Jeppe Ernst: Mass for a Human Body (The Private Treatments) (2016)

Jeppe Ernst Mass for a Human Body (The Private Treatments)

(2016)

Music for physical touch four pieces for two male and two female performers Dur. c. 25

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Jeppe Ernst Mass for a Human Body (The Private Treatments)

(2016)

Music for physical touch four pieces for two male and two female performers Dur. c. 25

INTRODUCTION Mass for a Human Body (The Private Treatments) is a work consisting of four pieces composed for physical touch. These four pieces are written for four different parts of the body and are to be performed on the body of the performers. The pieces all have titles after different Catholic daily prayer periods and the pieces can be understood as therapeutic or ritualistic exercises, both seen from the spectator’s and the performer’s point of view. Each piece is to be memorized and has a duration of six minutes.

Morgenbøn (Ansigtet) Morning Prayer (Face) – 1 female performer Middagsbøn (Fingrene) Midday Prayer (Fingers) – 1 male performer Aftenbøn (Tæerne og fodsålen på den højre fod) Evening prayer (The toes and the sole of the right foot) – 1 female performer Nattebøn (Penis) Night Prayer (Penis) – 1 male performer

The composer must be contacted should the work be performed: mail@jeppeernst.dk

Morgenbøn (Ansigtet) Morning Prayer (Face) for 1 female performer

INSTRUCTIONS Text in box indicates what part of the face to touch.

The two staff lines indicates what hand to use (unless something else is indicated always use 3rd finger).

Slurs indicates not to lift the finger.

Dynamics indicates how hard to touch/hit/press.

Move 3rd finger from one position to another within the indicated period of time.

Use 2nd and 3rd finger to make a trill.

Make a circle around the indicated area.

A squared notehead indicates to squeeze the throat using the 1st, 2nd and 3rd fingers.

A crossed notehead indicates to strike the center of the forehead using the end of a fist (thumb and index finger side).

A Structural Overview is to be found as an appendix (p. 10).

STRUCTURE I A: Bar 1–7 Bar 8-15: Mirror of bar 1–7 with voices switched around.

B: Bar 16–22 Bar 23–40: Repetition of bar 16–22 with voices switched around.

II C: The movement is based on a stairway structure consisting of 3 bars: 1, 2, 3 3, 1, 2 2, 3, 1 1, 2, 3

III D: Bar 1–11⁄2.

Bar 11⁄2–31⁄2: Expansion of bar 1–11⁄2.

Bar 41⁄2–6: Expantion of bar 11⁄2–31⁄2 + one extra bar.

Bar 8–11 Mirrored variation of bar 41⁄2–6.

Bar 12–15: Repetion of bar 41⁄2–6 with voices switched around + one extra bar.

C1: C with voices switched around.

IV A: - the last bar.

Middagsbøn (Fingrene) Midday Prayer (Fingers) for 1 male performer

INSTRUCTIONS The two systems indicate which hand to use and the five staff lines which finger to touch.

Slurs indicate that one should avoid lifting the finger.

Dynamics indicates how hard to touch.

A circle with an arrow indicates to lead the 3rd finger round the tip of the finger within the indicated period of time.

A circle without an arrow indicates to keep the finger in a fixed position at the tip of the finger.

Downwards pointing arrows indicate to lead 3rd finger from the tip of the finger to the root of the finger within the indicated period of time. Upwards pointing arrows indicates to lead 3rd finger from the root of the finger to the tip of the finger within the indicated period of time. A downwards pointing notehead indicates to make a finger-flick using 2nd or 3rd finger hitting the indicated finger of the left hand.

Movement III: In the third movement all notes indicate touching the first finger, and therefore only four notelines occur.

Arrows indicate leading the first finger down or up the indicated finger.

In this movement a downwards pointing notehead indicates a finger-flick into open air.

Aftenbøn (Tæerne og fodsålen på den højre fod) Evening Prayer (The toes and the sole of the right foot) for 1 female performer

INSTRUCTIONS Text in box indicates what part of the foot to touch.

The two systems indicate which hand to use and the five staff lines which finger to touch.

Slurs indicate that one should avoid lifting the finger.

Dynamics indicates how hard to touch.

Lead 3rd finger from one position to another within the indicated period of time.

Lead the 3rd finger round the indicated area of the foot within the indicated period of time.

A Structural Overview is to be found as an appendix (p. 23).

STRUCTURE A (Ending on big toe) B (Ending on middle toe) C (Ending on little toe) Transition (All five toes)

B1 (B with voices switched around. Ending on little toe) C1 (C with voices switched around. Ending on big toe) A1 (A with voices switched around. Ending on middle toe) Transition (4th toe and index toe)

C2 (C1. Ending on little toe) A2 (A1. Ending on middle toe) B2 (B1. Ending on big toe) Transition (Index toe and 4th toe)

A B C

Ending (All five toes) (A = 12 bars, B = 6 bars, C = 3 bars, Transition = 11â „2 bars)

Nattebøn (Penis) Night Prayer (Penis) for 1 male performer

INSTRUCTIONS Text in box indicates what part of the penis to touch.

The two systems indicate which hand to use and which side of the penis to touch.

Dynamics indicates how hard to touch/hit/squeeze.

Use 2nd and 3rd finger to make a trill.

Lead the 3rd finger from one position to another and back again within the indicated period of time.

Move foreskin back and forth within the indicated period of time using 2nd, 3rd and 4th finger.

Dynamics in this case indicates how far back to pull the foreskin.

Upward pointing notehead indicates to lift penis from the underside of the penis using the 2nd and 3rd finger.

Dynamics in this case indicate how far up to lift the penis ( = upright position) Square notehead indicates to squeeze testicles. Dynamics in this case indicates how hard to squeeze.

Crossed notehead indicates to hit penis from the sides/from the underside of the penis (using the whole hand but hitting with 2nd finger).

A Structural Overview is to be found as an appendix (p. 36).

Structure I A: Bar 1–10: Same phrase repeated with voices switched around.

Bar 11–17: Mirrored canon.

Bar 18–25 B: Bar 26-44.

Bar 45–50: Mirror of bar 26-44.

A

II A: Bar 1–8 B: Bar 9–16 A1: Bar 17–25: Same as bar 1-8 with voices switched around.

C: Bar 26–33 D: Bar 34–41 C1: Bar 42–50: Same as bar 26–33 with voices switched around.

A: Bar 51–58 B: Bar 59–66 A1: 67–75