I installed my score and the night seemed to go down well.  We sold out of all the tickets too!


All the scores took on different forms and it was good to see what others had done.  The first, a film by architects MAWSON KERR was of a film shot in the Victoria Tunnels, located just next to the venue.  I wasn’t sure that it lent itself to anything more than what you might expect of a film score though.  I felt it was too leading for both the audience and the musicians.  Shot with torches shining through darkended tunnels, leading the viewer on a journey…Was there anything new to say?  The pace of the film and the pace of the musicians was very watchable and I think of the three it worked well.

Unlike the others, my score held no movement, which is something that could have presented a challenge for the musicians.  The isolated space of the shipping container added to the discomfort. The room appeared to hold still as we tried to follow where the musicians might go.  John Pope, the double bassist introduced the work and stated that they saw the score as having no fixed beginning or end and that they would follow the topography of the sculpture each in their own way.  I later find out that Sean Cotterill, the violinist, read the score like a map and worked through each fold much like a landscape.


Over the next few days I listen to the audio many times, which takes on a completely different effect depending on where I am.  The studio, at home, looking at scores, or with my eyes close.  My initial reaction is uncomfortable, arresting, claustrophobic and I begin to wonder about the context that it is shown within.  In a performance space, where the audience and performer is knowingly and visibly separated, there is a courtesy to look at something, someone.  In this case, with so much emphasis on a visual score, it is not the musicians but the score.  The static artwork.

I also wonder about the connection between the sound and the visual – it being a relationship that starts with the visual and ends with the sound as the audience absorbs the visual.  Is the relationship between the two inherent?



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