Okay, picture this:
You are performing “Pictures at an Exhibition” and you project Hartmann’s original drawings while you perform.
You are performing some of Virgil Thomson’s musical portraits and you project an image of the subject above the stage.
You are performing Cornelius Cardew’s ‘Treatise’ and you project the score above the stage.
Are you guys certain that these are not sure-fire ways to increase your audience’s comfort level?
Those first two examples: still pictures, as backdrop? Maybe. Projecting the score to Treatise while it’s played? No. It may increase the audience’s comfort level, but it undermines the purpose of playing the music in the first place.
If you exhibit the score to Treatise
while it’s played, why not do this for every
piece played? A conventionally-notated score is equally illegible to non-musicians; Treatise
‘s score is just cunningly designed to be illegible to musicians as well. Is it because Treatise
‘s score is a beautiful object in its own right? Then the score is made to justify the music, when it should be the other way around. George Crumb’s music is equally beautiful
on the page, but exhibiting the manuscripts during the concert would distract the audience from the music – surely Cardew’s music should be treated with the same respect.
An audience might feel more comfortable listening to Satie if the funny instructions were read out over the music, but they’ll be reacting more to the witticisms than the music.
So, after all that harrumphing, why am I now linking to these two neat little animations? Because they exist as works of analysis after the fact, not of aesthetic interpretation. Rainer Wehinger drew a “listening score” of György Ligeti’s electronic composition Artikulation nearly 20 years after it was made, using symbols to represent the recorded sounds. The snappily-named d21d34c55 has posted an animation on YouTube that syncs up the tape to the score, to show how music and image correspond.
The Rambler has posted a link
to the pianist John Mark Harris’ website, which includes a fantastic page that combines a graphic representation
of Iannis Xenakis’ punishing composition Evryali
with Harris’ performance of the piece. The graph gives a clear demonstration of how Xenakis used aborescences
to compose the piece.
Finally, just to complete the circle, d21d34c55 has another page on YouTube showing Xenakis’ 1978 work Mycenae Alpha, an electronic piece written on UPIC, a computer interface that
translates images into sound. This time, the images came first, but were expressly created to produce music.