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
To read more about the overall structure and meanings download the 'overall structure' file below.
Vertigo match#1
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Premiered in MIAM, Istanbul, 2015
Sibil Arsenyan - Conductor Maya Felixbrodt – Viola Ivan Arion Karst - Euphonium Boran Mert - Baglama Zeynep Özcan - Electronics Amy Salsgiver - Vibraphone |
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EXCERPT FROM BAGLAMA PART
EXCERPTS FROM ELECTRONICS PART
ENSEMBLE TEXTS (USED IN SOLO SECTIONS & FOR AUDIENCE SOLO)
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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." |