Flo Menezes
Scriptio
Duration: 16'
Solos:
violin
Scriptio
Sample pages
Video
Work introduction
The essence of all writing (écriture), in the etymological sense of the Latin word scriptura, is the processuality, the elaboration of the structural and structural data which cohabits the space of the creation with the affections whose amalgama determines the essence of the music: a kind of mathematics of the affections. To any musical scripture – that it is more or less distant from the notation – thus subsists an action of writing, the course of road of any elaboration. It is to this original meaning, to the root of this action of writing that the title of this work refers: Scriptio = action of writing, or – through a neologism in English – scription (neologism in Portuguese: escrição).
The composition Scriptio was conceived as part of a project I designed for the Studio PANaroma de Música Eletroacústica da Unesp (São Paulo State University), which envisaged compositions for solo violin and live electronics, originally for a French violinist. The piece was conceived as an autonomous piece for solo violin and can be played as such, but its birth was thus motivated by its "double": TransScriptio for violin and live electronics, totally composed after Scriptio. In any case, the composition Scriptio remains totally independent from TransScriptio, while the composition TransScriptio can also be played separately and autonomously, but ideally it should be preceded by Scriptio (either directly, or with an intermission or with other pieces in between).
What is necessary to perform this work?
In contrast to the most ideal situation of a musical performance, in which the performer should play the work by heart, Scriptio should ideally be played with the pages of its score well distributed by desks on the stage, while demonstrating the connection of the performance with the writing fixed on the form of the musical notation to be deciphered in loco by the performer. The performer must therefore be able to make copies of the printed pages of the score and arrange the sheets according to the plan of his or her movement in space. In this sense, it is preferable that the interpreter acquires the printed version of the score.