Re-sketch(es) IV is a hybrid, open form of musical notation which includes graphics, texts, and musical notes, exploring the process of changes of emergence. It can be seen as a type of map–a tool of navigation for the performers both in terms of how they could move across the musical space in time and a source of clues for musical behaviours within that space. The distinction between the finished result and the process of the action, therefore, is something I played with in making the work. The aesthetic value of the map-sketch for me lies in the way it opens up space for the musicians to keep their attention on a more ambiguous state of continuous anticipation in the development of the music’s ‘becoming’. My main focus, however, was on the recursive aspect of the structure in which a moment of action is part of a process of observing and redrawing things that have already been traced. In this way, the score is a map whose notation is unfinished. The score remains a sketch seeking to offer traces of a process of establishing and re-visiting marks whose result will never be a finished work. Rather, the work lies in the process of discovering different ways through situations in which materials can be re-purposed by the musicians as they respond to one another.

 

Musicians:

Novan Yogi Hernando Maupula, Suling

Rukaya Suprayedno, Sampek

Tontrakul Kaewyong, Khean

Jocelyn Tan Li Yun, Soprano Sheng

My Nguyen, Dahn Trahn

Htet Arkar, Pat Waing

Hak Tokla, Roneat

Kammathep Theeralertrat, Ranaad

Lim Teik Chuan, Erhu

Sornsak Suksong, Oboe

Chanya Anansaksaward, Bassoon

Natthapat Kirawiroj, French Horn

Arturo Ernesto Uribe Portugal, Percussion

Percussion Louisa Kaltenbach, Cello