Willem Boogman

composer




idea

Chris Bremmers

duration

27:21 minutes

scoring

ob pc dtp
cl cbcl btrbne pf perc
vl vla vc cb

sound & software design & realization

Johan van Kreij

commissioned by

Asko Ensemble

dedicated to

Paul Berg

premiere

February 5, 2000
Proms-serie
Amsterdam, Paradiso

Asko Ensemble
Stefan Asbury - conductor

buy the score

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Moving

or how to change from a debating machine into the semblance of a human being by remembrance of the unknown
an opera in progress for computer, ensemble and soundprojection (1998-2000)

Based on an idea and texts by Chris Bremmers

audio

I. Monday – O dark, dark, dark
00:00
/
00:00
II. Tuesday – Gestures
00:00
/
00:00
III. From Wednesday – In the twilight (Silent agreement)
00:00
/
00:00
IV. From Thursday – The very moment (Waiting) & final scene from Sunday
00:00
/
00:00
Moving - premiere by the Asko Ensemble & Stefan Asbury, conductor;
Amsterdam (Paradiso), February 15, 2000. Live recorded by VPRO-radio

contents

Monday – O dark dark dark
1. The ›place‹ (Introduction)
2. Office (Absence of an home)
3. A severed monologue
[6:23]

Tuesday – Gestures
(Divided/Meeting point)
[5:51]

From Wednesday – In the twilight (Silent agreement):
1. Café-restaurant (›The entry‹; fragment)
2. Passaggio
[3:19]

From Thursday – The very moment (Waiting):
The Dome of Thursday (As a summary; only electronic music)
[9:48]

Final scene from Sunday – Glory of the day or an alibi at home (Arrival):
Empty place
[2 minutes]

There are no clear distinctions between the episodes

program notes

Moving or ›how to change from a debating machine into the semblance of a human being by remembrance of the unknown‹, in this version, is a kind of theater without actors and without singers. There is no text put to music. Imaginary voices and gestures, sound movement in space and real time sound change together form the source and scope of this music. The voices have never spoken, but possess all the ›energy‹ and characteristics of the voice of a woman, a man, a boy, a young man, a manager and an old man. The gestures are not danced, but especially designed software by Johan van Kreij such as Trisha and ›The Pendulum‹ lets the music dance in space through nine speakers. And the space in which all this takes place can be made smaller or larger, up to the rotation of sounds outside the periphery of the room. An ensemble of twelve instrumentalists will accompany the musical events, as it were, from the orchestra pit. Only the oboe is connected to the computer and forms a bridge between the ›slow‹ world of instrumental music and the ›fast‹ world of electronic music.

toelichting

Moving of ›how to change from a debating machine into the semblance of a human being by remembrance of the unknown‹ is in deze versie een soort theater zonder acteurs en zonder zangers. Er komt in de muziek geen tekst voor. Denkbeeldige stemmen en gebaren, klankbeweging in de ruimte en real time klankverandering vormen samen de bron en het bereik van deze muziek. De stemmen hebben nooit gesproken, maar hebben alle ›energie‹ en elementen van de stem van een Vrouw, een Man, een Jongen, een Jong Kind, een Manager en een Oude Man. De gebaren worden niet gedanst, maar speciaal door Johan van Kreij ontworpen programmatuur zoals Trisha en ›De Slinger‹ laat de muziek dansen door de ruimte via negen luidsprekers. En de ruimte waarin dit alles zich afspeelt kan kleiner of groter gemaakt worden tot het roteren van klanken buiten de omtrek van de zaal. Een ensemble van twaalf instrumentalisten begeleidt de muzikale gebeurtenissen als het ware vanuit de orkestbak. Alleen de hobo is aangesloten op de computer en vormt de brug tussen de ›langzame‹ wereld van de instrumentale muziek en de ›snelle‹ wereld van de elektronische muziek.

colophon

Design and realization of the computer music system: Johan van Kreij
Based on an idea and texts by Chris Bremmers

The electronics were realized at the Institute of Sonology in The Hague, subsidized by the Vereniging Buma.
I am indebted to Paul Berg, Konrad Boehmer, Lex van de Broek, Liesbeth ten Cate, Willem Hering, Renee Jonker and Jan Panis.

scoring

oboe*, piccolo*, trumpet in D*
clarinet, contrabass clarinet, bass trombone, piano, percussion, violin, viola, violoncello, contrabass
The instruments with an asterisk form the group of instruments which are projected in the hall via the circuit of loudspeakers.

percussion: Glockenspiel, vibraphone, stone (in B), metal (in E flat), wood drum (in E flat), log drum (in B), 2 bugarabu (no bongos!): 1st high, 2nd low, 2 baroque timpani (tuned a fourth apart), small bass drum (in horizontal position), large bass drum (if possible in vertical position), large tam tam (with a deep mellow tone).

setup

Clearly visible to the audience, the oboist is positioned at the centre of the stage. It would be advisable for the oboist, the trumpeter and the piccolo player to be playing on a podium especially raised.
The oboist is to be the sole spotlit player.
The conductor will start to conduct left from the centre in order that the oboist be clearly visible at the outset of Moving. The score indicates the moment of the conductor taking his ›usual‹ position.

The computer will send the sound to 9 loudspeakers placed in the concert hall

musical functions

Three musical functions allow themselves to be distinguished based on their spatial effects:

1. Stage music as performed by the ensemble. So as to prevent an ›acoustic gap‹ between instrumental sound and computer-processed sound, all instruments will sound through loudspeakers, some instruments needing a little amplification. Equipment requires a mixer and loudspeakers positioned at either side of the stage, or else loudspeakers I and II (A) may be used.
 
2. Sound projection of a group of instrumentalists (3*) situated as a separate group next to the ensemble. The sound of the instruments will be manually projected (by a sound director) on to several places in the hall via the small mixer and the 9-loudspeaker circuit.

3. The hobo is connected with a computer music system.
Computer and score are geared to one another: so as to be able to start processes the computer performs at moments the score indicates exactly, the oboist will control the computer by means of a pedal.

sound projection

Points of departure:
The oboe is not to be treated as a solo instrument, whereas the sounds the computer generates should be considered a ›solo‹ performance. The ensemble is to be considered an accompanying ensemble playing from the ›orchestra pit‹. The ensemble accompanies and supports all spatial sounds: both the sounds made by the oboe (as soon as the computer sends them out to the hall) and those by the computer.