- Karmit’s original idea was about more languages of the same text. Soon she changed this (following suggestions of her main teachers) and looked for a simple text where she could explore the sounds of the words beyond their meaning.
- She found an old collection of Dutch folk songs. She decided to use the text of two songs in two variations on the same melody
- To preserve the simplicity of a folk song – she used a melody written for a Kodaly-solfege lesson in c# la-pentatonic scale
- We had long discussion about how to clean up the score, to not make it sound too blurry
- how to create contrasts in the two quite similar movements (slightly different tempo, different sopranos getting different lines etc)
- finding the difference between first and second version of the material for speeding up so it is more singable in one breath
- choosing the singers right for the different ranges, for example same line getting too long and too high while pseudo canonic structure allows to re-distribute the surrounding notes in a way that it fits the tessitura of each singer
Renán Zelada – aki sareba
- He wanted to create a map-score at first
- he changed to an easier form of open-score
- he chose a Japanese haiku as starting point
- as main interest was also on the different timbres of the sopranos, he made them also read the text and have a constant murmur as the main texture of the piece
- he wrote an expressive and fragile melody which we could learn in unison and perform with aleatorics quite free
- We worked on creating more precise rules, as freedom on too many parameters can lead to the voice itself sounding quite ‘random’, to avoid that we had unwritten rules with the singers how to achieve the best breathing of the form of the piece, how to give reference points (for tuning each phrase from another note) and how the colours would come out best.
Alexandros Gkonis - Kassiani
- His piece was based on a sequence of a harmonic progression of three voices on an ancient text
- At some point I suggested do instead of doubling each line, the group could be divided in two trios – similarly to Abrahamsen’s ‘Universe birds’ - and next to the original material a ‘shadow trio’ could be made, where all voice leading is mixed up, to create different colour changes
- We worked on fixing some voice leading, beaming and doublings
- Text needed to be notated better (words of one syllable spread on two notes as if two syllables etc…)
Maria Rostrotseva – Something in-between
- Maria made the most difficult piece for the singers, where many parameters were difficult at same time (pitch material complementary chromatic, difficult rhythms, harmonies and relation to each other)
- We worked on simplifying with preserving the complexity of the piece as much as possible
- We beamed groups differently sometimes and put new bar lengths for easier notation
- We worked on possibilities of different prosody and rhetoric – what other type of relation of the voices can appear in the piece after the first two pages?
Vasileios Filippou – Silent wave
- He wrote for my ensemble, that also performed on the same concert, the Vocal Federation Six (VF6): so as a master student he had a bit different task than the others: writing for mixed ensemble (3 female and 3 male singers)
- The piece was based on a single melody, deciding that first it is with gaps and after a B section it returns in a continuous, uninterrupted way
- ‘The piece’s melismatic character and ornamentation are influenced by Greek Byzantine chanting’ writes Vasileios in the explanation of his piece.
- In the B section where the singers decide how to shape their entrances, we indicated extra the rules of how to fix the order of entrances, in order to create exciting waves and forms.