La-Sen II (1970)
| Japanese | 螺旋 II 番 |
|---|---|
| German | La-Sen II |
| Opus | 017 |
| Year | 1970 |
| Category | Solo |
| Duration | ca. 10 min. (not determined) |
| Instruments | vc |
| G. Ricordi & Co. Bühnen - und Musikverlag GmbH part of Universal Music Publishing |
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About this Work
"La-Sen II" consists of 6 parts (7 sheets), every one of which is composed of 7 small tone groups, and which at times have a certain tone colour character. (1 + 7 = tremolo, 4 = tremolo con molto sul ponticello, P = pizzicato, D = double or triple tone, H = flageolets, G = glissando). They are played within a fixed frame in a sequence to be determined by the player at his choice. In the total connection the sheets 1 (= 4 tone groups) and 7 (= 3 tone groups) are to be considered as half parts, so that in fact, together with the remaining 5 sheets, a total number of 6 "whole" parts results.
A characteristic of this piece is further its form: After all parts have been played as section 1, sheet 7 joins again sheet 1 as beginning of a new section (2). By omitting some tone groups and by changing duration and dynamics, a kind of variation of section 1 is obtained. This process takes place once again after the change from section 2 (sheet 7) to section 3 (sheet 1), in so far as then again a variation is realized by omissions and change of duration and dynamics.
Thus one returns to a starting point which then in changed form will become the starting point for a new form of appearance, and this again returns to the changed starting point, in order to change anew.
This form which I should like to term LA-SEN form (spiral form) corresponds approximately to the Buddhist notion of rin-ne [輪廻] (Samsara). Here it is tried to realize this notion in music.
To the performance practice: Since the piece should be played without interruptions and a disturbance of the tension by moving or turning the sheets should be avoided, if possible, it is recommendable to arrange the sheets beforehand in the sequence of the intended performance and to distribute them on 3 or 4 music-stands. Further the possibility may be pointed out to cut out the tone groups chosen for realization in the second or third passage and to compose them again on another sheet. For this the use of a second copy is recommended.
I have to thank Herrn Werner Taube, who first performed this piece, for many a practical advice. It is a pleasure for me to do this also at this place.