From: Pieces for Pianists Volume Two (2020 – 2021)
- Track 1
From: Pieces for Pianists Volume One (2016 – 2019)
- Track 25
From: Entangled States (2018)
- Track I
- Track IV
- Track VIII
- Track XXV
From: Piano Sonatas 7 + 8 + 9 (2014)
- Sonata #7 Track 1
- Sonata #8 (extract)
- Sonata #9 Track 2
From: Set For Piano (2012)
- “Twelve” (extract)
High-Order Non-Prescriptive Music
The data used for this realisation was the first draft of a piece which initially was included in a series of ten entitled “Notes to Myself”. I first performed it at a lunchtime concert at a COMA summer school. Although it is not apparent on the recording (courtesy of Robert Worby) I incorporated into my performance a second grand piano, the sustaining pedal of which was depressed by the judicious placement of a piano stool, my intention being to seek an accompanying background of sympathetic vibrations.
I also asked the audience not to applaud at the end of the recital. I think that applause can represent some kind of closure, a finality, and I wanted that whatever feelings, emotions, moods I managed to establish during the performance remained for as long as possible before slowly decaying.
- Realisation
This piece evolved into “TWELVE” as appears on the CD “Set For Piano”, pianist Mary Dullea (July 2011):
- Realisation 1
Another realisation by Mary of the same piece:
- Realisation 2
Low-Order Non-Prescriptive Music
Performed at a CoMA summer school concert in 2004, pianist Rolf Hind plays two realisations of “Birthday Piece for John Woolrich” (July 2004):
- Realisation 1
- Realisation 2
Alternative Instrumentation
When Peter Vodden first saw the score to TWELVE from SET FOR PIANO, he did not visualise it as music. He is not a trained musician. He did however immediately recognise those dots on a matrix as data (before retiring, he worked as an information scientist). Below is Peter’s realisation – created using the Caustic sequencer, algorithmically generated objects, and CGI:
- “Fantasia on “Set for Piano” number Twelve