Investigation on the performer’s role as an interface between instrument and composer and between composition and audience in contemporary music

I have worked in the contemporary music for almost two decades. During that time I have premiered numerous pieces of which many were written specifically for me.
I have increasingly become interested in the multifaceted role of the performer: firstly in the contact and communication with the composer sometimes turning into close collaboration, secondly in the process of the interpretation of the score, which is then – thirdly – presented to an audience in a concert situation or through a CD release.

When working with a composer the interpreter functions as an interface between the instrument and the composer. Later, the performer takes on a different role: namely as an interface between the composition and the audience.
I state that an experienced performer can contribute hugely to the development of a composition, enhance knowledge and imagination of a composer and act as an important link between the final composition and the audience.

With this PhD I intend to thoroughly investigate the role that a performer has within this entire process. In order to be able to do so, I have to analyse the process from the moment, I meet the composer until the premiere.

Therefore, I have started to commission composers to write electro-acoustic pieces for me that we develop together in collaborative situations within the following setting:

- The composers are offered a choice between violin or viola and their electronic counterparts: e-violin Stagg (4 strings) or Zeta (5-strings). I chose electro-acoustic music as my field of investigation, since herein both instruments meet and at the same time prove their different features.
- They will be supplied with a sample-CD with 90 different samples from the contemporary violin, including a further 50 examples taken from contemporary literature where different techniques will be heard in context.
- I will closely collaborate with the composers already at an early stage of their composing, hereby consulting on the choice of instrument, providing specific information on techniques, timbre and performance and trying out ideas before the score is even finished.
- I will perform the works at public concerts investigating the best setting for the composition in terms of programming, stage presence and audience reactions.
- By interviewing the composers I will search for answers to the following key questions: What is the frame of reference in which this piece is written? What is the originality of the piece in terms of new playing techniques, special context in performance or instrumentation? In which way has the collaboration with me led to this result? What is the main instrument for the piece and how does the choice of instrument influences the performance itself?

Premieres and recordings so far:
Burkhard Friedrich "The Musicbox-Project I " e-violin, synthesizer, soundtrack, live-processing
Burkhard Friedrich "The Musicbox-Project II " e-violin, synthesizer, percussion, soundtrack, live-processing
Wolfgang Suppan "weiten und male" (violin, tenor,game pad, live-processing) (available on CD-Alpenglühen,label col legno)
Marko Ciciliani "Alias" (electric violin, live processing, soundtrack, light, laser)
Karlheinz Essl "sequitur 3" for Zeta-violin, live-electronics (follow the link sequitur)
Arturo Fuentes "Lawine" for viola and tape
Sascha Demand "Blenden" for 2 e-violins and tape
Herny Vega "Gomez" for violin and electronics
Sample-CD with violin/viola/e-violin techniques

In preparation:

Arturo Fuentes "Lightness" for violin and hexaphonic electronics
Yannis Kyriakides "ScamSpam" for violin, tape and video
Alexander Schubert "Weapon of Choice" for violin, motion sensor, video and electronics
Christina Viola Oorebek "new piece" for violin and electronics

Brunel University London
1st supervisor: Dr Bob Gilmore, musicologist
2nd supervisor: Richard Barrett, composer