I'm not sure how relevant this is, but if you compare what Arditti does in that etude with Fusi -- here
I think there are enough differences to suggest that each of them is responding to the the resonance of their violin to guide their creation of the musical gestures. I suppose I really want to say that all performances of a solo score, even a Cage score, involves a certain amount of freedom, freedom to create, improvise a response.
Let me mention something which impressed me when I read it. There's an improvisation by John Tilbury, Keith Rowe and Kjell Bjørgeengen called Sissel. In the blurb, Keith Rowe alludes to how all three musicians took their inspiration from a shared reading of a Poussin in London. It makes me think that in an improvisation like this there's a certain sort of planning -- there's no score, and it's not clear exactly how the painting helped the three of them to come to some shared ideas about what would go into the improvisation and how it would proceed, but it suggests to me that they weren't entirely free of rules, rails and structures when they started to play.
(If you don't know it, it's very beautiful!)
All this makes me realise that I don't really know what an improvisation is, and indeed what a score is.
I think there are enough differences to suggest that each of them is responding to the the resonance of their violin to guide their creation of the musical gestures. I suppose I really want to say that all performances of a solo score, even a Cage score, involves a certain amount of freedom, freedom to create, improvise a response.
Let me mention something which impressed me when I read it. There's an improvisation by John Tilbury, Keith Rowe and Kjell Bjørgeengen called Sissel. In the blurb, Keith Rowe alludes to how all three musicians took their inspiration from a shared reading of a Poussin in London. It makes me think that in an improvisation like this there's a certain sort of planning -- there's no score, and it's not clear exactly how the painting helped the three of them to come to some shared ideas about what would go into the improvisation and how it would proceed, but it suggests to me that they weren't entirely free of rules, rails and structures when they started to play.
(If you don't know it, it's very beautiful!)
All this makes me realise that I don't really know what an improvisation is, and indeed what a score is.
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