Composition, electronics: Arnaud Petit
Marimba, vibrophone, percussion: Fabrice Marandola
Soprano: Julieanne Klein
Software and hardware design, music production: Joseph Malloch
Time period: Fall 2006 – Spring 2007
From the program notes for the 4th International Conference on Enactive Interfaces (Enactive/07):
The piece’s idea is based on the dramatic potential of percussion. The percussionist, in front with his large instrumentarium, is emblematic of a kind of deus ex machina. This participates to the particular virtuosity of his art but also implies an intrinsically different relationship with space, that can be observed for example in the extreme care with which the percussionist lays out the instruments in space. From point of view, percussion is a world in the world, a theater in the concert theater.
If sound elements coming from outside of the common instrumental world must be used, the percussionist will perhaps be the best player of it. In the example of “Concertino Nervoso”, only the percussionist plays the sound elements, by the common use of samplers mastered by the combination of an instrumental interface and a computer. The nature of these sounds is double. They come from files of voices recorded from the beginning of sound recording and from digital processing. The percussionist will also be, in a certain way, the “scheduler” of a memory of thoughts and voices, captured by recording. Much of these voices belongs to lost personalities and will mingle with others borrowed from fictions. The voices will re-appear in a dynamic situation that, in addition, will link the sense of what they say to a musical dramaturgy. In this way, “Concertino Nervoso” will be a kind of opera without singers.