NOISEwolff - Jerome Joy website

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!!Co-Création {br}{br} '' "Stones" and "Sticks" both appeal to the performers to use unusual instruments creatively. But the musicians should be disciplined, as both works contain safety instructions (not to 'mutilate trees' in order to find sticks, not to 'break anything' with stones). These are an indication that Wolff could foresee that enthusiasm or the joy of experimenting might have the potential for violence or destruction. Both compositions produce novel sonic experiences by choosing unusual percussion instruments, and provide the possibility for a personal approach to shaping the sounds produced by the choice of stones and sticks. "Sticks" also offers a much more conceptual (or at least abstract) interpretation. ^[...^] It appeals to the imagination and the strength of co-creative performance elements ^[read the last line of "Sticks"^]. Wolff seems to trust the performer to execute this instruction appropriately ; this not only means that he believes the disciplined player will interpret the score appropriately, but also show that he believes in the idea of an interesting potential for co-creatorship.{br}A good performer should be an active listener to what they perform and of how their playing relates to what happens around them. ^[...^] There are two important generic modes of listening in Wolff's compositions which seem to go beyond ^[the^] traditional idea ^[of playing notations^]. One is the concept of cueing, the other is this preference for how musicians should perform while improvising 'freely'. Instead of a listening performer who follows the instructions and trusts the notation fully, Wolff asks the performer to be an active, critical listener during performance. Both modes ask the players to engage with their activities without 'outplaying' other performers ; this primarily means avoiding drowning out another person, but also means evading the solipsistic attitude of a solo virtuoso performer. Wolff's idea of performer and listener are also realted to his intention to stimulate a social interaction between the musicians during a performance ^[...^]. ^[These works^] eliminate the division between performer and listener. Some compositions ^[by Wolff, such as "Stones" and "Sticks"^] can easily be performed by any audience member, or stimulate communal performance situations for which passively perceiving the work seems to be nearly impossible ^[such as "Pit Music"^].''{br}{small}(Clemens Gresser, "Prose Collection : The Performer and Listener as Co-Creator", In "Changing the System: The Music of Christian Wolff", publié par Philip Thomas, Stephen Timothy Chase, pp. 204-205){/small} {br}{br}{br}{br} ----
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