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Output details

35 - Music, Drama, Dance and Performing Arts

Trinity Laban Conservatoire of Music and Dance

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Title or brief description

Runswick- Third Sonata. CD recording of music for piano. Aleksander Szram (piano).

Type
Q - Digital or visual media
Publisher
Dazzle Music
Year
2012
Number of additional authors
0
Additional information

This CD is the first recording of the Third Sonata by Runswick, an experimental piece that explores the continuum between fully notated and fully improvised music by presenting the same movement six times, notated differently each time. My investigation of the score and subsequent performances/recording of the work proceeds from my doctoral research into the semi-improvised notational structures of Cardew and Cage. Having formerly collaborated with these two individuals, Runswick’s approach can be seen as building upon their work in this field and thus adds to the existing knowledge concerning the interpretation of improvised structures. As a recorded performance-practice document, it is placed in relation to Tilbury/Cardew, Wolff/Earle Brown as an example of a possible interpretation of an essentially improvised music. This studio recording was supervised by the composer, and constitutes a rigorous portrayal of his intentions in the two fully-notated movements (Boethius and Basho), and an approved manifestation of the other, quasi-improvisational structures. My role was to realize the differently-notated movements, and to create a convincing, relevant ‘authentic’ improvisation in the last movement (Blueprint) which is composed entirely by the performer according to the composer’s skeletal outline. Complementing this recording of an essentially ephemeral/conceptual score, are two alternative live interpretations which are available from the composer’s website http://www.darylrunswick.net/concertindex.html. This recording and its online distribution brings the work to an audience for the first time, and adds to the existing knowledge of the balance of communication between composer and performer depending on the choice of notation. This has led to new insights concerning the process of collaboration, which have been effectively shared through workshops at the RAM and the University of York, as well as at concerts in Europe and North America.

Interdisciplinary
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Cross-referral requested
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Research group
None
Proposed double-weighted
No
Double-weighted statement
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Reserve for a double-weighted output
No
Non-English
No
English abstract
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