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ProgrammNota STBING OUARTET is one of severalworks in which I have attemptd to combine the "graphic" and "mobile"improvisationalqualities of the 1952 works (as in FOLlOl, and the "composedmaterial,openform" conditionsof TWENTY FIVE PAGES{19531and the AVAILABLE FORMSworks of-1961-62.In composing lsterwo.ks, these which use more than one performerwithout conductor, I havefixed the over-allform but haveleft areas of flexibility within the innr structures.The works achievea strong formal identity while maintainingthe "performer procs6s" ol spontaneityand the balanceof collaboration betweenthe compositionand the performersthat are characteristic the previouslymentionedopen.formand graphicworks.

Programmnotiz DsSrsichquartett ist eine von mehrerenArbeiten, in denenich versuchthabe,die in den Werkenvon 1952 (2.8. in FOLIO) entwickeltenEigenschaften isationmit den auf die TWENTY der musikalischen Grafik und der Mobile-lmprov FIVE PAGES(1953)und die AVAILABL FORMS-Wsrke von 1961/62angpwandten Grundgtzen einesin offener Form auskomponirtenIt aterials zu verbinden. Bei diesen spterenArbeiten, zu deren Ausfhrung mehr als Ein in den Binnenstrukturen Ablauf der Form vorausbestimmt, Spieler, aberkein Dirigentvonntenist, habeich de.ussren formale igenartauf, doch hoffe aber Zonen flexibler Gestaltung offengelassen. DieseWerkeweiseneine ausgeprgte idr, auch die Voraussetzungen ftlr die Spontaneittder Wiedergabe und das Gleichgewichtim Zusammenwirken erwhntenWerkeder offenen zwischender Komposition und der Darbietungerfllt zu haben,die fiir die eingngs Form und dr musikalischen Grafik charakteristisch sind,

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DIRECTIONS FOR PERFORMANCE

fletibilhY i. the noiaiion ol th eort borh in echp.nnd i. eenemble There is . buah-inftor oi performance rel.tioNhio ol th. prrr' ro one another. Th b.!ic not tio (patch,duration, rciqu..d dvnanic Air) it whit I hve calrd s "timno$rion" and is a ddelopen ol th "9r.phic" and "opon_lorm" work in FOLIo 11952tnd 1953) s.d mo3t cl6rly repreienr.sNnd relstionthipsin rhe e.ore | wilh thh to.!in i. paformnc._ind.pnddt of. stri.t pul* or hsic syneB. It 'tim-norion in rht the priorms'3 rliionshipto the 3coreand rhe sctoal 5ound in perrorm'nc ' &tined bvlhe Fo.e, and not in t"ms rlird in tdms of tiE orform6r's '\ ime 3en* p.ptin ol the reltioshipr f rrionrl miric avnm oi ddiiive nit1 th. du.tin! r orqFiredvituellv in the compld tpiam or sundinq nd .re in preci* relation to the 5p6climeof the sre lr is tpcled thlltn prtorhcB will obstrve '5 cloly .3 posible ih "tpp...{ r.ltimhips of sund lnd eilerc br t withdl h6itstion on th bdis ot th h must b! o.deBrod thsr a Drirm.tue is nol exp.ded ro be 6 pri* $nslstion ot thespatil tbtionship6but a p6cprion3 .elriv .lietbn made more lpmnsus throgh lhe i.volvemenl ot the perlorneB subtlv changinq ol e sotial relation$ips. The ro.kansllexibiliiv .nd tu.lddi6tion5 irom $eprke indi6tions anthe s@rere .c.eptsble s.d !.e i. f.ct intesrl 10 ihe natur ol th work The uh b the cdrte expr6ion oi the cno's ot peoplei. a shuaraon wh6eccuracy 6 r <,em..dd bul "conditiond" luncrion withi. huhan pr@di

