IV. Dancer ...or how emptiness could be so active.
#1. Microtones: uses extremely micro-tonality: 32th of tone means that in between C and D there is a scale of 32 micro steps, each one measured as 6.25 cents. It is not the idea to turn the audience into a "cents measure- machine", but to create a musical context where concentration gets wider opening the perception and the focus. + Optional lighting design
#2. Spoken voice: is based on fragments by Friedrich Hölderlin used by Luigi Nono in his string quartet "Fragmente - Stille an Diotima". In his music score Nono asks specifically not to read the texts in the concert, neither include them in the program notes. In my piece the text is modulated through the instrument by means of different techniques. It works like a texture and respecting Nono´s whishes they should not be understood. + Optional orchestra of small electic fans.
#3. Polyphony: is a choral for the flute that uses homogeneous multiphonics sounds in a very soft and even dynamic range. The focus is not only in the pitch but also in the turbulences and noises of these that these special polyphonic sounds brings when played in a monophinic instrument. + Optional radio.
#4. Dancer: or "how emptiness could be so active": presents a counterpoint between the solo flute and a dancer withing the very limits of perception. A very narrow register in the flute, extreme soft dynamics, and the use of silence are the materials of this piece. The dancer, with minimal movements, comes briefly into sight from the obscurity around, as sound comes out from silence. Dancer is optional. Can be replaced by any other visual proposal following the concept of this piece.
All pieces can be played in concert version (solo flute) without props/dancer
*All music was composed by Cecilia Arditto
- simple lighting setup in the threashold of seeing
- 1 standing electric fan prepared with a feather (see diagram below)