pninax
  • Home
  • Artistic work 2018-22
    • Traveling Viola >
      • Vibration | Traveling Viola
      • Float | Traveling Viola
      • Crumbling | Traveling Viola
    • Stagnant Water
    • House Party
    • We are the generation EasyJet
    • The hour of the new pain
    • Street view
    • LEK
    • Scratchange
    • REMIX Somewhere over the rainbow
    • Soundhunt
    • Typing error
    • Jerusalem
  • 2014-17
    • Musical games >
      • Sing me a mountain
      • Lek
    • Hotel room
    • The Longings of Maya Gordon
    • Timeaddsup >
      • Timeaddsup live
    • Psychedelic wonderland
    • Solo Viola/movement >
      • Moving music
      • Viola cadence
      • Can movement be heard?
    • Postcard
    • I wanted to know everything >
      • Full album
      • Acoustic
      • Leolam lo eshma | Yona Wallach
    • Vertigo match >
      • Vertigo match#2
      • Vertigo match#1
    • Sound plasma | Radulesco
    • Beginnings & endges >
      • Dream#1 page 3
      • Tears,blood&smiles
      • Rubberboat
      • The 3rd space
      • Goodbye party
    • The Hague 12/02- 16/02
    • Jewish?
  • 2011-14
    • Nature boy
    • Zvuvim
    • Downhill
    • I-ME
    • D&D
    • Akuma
    • VIOLACONTROL
    • Moon
    • Seashell Spiral
    • Fish Lady
    • Yellow Girl
    • Story
    • Yellow Stomach Music
    • Tomato
  • Collaborations
    • More
    • Moving strings
    • Zvov
    • Play as you are
    • No Horns
    • Synzine >
      • Blog Synzine
    • Past >
      • Ensembles >
        • Street View Collective
        • Sex_kitten_baby
        • Goedlaak
        • MavaRoz
        • Hatzatz
        • Komoclassi
      • Projects >
        • Trials of arnhem land
        • Sound plasma | My high D | Radulesco
        • DIA-CSI
        • Something is missing
        • Synproject >
          • Synproject Youtube
  • Moving Music
  • More
    • Muzaza
    • Release/publication
    • Discography
    • Press
    • Contact

vertigo  match#2 

Vertigo match#2 is the 3rd version I composed of Vertigo match. The 1st version resulted from a collborative project - ''The Babel project'' about Giberish with Israeli Bass player, performnace and text artist Shaya Feldman. Vertigo match is about the 'general' human fear of heights. The fear of being too small and the fear of being too big. It deals with questions about individualizm and collective, solo verses group, independence, belonging, the power of the leader and the power of the group. In Vertigo match#2 I question own perceptions, try to brealk through my beleives and find new ways of dealing with ones position in relation to suroundings. Its a match, a game. There's no clear winner, since I found no definite answer. It is in a sense a collection of experiments in different ways of relationships and correspondings. In the 'Solo' sections, the players speak their own text reflecting each ones attitude and prespective towards these questions. 
To read more about the overall structure and meanings download the 'overall structure' file below. 
Vertigo match#1
Premiered in MIAM, Istanbul, 2015
​
Sibil Arsenyan - Conductor
Maya Felixbrodt – Viola
Ivan Arion Karst - Euphonium
Boran Mert - Baglama
Zeynep Özcan - Electronics
Amy Salsgiver - Vibraphone


overall_structure_vertigo_match2.pdf
File Size: 109 kb
File Type: pdf
Download File

electronics_part_text_vertigo_match2.pdf
File Size: 63 kb
File Type: pdf
Download File

excerpts_from_vib._part_vertigo_match_2.pdf
File Size: 30100 kb
File Type: pdf
Download File

EXCERPT FROM BAGLAMA PART
EXCERPTS FROM ELECTRONICS PART
ENSEMBLE   TEXTS (USED   IN   SOLO   SECTIONS & FOR AUDIENCE SOLO)
Picture

Amy Salsgiver
Taken from the Attica prison letters of Sam Melville, used by Rzewski in Coming Together

'I think the combination of age and the greater coming together is responsible for the speed of the passing time. it's six months now and i can tell you truthfully few periods in my life have passed so quickly. i am in excellent physical and emotional health. there are doubtless subtle surprises ahead but i feel secure and ready.
As lovers will contrast their emotions in times of crisis, so am i dealing with my environment. in the indifferent brutality, incessant noise, the experimental chemistry of food, the ravings of lost hysterical men, i can act with clarity and meaning. i am deliberate--sometimes even calculating--seldom employing histrionics except as a test of the reactions of others. i read much, exercise, talk to guards and inmates, feeling for the inevitable direction of my life.'


Text used in Solo electronics section
Arms and the Man by George Bernard Shaw

"Soldiering, my dear madam, is the coward's art of attacking mercilessly when you are strong, and keeping out of harm's way when you are weak. That is the whole secret of successful fighting. Get your enemy at a disadvantage; and never, on any account, fight him on equal terms." 




Zeynep özcan 
Written by Zeynep Ozcan with the interpretation of "A Day in Life"  by Lennon–McCartney

"I'd love to introduce my self to you.

I am her computer.
She is my human now.
Ha ha ha ha ha
Did you notice that I can breath?
That's scary ha.
I read the news today oh boy.

The news was rather sad
Well I just had to laugh.
Four thousand holes in MIAM
And though the holes were rather small
They had to count them all
Now they know how many holes it takes to fill this concert hall
So do your think when the time has come"

Ivan Arion Karst
Chosen by Maya Flexbrodt
Leonard Bernstein ("Omnibus Presents: The Art of Conducting",December 4, 1955)


"The conductor must not only make his orchestra play - he must make them want to play. He must exalt them, lift them, start their adrenaline pouring, either by pleading or demanding or raging. But however he does it, he must make them love the music as he loves it. It is not so much a matter of imposing his will on them like a dictator; it is more like projecting his feelings around so that they reach the last man in the 2nd violin section. And when this happens - when everybody shares his feelings, when 100 men are sharing the same feelings, exactly, simultaneously, responding as one to each rise and fall of the music, to each point of arrival and departure, to when all that is happening then there is a human identity of feeling that has no equal elsewhere." 
Proudly powered by Weebly