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Graphic (two presentations)

by Mark Browne and Jon Samsworth

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Brian Lavelle
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1.
Subjective Side - Brookes 12:20
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2.
Another Subjectivity - At Home 12:04
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ONLY LISTEN TO ONE TRACK. THERE ARE TWO VERSIONS OF THE REALISATION OF JON'S SCORE RECORDED UNDER DIFFERENT CIRCUMSTANCES.

I’ve had issues with graphic scores. In some cases, although visually beautiful the disruption to the music is more of a hinderance than a virtue. The music would have arrived at the same point without the introduction of the score. The first rule of any score, graphic or otherwise: something different should be realised in the music because of the presence of the score.

Latterly I’ve come to see the graphic score as a collaborator. May be the difference between the two approaches can be summarised in the polar questions:
1. Notated – the performer may ask, what did the composer intend for this piece?
2. Graphic – the composer may ask, what will the performer do with the piece?

Performances using either method deserve to be planned and interpretations selected or rejected.

I spent around 3 months with this graphic score with a large print of it on the wall where I work. It’s visually interesting being based on maps and their symbols. Together with a compass, I am of the generation that used linen backed OS maps for any rural navigation.
Daily, other influences came to bear. The forests depicted became the start of Dante’s journey. Or the symbols reminded me of Tarkovsky’s film Stalker.

What follows is my interpretation after that initial 3 months:
The score is arranged in two equal parts and for performance I would limit these to being of 6 minutes each. The parts are then broken into episodes (time control) and terrains (content control). Some content was ignored due to the time constraints.

The first part, moving from left to right comprises 4 episodes different in character and allows for multiple instruments to be used simultaneously. There are signs to indicate how to move from one episode to another. I prepared by assigning some of the terrains with specific sounds, others were not determined. The interpretation would change regularly, but in general: contours are reserved for percussion pitch bends, parallel horizontal lines are for saxophone and snare with electric motors and percussion. The activities overlap as they do in the score. There are sharp breaks from one episode to another.

The second part I’ve chosen to execute on soprano saxophone.

The score lends itself to longer solo performance and could be interpreted for group playing.

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released February 18, 2024

Jon Samsworth - Graphic score composition
Mark Browne - saxophone and snare drum

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crush!!! UK

Sonic Pleasure, Mark Browne and Paul Twine. Sonic Pleasure is famed for her unique crafting of sound from bricks and masonry, reducing much of her instrumentation to dust by the end of a concert. Mark Browne plays castrato saxophone, broken glass, percussion, whistles and bones. Paul Twine will play guitar in an extraordinary manner. ... more

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