Annie Hui-Hsin HSIEH
The Warmth of the Nebula - for solo piccolo and 8-channel fixed media 2016
Score
Performance Directions In general: - The piece is to be performed in complete darkness -
The time indication in boxes synchronizes with the time code of the fixed media. The sparseness of the notated materials aims to provide the performer sufficient time between the musical events so to ‘settle’ into the materials fully. However, one should always play in a quasiimprovised manner in a reactionary, and responsive ‘partnership’ with the recorded part.
Notation: -
Variation in transitions between air (light grey/white) and sound (dark grey/black)
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Gradual transition from Aeolian sound to pitch Inhale/exhale
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Notes are detached by breaths only, not by tongue
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Move freely microtonally around the given pitch OB, Overblown
Technical Requirements: - The 8-channel speaker set up as the following around the audience 8
1
7
2
6
3 5
4
* Ableton Live session and Max/MSP patch can be obtained from the composer on request.
About the work This piece came instinctively as an imagined scenario that is as vividly imprinted in my mind as it is physically felt. A certain timelessness of this environment engulfs one’s sense of a beginning and an end, almost as if one suddenly finds herself surrounded by a vaporous blanket of fog that quietly seeped in, thickens, encapsulates and wraps one within. Then the gently burning glows glisten all around, within reach yet not to be captured.
Note on the fixed media Michael Matsuno performed the recorded materials on an open-holed bass flute kindly provided by John Fonville. The session engineer was Colin Zyskowski and the spatial programming was realized in collaboration with Johannes Regnier.
1’10
2’10
2’40
3’40
4’00
[0’25]
4’30
c. [0’15 ]
5’10
5’40
6’10
6’30
6’45
7’00
7’30
8’00 (x5 ~ 10, ad lib.)
8’20 ad.lib
9’05
9’35