y’know er my heart goes out to you...

BEEP ("Paul told me your news")

BEEP ("It's Nan, I missed you leaving")

BEEP ("Shayla. try you at Peter’s, I phoned the DHCR myself")

BEEP ("Jane Dixon")

BEEP ("Neil Greenberg calling you on Monday")

BEEP ("Gary. We just got in from Albuquerque")

BEEP ("Susan, just called to say hello")

BEEP

"Brian, I’m just calling to talk."

release on the last beep on tape

BEEP ("Gary. Tuesday morning")

BEEP ("Stephen 10 o'clock, sorry I was out at the gym")

David, it’s Anita. Why don’t you give me a call later? Bye bye. [beep]