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Parallel Trajectories [2003] explores the idea of Multi-linear scoring: where each player is provided with multiple pathways from the beginning to the end of the piece. In total there are 14 lines of musical material and each of the 9 players is provided with four of the lines. At ‘nodal points’ marked in the score, each player must change from their current line to a different one or choose to remain silent until the next ‘node’. The resulting combinations of lines, in all probability quite different from one performance to the next, create altered musical contexts and textures.

This circumstance causes the players to make other decisions, based on the choices of their colleagues, about their function in the texture (for example: whether they are leading the ensemble or supporting another line) and the execution of their part (for example: what kind of articulation or dynamic to employ).

An especially intense and mutually aware kind of listening is required to successfully transform this potential music into actuality. In addition to the structural decisions, it is considerably more difficult to maintain synchronization with the other parts, since there are no reliable fixed musical landmarks to orientate the performer. It is this form of listening and the cooperative approach that must be taken by ensemble members in successfully shaping the music that is the focus of the work. Parallel Trajectories was created for the “Raum” concert of the Thuringia Chamber Music Days.

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from interXection: chamber music VI [2002​-​2003], released October 29, 2012
Ensemble Scintilla Divina

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Lindsay Vickery Perth, Australia

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