In 2019 I began writing a series of experimental text-based scores for myself to play on trumpet. Taking an iterative approach, the practice involved conceiving of a set of musical ideas, writing a text score, recording or performing it, listening, reflecting, and then reworking the score. The scores generally indicated a musical language, structural elements and duration, and often an underlying abstract concept.
In one such piece, “July 22, 2019” I arrived at an iteration that was clearly more fixed in comparison to those before. I sent it to a number of artists with vastly different practices from around the world to record their own versions, and to my delight the versions returned to me were not only wildly different in their interpretation but also retained a core compositional identity. This project became the foundation for a multi-year research project into the limits of text score writing which, as of July 2023, I am still deeply involved in.
In this release for Sello Postal we hear five of the original interpretations of the score from Mark Molnar (Canada), Julián Galay (Argentina/Germany), Zhao Cong (China), Heather Roche (Canada/UK) and myself.
Craig Pedersen. Perth, July 22, 2023.
[ES]
En 2019 empecé a escribirme a mí mismo una serie de partituras de texto experimentales para tocar con la trompeta. Adopté un enfoque iterativo, la práctica implicaba concebir un conjunto de ideas musicales, escribir una partitura de texto, grabarla o interpretarla, escuchar, reflexionar y luego reelaborar la partitura. Las partituras indicaban generalmente un lenguaje musical, elementos estructurales y duración, y a menudo un concepto abstracto subyacente.
En una de esas piezas, "July 22, 2019", llegué a una iteración claramente más firme en comparación con las anteriores. La envié a una serie de artistas de todo el mundo con prácticas muy diferentes para que grabaran sus propias versiones y, para mi disfrute, las versiones que me devolvieron no sólo eran muy diferentes en su interpretación, sino que también conservaban un núcleo de identidad compositiva. Este proyecto se convirtió en la base de una investigación de varios años sobre los límites de la escritura de partituras de texto en la que, en julio de 2023, sigo profundamente involucrado.
En este lanzamiento para Sello Postal escuchamos cinco de las interpretaciones originales de la partitura por Mark Molnar (Canadá), Julián Galay (Argentina/Alemania), Zhao Cong (China), Heather Roche (Canadá/Reino Unido) y yo mismo.
Craig Pedersen. Perth, 22 de julio de 2023.
credits
released July 22, 2023
[EN]
Craig Pedersen: Composition
Federico Fragalá: Mastering.
Juan S. Pinkus: Graphic design (www.juanpinkus.com).
[ES]
Craig Pedersen: Composición.
Federico Fragalá: Masterización.
Juan S. Pinkus: Diseño gráfico (www.juanpinkus.com).
Experimental music and sound art label based in Buenos Aires — Berlin.
/
Sello discográfico de música experimental y arte sonoro con base en Buenos Aires — Berlin.
Purportedly the recordings of a disgraced experimental psychologist (you decide), “Jumand” sets spoken word to eerie synths. Bandcamp New & Notable Sep 2, 2023
J.Lynch (aka Thirty Pounds of Bone) plays with organic elements, including prepared piano, against electronics to impressionistic effect. Bandcamp New & Notable Feb 21, 2023
The 17 mindbending songs on this compilation represent minimalist experimental music at its best, a collage of blips and static. Bandcamp New & Notable Dec 3, 2022