Shadow-Echo-Transcription - INSTRUCTIONS

Manuel Sánchez García

Manuel Sánchez García

Shadow – Echo - Transcription for violin and cello

(2016)

[Instructions]

Introduction: In a first trial, this piece aimed to explore the possibilities of aural “scores” for enhancing nuanced communication and performance-focus without compromising textural richness, structural design and timing precission in performance.

This duo relies on the possibilities of polyphony, focus enhancement and partial unpredictability given by the abovementioned usage of a set of audiotrack+instructions instead of a conventional written score or part. The two performers are presented with a sonic universe they have to react to according to the given instructions and the whispers they listenthrough the speakers together with their material. From the audience point of view, the lack of score clashes with a strictly timed and engaging performance, delivered by the two fully-focused interpreters.

The piece was (very successfully) workshopped by Vincent Hepp and Marie Schmit as members of the Manufaktur Ensemble in a reading session at Mixtur Festival 2016 (Barcelona).

Performance instructions: The main body of material for this piece consists of two audio tracks to be triggered simultaneously.

One is directed to a pair of headphones or earplugs for the violinist, the other to the cellist. Both parts should be started at the exact same time.

A sort of “penetrating” audition is encouraged, to navigate the rather dense texture of the sound material. In order to achieve this in the best possible way, it is my strong suggestion that the performance takes place with eyes closed, the tracks triggered by a third person.

In the recorded tracks the performers will find different types and layers of stimuli.

1) Instruction stimuli: –

Spoken countdowns: three metronome-like spoken impulses (“three-two-one”) to mark points of intended precise timing. Any material entering right after the countdown should be attacked with somewhat of accent-like feeling.. Even if there is no clear entrance of new material, the outcome of these countdowns should be a clearly perceivable accent, quasi sforzato.

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Whispers: to indicate one of the three performative modes: a) “Shadow” implies simultaneous reproduction of the auditive score. Try to imitate (sonically, not verbally) as many layers as possible with your instrument and voice. Let instrumental and vocal sound blend in the best way possible. b) “Echo” relates to sections made out of material-blocks separated by silence blocks. During these silences, the material previously heard (in still) should be performed by memory. Don't perform while you're listening the sounds to reproduce later. During these performance silences, the audio track might get accidentally audible for the audience; don't avoid this.

c) “Transcription” implies writting down the words of the text (taken from Jorge Luis Borges' Norton Lecture n.2). “Write” these words with your bow onto the strings of your instrument while you damp the strings with your left hand. There are two opposite panoramic setups to be freely assigned to either col legno or con crini. Don't worry if you can't really write everything down. Think of it as if taking notes during a lecture. You may or may not imitate the pacing in which the text itself is delivered with the rhythm of your calligraphy. You might use the relative frequency of any other stimulus as a guide for your left hand while “writting” or performing otherwise.

2) Material stimuli: They comprise everything else audible in the audio track besides the instruction stimuli. These includes spoken text (taken from Jorge Luis Borges' Norton Lecture n.2), fragments of gestures played on violin or cello, vocal sounds and a stretching of one of the silences in Borges' lecture “Qué es la poesía”.

The general level of energy during performance should be always rather high, active and alert.

During the learning process no short-hand score should be made up (the piece should be studied just from these instructions and the tracks themselves. Any need of further information could [should?] be solved with me (the composer).

Downloads: To download the instrumental parts, go to the links below: .wav –

Violin part: https://drive.google.com/file/d/0B78BvTl3x6ySaVQ5M19rX0VST2c/view?usp=sharing

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Cello part: https://drive.google.com/file/d/0B78BvTl3x6ySYWs5dHNTYTd6R28/view?usp=sharing

.mp3 –

Violin part: https://drive.google.com/file/d/0B78BvTl3x6ySU1Y3VXZkLWxBc0E/view?usp=sharing

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Cello part: https://drive.google.com/file/d/0B78BvTl3x6ySQnlRamNsdTd0LVU/view?usp=sharing

[Duration: ca. 4' 45''] don't hesitate to contact me manueljsanchezgarcia@gmail.com +31 610 835 290