Twelve movements for hourglass and contrabass /
Dodici movimenti per clepsamia e contrabbasso, 2009-2011
In this performance I mechanically turn upside down an hourglass of sand each time that it finishes its cycle. In the brief period of time that elapses between the end and the start of the hourglass’s cycles, the musician chooses what and how to play, observing his allowed time. This “time” is little more than a moment if compared with the waiting time that follows or precedes it. Only after the execution of each movement can the musician write notation on a special stave*. Therefore this performance is also a concert in which the time of the sound and the time of the pause are in a certain sense inverted, as well as for the musical notation which takes place only after the public execution; a Cagean silence is inside the silence, alternating to linearity the perception of its opposite. For the musician the restriction to musically act in a time that corresponds to a moment leads both the performer and the audience to realize how much in that moment an expectation could be concentrated, rather than something unique and unrepeatable. The time which precedes and follows this event are perceived like a distinct ‘before’ and ‘after’; but they are both irremediably in a relation of reciprocal necessity.
Performance presented in 2009 at Gervasuti Foundation during Ogni limite ha una pazienza, curated by Cesare Pietroiusti and Filipa Ramos and presented in 2011 at Museum House Ludovico Ariosto during Twelve | Non linear experience of time, Ferrara, Italy.
In July 2011 this piece was performed with violinist Rania Zoidi under the title Twelve movements for hourglass and violin, 2009-2011 at Adiacenze, Bologna, Italy.
*A brief note about stave
This special stave, conceived for writing single movements, is composed of 5 curved lines joined until they assume a non-linear form. The stave is printed on 30 x 30cm white paper.