coniousmannersrFnt nolly during..h p.rformsE. A complerelvpr'ptiorm.n@orderingol thd n.trbl5which I could v..y wtl .r.ng. myli-would .limin.l th pssibililv of the int.ni. immeditt commnicltionot eNnble 6llbo.son wh ich G en ert.omoty imporEnt atp.ct ot "music naking".i | 34 itSTRI NGFabbrwitiont and n$!l indi@ti6s: r: rto: Do.t ffino: br r .turi.rco Ddng. ($l t$to)lrco on th.finqrbord. (3ulponti@llo)rrco lgthe bradge: .tlEh. n.el .!nd. (col lsnot6tto) atcowithwood of the bowrh Mod ol the bow. rhs ffing h l.sno bttuto) drike l.ol

lnap piz2: very ltrcng pizziet 6llowi.O $ring to strike tin96b@rd. BB. Pizz. $ing whichder technique "below the bridge" (betwh th. bridE.nd the riil pi) indictted bv an ..o. "x" olacedon the line or spa corr6ponding to the open nrilqon ths instrunent Th pir'h ms beo' b3n. thar nrin! and in lh 9v6 rhythh. N.r, L.g: Natu.arb@ins pdhion, legab srYle.

The very first $urn is a very qujet clusttr (2nd !ln. nd cllo must tun their nrinst dow halt toneliner l.l apprximstely 20" th writlen nors ar to be liEirrlYbched WHILE CONTINUING lO HOLD THE CLIISTE TONES. fihe '1oched" nott 6rc plavablen s$inqt immedial.lv adjtc.nl t th heldnos) After : rtl rim of app.otim.iely t hinute, rht cluster chord c6G, rh towrcd srrinssare r tuned to norm6l pitch during the rsr of rhe firn line of the s@r,andihe "belo the bridqe" pizz- nd bttio and "inni4late ponricllo" lin clloJ srion b@m6 establh.d. Unl6 n tuh to be ab$lutely nsrv i n d i o to d b y a n siiow ( | t intt' escoe' in neor rwo olher plc6, nsehblcu6 should be given ONLY where

uing hi.hder given thiq! in a kind oi in..ticul.le bowins rhnqu; t givis tll normal Inrn. Ni. Pont. $undinq vlue to the nore., s qlnslllv la$ randoh slu ng of bow action; ml rurl gligsdi unr* bv th Tr.n. indiid, "ql" o. "qlis'arthough shon "bending ' glisndi mv b included as 'mplEd Tsto. qGphac. AF AP=As i .nD os i b l e . ananicuLtercunds: ll6t bt one 4ent In the mrkl The ene *tion is to hvth sound qulitv of rh.tbdt v,ri.tios of rhniaue loia,, po.r., mt. erq)

"i.anicultte" stvle;ob*rui'q alllh!

