STRUCTURING THE SILENCE (2016) EWC50a

Solo and two performers/or percussion solo and duet

dedicated to Fritz Hauser

No d'opera/de l'oeuvre/der musikalischen Arbeit/of Work SUISA

Part One/Part Two/PartThree

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Choose all different sounds with fixed characteristics (amplitude, tempo, overtone structure, duration, etc.) and nine elements: gestures, intention, words and other suggestion(s) etc.

Durations and dynamics are free. The sounds to be made are long and short or very short. When performed as a Solo, for One Player, choose cymbals and/or drums.

STRUCTURING THE SILENCE (Bionzo version) (2017) EWC50b

Solo and two performers/or percussion duet

STRUCTURING THE SILENCE La versione di Basilea | The Basel version (2018) EWC50c

Solo and Two Performers

per uno o/e due percussionisti con vibrafono

for one or/and two percussionist(s) with vibraphone

for Fritz Hauser to DIFFERENT BEAT 2018 in Basel (Switzerland)

STRUCTURING THE SILENCE | ERRATUM VERSION (2018) EWC50d

InsideOutside

from PianoChiaro

For two percussionist(s)

for Fritz Hauser to Erratum, March 5, Milan

Each part has eight time-brackets -with ic program by Andrew Culver (similar to John Cage procedure: change operations) -eleven which are flexible with respect to beginning and ending, and one, the eight, which is fixed.

1-9 sound(s) or instrument(s) for two no-pitched percussionist(s).

The sounds must be included with the time-bracket.

The dynamic is free: do not play loudly.

Variety as possible in timbre, articulation, rhythm etc.

No allusions to other musical compositions.

The tape is the pre-text for active listening. In this version: PianoChiaro by Fritz Hauser.

Listening very carefully in relation to Inside [I] and Outside [O] of tape PianoChiaro or another piece (in this case the title must be changed).

Inside: the execution must be in relation to the tape (also as partial imitation).

Outside: the execution must not be in relation to the tape (as partial contrast).

 STRUCTURING THE SILENCE | HABITAT (2018) EWC50e

inPostPercussionMusic

PARADE Version

in Two Parts

Percussion Soundscape(s)

for OneTwo

with computer tape

Percussion Soundscape(s) | “di un paesaggio sonoro” e di paesaggi

per uno o/ e due percussionisti con vibrafono, marimba e grancassa

for one or/and two percussion(s) with vibraphone, marimba and bass drum

con/with computer tape

for Fritz Hauser to PARADE ELECTRONIQUE 2018 in Milano (Italy)

OneTwo Procedure

Le forchette di tempo sono uniche per i due interpreti/improvvisatori. Ogni forchetta di tempo deve sempre essere intesa come duo. I tempi tra le forchette sono intesi come solo.

Questi tempi/spazi in solo non devono essere concordati prima ma raggiunti durante l’improvvisazione attraverso l’ascolto e l’immersione nel paesaggio sonoro nella durata complessiva di 22:27 e 18:46. Ci deve essere una pausa di almeno 5 secondi tra la prima e la seconda parte. Nella prima parte le forchette di tempo tra parentesi sono a scelta, sempre come duo.

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The time bracket(s) are unique to the two interpreters / improvisers. Every fork of time must always be understood as a duo. The times between the bracket(s) are understood as only. These times / spaces in solo do not have to be agreed before but reached during the improvisation through the listening and the immersion in the sound landscape in the total duration of 22:27 and 18:46. There must be a pause of at least 5 seconds between the first and second part. In the first part the time brackets in (5:16 to 7:27) / (6:02 to 9:01) are chosen, always as a duo.

STRUCTURING THE SILENCE (per Angelica) (2019) EWC50f

for Two

per due percussionisti con vibrafono

for two percussionist with vibraphone

for Fritz Hauser and Walter Rovere to ANGELICA 2019 in Bologna (Italy)

Dal suono al silenzio

e viceversa

Le forchette di tempo sono differenti per ciascun esecutore.

Ogni singola forchetta di tempo deve essere intesa sia come transizione verso il  silenzio (in corsivo piccolo) sia come transizione verso il suono (in grassetto). Questi tempi/spazi devono essere graduati e raggiunti durante l’improvvisazione attraverso l’ascolto e l’immersione nell’ambiente (come un ascolto ecologico). Il tutto sonoro deve essere inteso come un intreccio (texture) e un contrappunto improvvisato all’interno di tempi di suono e di silenzio determinati secondo procedure casuali.

La dinamica è intesa come transizione da suono a silenzio e viceversa:

[ ] = all’interno di parentesi, in corsivo, da pp al nulla;

in grassetto, da mp a f

La durata è libera e può anche eccedere le singole forchette di tempo.

Il materiale sonoro è libero e determinato dall’organico strumentale scelto.

La forma è determinata dall’ascolto.

From sound to silence

and vice versa

Time bracket(s) are different for each performer.

Each single time bracket must be understood both as a transition to silence (in small italics) and as a transition to sound (in bold). These times / spaces must be graded and achieved during improvisation by listening to and immersion in the environment (ecological listening). The whole sound must be understood as a plot (texture) as an improvised counterpoint within times of sound and silence determined according to change operations.

Dynamics is understood as a transition from sound to silence and vice versa:

[ ] = within brackets, in italics, from pp to silence;

in bold, from mp to f

The duration is free and may even exceed the bracket.

The sound material is free and determined by the chosen instrumental staff.

The form is determined by listening.

STRUCTURING THE SILENCE / ERBARIO SONORO (2020) EWC50g

for Two

per due percussionisti

for two percussionist(s)

for Elisabetta Vitelli and Fritz Hauser

to SUONI IN CAMMINO, Pietre Strette, September 19, 2020