Moto Ripreso

Daryl Runswick

1) live in Belgrade 2) from the Overlays CD

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Daryl Runswick writes: I'm including two versions of Moto
Ripreso
here: my live performance from Belgrade on 12th
May 1996 and the version
from the Overlays CD.
The two are very different
and complementary.
Belgrade was a strange
place in 1996, only recently
emerged from the Balkan
War, the Kosovan escapade
still to come, and the whole
place still under the thumb of
Milosevic. There was a
defensive feeling
about the place, plus
contradictorily an enormous
gratitude to any Westerners
who would consent to go
there. I was in two minds,
but on the whole I'm glad I
went, especially considering
the subsequent history of
the region.

 

Belgrade 12th May 1996      17'12

London 17th March 1999      14'38

 

Performer's instructions

Use the three modes above: all free improvisation is forbidden.
Alternate the modes as you wish. Transpose ad lib. (Or not.)
Begin before the backing or during: end before or during.
Let there be many times when the backing plays alone: be silent
for about one third of the time the backing is playing. (Or not.)

Programme note

Moto Ripreso ('resumed motion', 1995) is the sequel to Moto
Interrotto
(see Concert Index). In Moto Interrotto the solo part
was largely improvised: in this piece it is wholly improvised.

The number 3 is central to the structure here, informing every
aspect of the work. The soloist is given three modes: the same
three as are used in Moto Interrotto, and the same as in the
construction of the backing of this piece. The backing itself
consists of an enormous 3-part canon with entries 3 minutes
apart. The canon is curious in that it exists not as musical pitches
but as MIDI data. A complex data-stream was created, then
applied in canon to three completely different sound-sources:
the first made with pitched sound, the second with noise, and
the third with a combination of unpitched and microtonally-pitched
sounds. All the sounds on the backing are sampled from a piano
(sometimes prepared), the samples being extensively treated
electronically.

Recorded live in Belgrade, Serbia, on 12th May 1996:
engineer unknown; and in St Silas the Martyr, Kentish
Town, London, on 17th March 1999: engineer Mike Skeet.
Produced by Daryl Runswick.

The composition and both recordings are covered by copyright.