TOM PHILIPS / GAVIN BRYARS / FRED ORTON - Irma - An Opera by Tom Phillips LP
On composing Tom Phillips' Irma:
In February and March of 1977, for Brian Eno’s Obscure Records, I made a version of Irma. The following notes on the piece arise out of that involvement and try to show how the piece can be made into a performance state.
Irma is a curious score – it is printed on a single sheet 50cms x 50cms. The notation consists of fragments from Tom’s continuing treatment of the victorian novel by W. H. Mallock, which he calls A Humument, and utilises those short verbal fragments that refer to either ‘‘libretto’’, ‘‘decor and mise-en-scène’’ or ‘‘sounds’’. These 3 categories are arranged in separate sections on the square sheet with, at the bottom, a line of stave notation. At first sight it looks like a piece of indeterminate music – clearly there has to be some preparatory work done before it is performable and no-one would venture to perform directly from the score - but if it is approached in this spirit, like realising a piece by John Cage or Morton Feldman written during the 1950’s, the sounding results are either largely of a documentary interest, or rely entirely on the gifted performer to make into a coherent sounding whole. True, one could say the same thing for a piece by Cage, such as Variations I, but there the performer is given a number of precise parameters of sound within which he should work, whereas Irma needs to be re-composed rather than realised.
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TOM PHILIPS / GAVIN BRYARS / FRED ORTON - Irma - An Opera by Tom Phillips LP
TOM PHILIPS / GAVIN BRYARS / FRED ORTON - Irma - An Opera by Tom Phillips LP
On composing Tom Phillips' Irma:
In February and March of 1977, for Brian Eno’s Obscure Records, I made a version of Irma. The following notes on the piece arise out of that involvement and try to show how the piece can be made into a performance state.
Irma is a curious score – it is printed on a single sheet 50cms x 50cms. The notation consists of fragments from Tom’s continuing treatment of the victorian novel by W. H. Mallock, which he calls A Humument, and utilises those short verbal fragments that refer to either ‘‘libretto’’, ‘‘decor and mise-en-scène’’ or ‘‘sounds’’. These 3 categories are arranged in separate sections on the square sheet with, at the bottom, a line of stave notation. At first sight it looks like a piece of indeterminate music – clearly there has to be some preparatory work done before it is performable and no-one would venture to perform directly from the score - but if it is approached in this spirit, like realising a piece by John Cage or Morton Feldman written during the 1950’s, the sounding results are either largely of a documentary interest, or rely entirely on the gifted performer to make into a coherent sounding whole. True, one could say the same thing for a piece by Cage, such as Variations I, but there the performer is given a number of precise parameters of sound within which he should work, whereas Irma needs to be re-composed rather than realised.
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Description
On composing Tom Phillips' Irma:
In February and March of 1977, for Brian Eno’s Obscure Records, I made a version of Irma. The following notes on the piece arise out of that involvement and try to show how the piece can be made into a performance state.
Irma is a curious score – it is printed on a single sheet 50cms x 50cms. The notation consists of fragments from Tom’s continuing treatment of the victorian novel by W. H. Mallock, which he calls A Humument, and utilises those short verbal fragments that refer to either ‘‘libretto’’, ‘‘decor and mise-en-scène’’ or ‘‘sounds’’. These 3 categories are arranged in separate sections on the square sheet with, at the bottom, a line of stave notation. At first sight it looks like a piece of indeterminate music – clearly there has to be some preparatory work done before it is performable and no-one would venture to perform directly from the score - but if it is approached in this spirit, like realising a piece by John Cage or Morton Feldman written during the 1950’s, the sounding results are either largely of a documentary interest, or rely entirely on the gifted performer to make into a coherent sounding whole. True, one could say the same thing for a piece by Cage, such as Variations I, but there the performer is given a number of precise parameters of sound within which he should work, whereas Irma needs to be re-composed rather than realised.
