Jeppe Ernst Solo (Cantus II) (2024) for two performers and two assistants Dur. 13′
For Sistro Duo
SCORE
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Jeppe Ernst Solo (Cantus II) (2024)
for two performers and two assistants
Dur. 13′
INTRODUCTION
Solo (Cantus II) is written for two performers, each with an assistant, and is composed for physical touch and facial muscles. The piece is the second in a cycle consisting of eleven pieces collected into three volumes, with Cantus as the overall title. Both parts are synchronous for the entire piece, which is why only a single part is notated.
The assistants each follow one of the performers: Assistant 1 following Performer 1 and Assistant 2 following Performer 2. The assistants each hold a small mirror in front of themselves with the mirror facing the performer standing at a distance of 2 – 3 metres from the assistant.
The piece is to be memorized.
Positions
The piece consists of four movements in which the two performers stand in the following four positions:
Pos. A: With the back to the audience.
Pos. B: With the left side to the audience.
Pos. C: Facing the audience.
Pos. D: With the right side to the audience.
Structure
The piece consist of four movements:
I. Performer 1: Pos. A; Performer 2: Pos. C – Assistant 1: Pos. C; Assistant 2: Pos. A
II. Performer 1: Pos. B; Performer 2: Pos. D – Assistant 1: Pos. D; Assistant 2: Pos. B
III. Performer 1: Pos. C; Performer 2: Pos. A – Assistant 1: Pos. A; Assistant 2: Pos. C
IV. Performer 1: Pos. D; Performer 2: Pos. B – Assistant 1: Pos. B; Assistant 2: Pos. D
Postures
I. The performers standing next to each other with half a meters distance. Hands held in at chest hight. Physical contact with the palm of the hand (spread fingers)
II. The performers standing with the back to each other with physical contact. Hands helds down the sides with the palms facing backwards.
Physical contact with the palm of the hand (clenched fingers).
III. As in I.
IV. The performers facing each other with at a distance of half a metre. Hands held in at chest hight.
Physical contact with the palm of the hand (spread fingers).
Overall Form
I. A - B - C
II. B - C - A
III. C - A - B
IV. A - B - C
A = Touch; B = Facial muscles; C = Touch + Facial muscles
Notation
Upwards pointing notehead: Right hand.
Downward pointing notehead: Left hand.
Touch
In all four movements the performers are in physical contact as indicated, which means that a pause indicates a fixed physical contact.
A square notehead indicates to squeeze the other performers hand as tight a possible.
Crescendo: Gradual movement from a flat hand with spread fingers to a hard squeeze of the other performers hand.
Diminuendo: Gradual movement from a hard squeeze of the other performers hand to a flat hand with spread fingers.
A square notehead with a tremolo indicates to shake the other performers hand with a flat hand with spread fingers (moving from right to left).
Crescendo: Gradual movement from a fixed touch to as fast as possible.
Diminuendo: Gradually movement from as fast as possible to a fixed touch.
Arrows
II. Upward pointing arrow: Leading 3rd finger from the tip of the other performers 3rd finger to the wrist.
Downward pointing arrow: Leading 3rd finger from the wrist to the tip of the other performers 3rd finger.
IV. Upward pointing arrow: Leading the indicated finger from the bottom of the finger to the tip of the finger.
Downward pointing arrow: Leading the indicated finger from the tip of the finger to the bottom of the finger.
Which finger to use is indicated in a box above the notehead: I = 1st finger; V = 5th finger (of both the active and passive performer).
Facial Muscles
Eyebrows: Upper line: Eyebrows as high as possible.
Middle line: Eyebrows in neutral position.
Lower line: Eyebrows as low as possible.
A glissando indicates a gradual movement from one position to another.
Eyelids: A notehead indicates to open eyes.
Crescendo: Open eyes gradually.
Diminuendo: Close eyes gradually.
Lips: A circle above a notehead (I + III) indicates to make a round shape with the lips with open mouth (teeth not visible).
Arrows pointing diagonally to the left and to the right (II + IV) indicate to make a smile with the mouth closed.
Transitions
• A cross indicates to have hands down the side with the palm of the hand facing the thighs.
• A circle indicates the indicated posture.
• A dotted line indicates a gradual movement from one position to another.
• On the first beat of the transition eyes should be open and on the first beat of the following movement eyes should be closed again.
Tr a n s i t i o n I
q = 6 0
× ( E ye s o p e n )
P e r f 1 : P o s A
A s s 1 P o s C
P e r f 2 : P o s C
A s s 2 : P o s A
4 4 3 4 M o v e m e n t
q = 9 0
Tr a n s i t i o n I I ( E ye s o p e n )
q = 6 0 1 4 4
P e r f 1 : P o s A
A s s 1 P o s C
P e r f 2 P o s C
A s s 2 P o s . A
x ∑
P e r f. 1 P o s B
A s s 1 P o s D
P e r f 2 : P o s D
A s s 2 : P o s B
x ) (
E ye l i d s
( O p e n e ye s)
( E ye s c l o s e d ) I I
E ye b r o w s 3
E ye l i d s
( O p e n e ye s)
E ye b r o w s
E ye l i d s ( O p e n e ye s)
L p s
E ye l i d s ( O p e n e ye s)
Tr a n s i t i o n I I I
q = 6 0
( E ye s o p e n )
P e r f 1 P o s C
A s s 1 : P o s A
P e r f 2 P o s . D
x P e r f 1 : P o s B
A s s 1 P o s D ∑
A s s 2 P o s . B
P e r f. 2 : P o s A A s s . 2 P o s C
Tr a n s i t i o n I V
q = 6 0
( E ye s o p e n ) ∑
A s s 1 : P o s A
P e r f 1 P o s D
A s s 1 P o s B
x P e r f 1 : P o s C
∑ P e r f. 2 : P o s A
A s s 2 P o s C
P e r f 2 P o s . D A s s 2 : P o s B
( E ye s o p e n ) E n d i n g
(