Vera Ivanova's Crescendo was a short study in additive rhythms. Susanne said that it required some work to learn the piece but that
there were no real problems. She was unclear whether the single separately bowed A at the end of the first line was intended.
THe notation of the gliss at the end of the piece could also be interpreted in a number of ways. As the gliss goes across three strings it was not clear whether this should
be as smooth as possible or whether the start of each new string should be articulated.
I just wanted to thank for this opportunity to be features on this wonderful web-site in this workshop. I think it is a great idea, which would benefit even more if there would be some kind of interactive connection between the composer and performer, who could be answered all the questions she had directly by a composer (through an e-mail).
Susanne did a great job for the workshop. I don't know if it makes sense now to answer the questions about the score posted above, but I only wanted to add that the tempo was so much slower, than indicated in the score, that it changed the character of the piece significantly.
Many thanks for conducting this very exciting project!
I just wanted to thank for this opportunity to be features on this wonderful web-site in this workshop. I think it is a great idea, which would benefit even more if there would be some kind of interactive connection between the composer and performer, who could be answered all the questions she had directly by a composer (through an e-mail).
Susanne did a great job for the workshop. I don't know if it makes sense now to answer the questions about the score posted above, but I only wanted to add that the tempo was so much slower, than indicated in the score, that it changed the character of the piece significantly.
Many thanks for conducting this very exciting project!
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Vera Ivanova