SH O U LD T O SYST EMIN T H E SC O R E AND/ O SYST EM TO SECTTON FFOM SECTION A L L OT HE F CHANGES W IT H IN M U Sl BE IN T OT IIE N EWSEC T IO N A MA OE INOIVIOUALLY,BUT ALL FOU OF TIIE MUSIC IAN S OF ONE ANOTHEB, 5 6 S E C OND S will Th. work shouldber.tred with rtEnc. ro chroorut.r. bt it h hoDcdth.t th. iioinqs snd t.ction chanss b. antuitivernd bed on k.owangbvrthe cha.96 and $.ion tolnd.h.ractristics bv lhetim ot pertorminq (bi Th "srphic" rction which | 4e in the lsr bolonestin of thi.work is onewhich ltiBt $d in rrtch'ns ;'iies ror St,ing O,anef in1950or1951 at that tim it w* u.ed 6akind ot sv r.pid. Pll6k inspned,wv ol (" geftinq e sftins the blc rhylhF and comots ol lhe wotk antothe $ore in $e mGt spol.us manner' rim.ot cooposigclder ro theiid or performlnc.-. 1 It didnl s.m l iht rie thar anvonecould acluallv pdtorm irom ruch a noriion s.fter skdching t entire pie loll nd "ralionsd ' e rhvlhm (fh is wirhin a t@ 36nds | rcnr b.ck .nd pll ctusl not6 whd rhe graphica in pertorhancementalitv sinc1950 hw rhe aFAP" stion on lino 2 wswnrtnl. Tkinq inlo ccounrrhe chnges this *ction sholld p.nt no problms. Ihe.4/rri pilch, durlion .nd rhYthh ar indired bYlhegraphics,ndlh in$rumentl tehniqu6 re sivn-onrv 'r rhe D.eci* Dia.r.r src left to the <li$rtion of rh perlormss (Th hat bn prlv de*ribed as.n "&tion tation rhe crll oitch.s 3oqnddre l!rction oi acdratelV perlorminqwhat hrr been sivEn) AlL tour pn3 are i^cldd in ch p.n s th an ye@r.nsdble E pGsible; s an rh "AFAP" srion on th secondline, s in allorner tioc ot the work rhe ensble reelrsre l@ and flexible and re a lnction ot th. iime'pce @ntrh, 5s@red (c) The rasi stion of e Nrk lb.lwM 1 .nd 2 6inut6l .n 'op_tor"section There re 8 or 10 "vdc to ro a .h m .i ci an,ep.r tedtr omonanolh.bvvenioldottedl i s Eac hm us i c i anm aYpl aYnv oi h'v nts 1 rh technique.the lodns ndlor the rhYihm mavbe''lr" ny ie, in anv ords.nd 6t anY ipe.d ln sme.8 husicin to detmine; where th6e l.mon$ are gNen thv must be b3Nd- Arr ot rhe harensb lor th andavidual i th* ry.nr3 haveppdred p.Riolv in the @rk, buinotn.erilv i the ptli which lhev appr in rhis 3ection bv the qu.tt The 3iion in'lldd wrv anrcur Thk se.tid a!,in fi6t, a lr 6d. to be *nbled sponrnsounY The* m6ldils (atl p.r.melds d*ribed), v6v inni@raremalrk, "b.low'bridge" sounds,a'd lu3tai'ed endi I blid th't on be tponb;unY asembled in nv *q!6 r position; bol th'oush s3iiive eniemble li3tenins l p o n t.o u s.tionat' conlinuitiesoft.hniqueswilt.r ig' sol h.t'l or i ns tanc e.anti s ti @ | ar 401i r ti c ul al or anv othd tequhce ol euls movino into 'bel@ bridge" !16, int area ol primfrv niculate mdsial ot ierrr and styt is c.aid,I prerer rhtsuch "ordenns" 3houtdcone boul in rhis innive nri$il 3imil6ritie3

WHEE TX Il SH OU LO,A/O J TAN FO RA L L TO B E G I NN E WS E C TI O N S S I MU L TA N O U S L Y , CEPT BE O A J E C TI V E BY T H E AR FO W ( 1 ). IN D T C AT EO rhe mrt ioqerh n it erp6ted thr thcv will le..n the !@nd @ntexl of the Pctions s as th qune! rheEes pti* th1hy 6n rosni* whn one oi nqe olhds have movd inro e.xr s.crion. Thev shourd'ora$ehpt context ol the rnttdni4 6rr@s, bui be rural/v con:cious coordinstionx.ept in rh se oi rhe ensembl Whar | m ying lo imply is nor onlv greal r6pontbalrtY on rhe psn ol the pdiorhds lo pslds thmrk "!s writt.h" but;bo !n inrdseawsrene$ ol 6!dbl ad individuel tlexabiitY,e m'lerilas wrilto rnd wiftrn relrivity. this concptot pedormance I would like to lhint rhar n inlensified senle ot hmn and sonicpct and imuit've p.dntn cnbd @n b xrended bevond th "norn6l" pritioFgosl ol modr ch.mbr muiic p..lorning, inlo an a'6 ol irvndi"v o' iion{e.ton.nd tlxibi|nv, whalomarntarninslhsbatacsh.p.nd Cn6Bctd ot tne work

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