Está en la página 1de 2

Ma fin est mon commencement

Francesc Llompart 01-01-2015

General Instructions
This is a piece for at least one performer and one improviser. The
job of the performer is to play a score as faithfully as possible (see
instructions bellow). The improviser manipulates the score in order to
influence the performer.
The piece can be realized with one or several sets of one
performer + one improviser. These couples are independent—should
not influence each other—so that each of them are realizing a different
version of the piece simultaneously (unless the inspiration of the
moment demands some kind of communication). If three or more
couples are involved it would be useful for a conductor to join in order
to balance, structure and bring theology and geometry to the piece
using appropriate signs, previously agreed upon with the musicians.
This piece requires the use of delicate sound materials,
maintaining always a low level of volume. This means that:
– The piece should ideally be performed in a small space
where the audience can be near the musicians and
appreciate all the nuances.
– Specially if this proximity is not possible, it may be useful
to use some amplification.
– If the piece involves more than one couple, the use of both
physical and electroacoustic space should be used to
separate the musical materials so that the parallel
discourses don't disturb each other.
The piece is build upon predeterminate scores. These can be
scores in the classical sense (any style or genre), graphic scores, text,
etc. provided that the performer has previously stablished a precise
method of interpreting them: there has to be no kind of intuition on
their behalf.
Said scores, which can be preexisting or created for the occasion,
should be chosen considering the context of the piece, knowing how it
will develop, the kind of sound and processes that will take place: the
score must be chosen or created anticipating the final result. This
choice or creation must be in the hands of either the performer or the
improviser but not both. In the event that a conductor is involved, the
conductor will make the decision. In the event that the piece is
performed involving more than one couple, the score can be the same
for each of the couples or different.

Instructions for the performer

Make an effort to play the score as exactly as possible. At the
same time, if it happens that the acts of the improviser make some
aspect of the score ambiguous, you can interpret this aspect freely but
you must be consequent with your decision.

Instructions for the improviser

Your instrument for this piece is the very paper of the score that
the performer is using. You can use the paper in any way you can think
of: tearing it up, crumpling it... but keep in mind that anything you do
with it will have to accomplish two things at the same time:
– Altering the performer's discourse
– Creating an additional sound layer
Concerning the first point, your mission is to alter the score
before the eyes of the performer, who has to follow your modifications.
You have to consider at all times what the performer is playing and act
upon it in any way you want: tearing it up and recombining it, painting
on top of it, burning it...
Concerning the second point, you have to bring a sound
dimension to anything you do to the score and this layer of sound has
to be consistent with the discourse of the performer: primarily, you
have to think about what you do in terms of sound—the sound of the
paper tearing up, beating and scrubbing against the table or stand—
and improvise always based on that sound, looking for a musical
interaction with the performer while keeping an eye on the way your
acts influence the performer's discourse.
Act all the time with the intention of bringing a musical sense to
everything that will happen.