After visiting Charlie in May, and documenting a realization of few, I asked Charlie if he would be interested in having a free-form conversation with me about the piece and our collaboration. In our conversation we discussed the context from which few emerged, strategies for devising realizations, performative idiosyncrasies, overhearing, the duration of the score and its relation to focus, re-sounding as a possible way of interpreting the work activated by the piece, and an idea of documentation as inviting mishearings.
IN CONVERSATION WITH CHARLIE SDRAULIG ABOUT FEW
Michael Baldwin: Let’s start by talking about the context in which few was written.
Charlie Sdraulig: few is the third piece in a series collectively known as breath. The other two pieces in the series were primarily concerned with developing a vocabulary of sounds for winds predicated on a tenuous physical relationship between a performer and their instrument. The idea for this third breath piece had been percolating for a while and I wasn’t entirely sure what form it would take. Actually, the piece started off quite grandiosely as this kind of epic for slide whistle! Continue reading