Abstract
Touch and Go is a composition for piano by Roger Marsh, developed in collaboration with pianist Catherine Laws in 2014, who performs it here.
Film: Minyung Im
Sound: Lynette Quek.
Marsh composed the notes and prefaced the score with a brief scenario that opens: 'An impossible idea. The performer has never seen a piano before. She sits down at the instrument without fear but with a degree of curiosity. She explores the instrument with thoughtful curiosity....' In developing the piece for performance, Laws explored the physical relationship to the instrument, focusing on the gestures necessary to perform the piece and playing around with them: interrupting and freezing them, exaggerating and extending, generating an additional, semi-choreographed aspect to the piece.
The film, made by Minyung Im in 2018, with sound by Lynette Quek, takes all this further, using the camera eye to scrutinise the interaction of sound and gesture, the relationship between pianist and piano.
This work forms part of the large scale performance project 'Player Piano', which is in turn part of the overarching research project 'Performance, Subjectivity and Experimentation', in collaboration with the Orpheus Research Centre in Music, Ghent.
Film: Minyung Im
Sound: Lynette Quek.
Marsh composed the notes and prefaced the score with a brief scenario that opens: 'An impossible idea. The performer has never seen a piano before. She sits down at the instrument without fear but with a degree of curiosity. She explores the instrument with thoughtful curiosity....' In developing the piece for performance, Laws explored the physical relationship to the instrument, focusing on the gestures necessary to perform the piece and playing around with them: interrupting and freezing them, exaggerating and extending, generating an additional, semi-choreographed aspect to the piece.
The film, made by Minyung Im in 2018, with sound by Lynette Quek, takes all this further, using the camera eye to scrutinise the interaction of sound and gesture, the relationship between pianist and piano.
This work forms part of the large scale performance project 'Player Piano', which is in turn part of the overarching research project 'Performance, Subjectivity and Experimentation', in collaboration with the Orpheus Research Centre in Music, Ghent.
| Original language | English |
|---|---|
| Media of output | Film |
| Publication status | Published - 2018 |