Jeremy Rosenstock
this was written for tony for marimba and fixed media
2 this was written for tony, for marimba and fixed media Program Notes This work is an attempt to create freedom within a fixed duration signified by the prerecorded media. Much of the material in the marimba part is performed with a certain level of rhythmic and temporal freedom, allowing the performer to "ebb and flow" throughout much of the piece. This attempt to find freedom within strictly predetermined electronic materials is rooted in an interest in the philosopher Henry Bergson's theory of duration; Bergson argued that duration (his term for time) was in constant change, meaning that any seemingly static "set" of states or actions was nevertheless in flux due to the persistence of duration. In turn, the marimba part serves to represent duration finding its way into that which feels predetermined and stagnant, opening the set of states towards time and infinity (or as Bergson calls it, "the Open") in the process. This work was composed for, and is dedicated to Tony Kirk. It is part of a cycle of works composed specifically for friends of the composer dating back to his undergrad, who have all moved to differing and distant places for their respective graduate studies and professional careers. The composer hopes to see any of these people at some point in the future.
3 this was written for tony, for marimba and fixed media Key All notes in the box, or "cell" is to be repeated until the arrow. In addition, all material in the cell can be lightly sped up or slowed down throughout repetition of the cell.
An action or pitch in the fixed media continues with minimal change. A continuous drone of running water that occurs throughout the piece and fixed media. Breathe in and out audibly.
A pitch in the fixed media whose fundamental or frequency is somewhat indeterminate.
A pitch in the fixed media whose rhythm is indeterminate.
A timestamp for an action, usually placed below said action.
Performance Notes The performer should begin the work in a standing position with their eyes closed. If the performer is part of the way through a cell when a new timestamp or performance action is demanded, complete the action within the current cell before moving onto the next action. The prior cell may be played once again before transitioning to the new action if it feels appropriate for the performer in the moment. Any non-cell material in the marimba part should be synchronized precisely with whatever is going on in the fixed media. Any other celled material may begin at any point in the second notated in the timestamp. Any accelerando or ritardando applies to the speed of the marimba cell only, not to the overall fixed media. During accelerandos or ritardandos, the performer is still expected to "ebb and flow" in their tempo while still adhering to the overall temporal trajectory implied by the accel. or rit.
4
this was written for tony Jeremy Rosenstock
Marimba
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q = 60 (1 ")
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eyes closed, breathing slowly
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Fixed Media
6
Mar.
F.M.
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0:30
0:17-18
mp
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o
F.M.
0:00
0:08
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6 0:42-43
Ϫ
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0:52
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0:33
f
0:36
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f
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0:22
11
Mar.
Ϫ
sempre tremolo
q = 60 (1 ")
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accel.
6
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1:09
f
14
Mar.
F.M.
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slight pause to allow for synchronization
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1:20
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1:56
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1:56.5
21
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2:00
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2:06
quintuplet tempo (in groups of four)
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rit.
5
2:10-12
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F.M.
ff
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?
Mar.
1:28-29
1:16
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F.M.
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3
17
Mar.
cell B; freely alternate 5 between A and B
cell A
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2:17
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2:36
2:26
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6
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Mar.
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F.M.
2:41
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3:05
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Marimba
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p 3:50-52
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4:06
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4:02
3:45
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37
Mar.
3:10
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IN OUT
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close eyes, breathe heavily
mf
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34
Œ
ff
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F.M.
gradually increase fermata length from 0.5" to 2.5" across repetitions
œœœœ 4:10
rit.
6
accel. œ œ . œœ œœ. cresc. to 4:41
f 4:16
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4:19
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Y
40
Mar.
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4:30
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6
4:26
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F.M.
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7
4:35
4:24
≈ > Œ œœœœ œœœœ {& 43
Mar.
&
F.M.
¿j
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{&
rit.
¿ ¿¿ ¿¿ 5:10
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5:01
4:56
same as before
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F.M.
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48
Mar.
¿ ¿ J
4:41
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ff
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o
5:22
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