Glas-Spiele (Glass Games) The "Glas-Spiele" were sketched in 1974 and composed in 1977 in two versions. Along with "Metallophonic Raum - Klangwerkstatt" (Metallophonic Space - Sound Workshop, 1974), this is one of Riedl's pieces for self-constructed instruments. Here the instruments are as unconventional as the manner of performance: they are made entirely of glass. The composer has described the
structure of his work as follows:
"Several systems of light metal tubes are placed in adjoining rooms, or in one large room. They are of various shapes and sizes, and resemble scaffolding systems.
Glass tubes, plates and rods varying in area (plates), length, thickness and diameter (tubes, rods) are arranged separately or in groups. Either they are freely suspended from the pipes of the system, or they lie on styrofoam in wooden 'caskets'. The latter in turn rest on tables made of light metal pipes etc. which may or may not be part of the system.
On different pipes in the system, several paths are constructed from various combinations of straight, U-shaped or other glass tubes. These paths vary in length, and resemble roller coasters.
The tubes, plates and rods have pitch, and are placed or suspended in a particular order (e. g. sequences of 'pitch', timbre and noise, continuums from timbre to noise etc.).
Tubes and rods of equal length etc. are tied together in bundles. The same is done to tubes and rods of different length (clusters).
Glass marbles of various sizes and numbers roll along the paths, falling at the end into glass containers of various shapes and sizes.
Tubes are brought into contact by hand, either individually or in groups. They are struck (lightly) against one another. Tubes, plates and rods, both lying and suspended, are struck with one or two glass marbles (per performer) and scraped for various distances (creating 'glissandi' with various numbers of pitches) and at various speeds. Sometimes, instead of marble(s), felt-headed drumsticks are used, one or two per player. The sticks may also be inverted (wood end on glass), or used in various combinations such as one normal and one inverted drumstick, marble plus normal stick, marble plus inverted stick etc.
A marble is used to write on a suspended glass plate. The 'writing' may consist of continuous texts such as letters; full stops, colons and semicolons, quotation marks, exclamation points, question marks, commas and dashes; minus, plus, percent and
paragraph signs, parentheses, slashes; individual numbers, columns of numbers, addition problem etc. It may also proceed at various speeds such as ritardando, accelerando, very slow, very fast, rubato etc. It is also possible to draw maps, landscapes, faces etc. at a quick pace. One or two marbles are used per player, and the sound is modulated by the different surfaces.
The resultant sounds and noises (including those from the containers) are electronically amplified by means of suspended and contact microphones, and are distributed to the rooms (or within the room) by means of a control panel and variously positioned loudspeakers. The amplification should never drown out the original sounds.
A tape with music obtained in a similar manner is played at the beginning of the piece.
Aluminium-coloured or 'white' metal tubes and transparent or 'white' suspended glass objects are brightly illuminated by several small spotlights attached to pipes in the system. These lights have narrow apertures and illuminate the metal or glass laterally with 'white' light so as to create colour spectra of various lengths (glissandi).
Sound/light structure(s), sound/light constructions)."
The composition proceeds along four levels. Level A is the tape containing sounds and noises similar to those called for in the piece. Once the tape has finished, level B begins. It is created by one or two players drawing angular lines on plates with marbles and thus defining the structure of the surfaces. These lines are repeated, each time with variations. The players also generate rhythms which are likewise constantly repeated, the rhythm remaining intact while the dynamics and tone colour change. Now Level C is added. It is performed by eight musicians, each playing the same program at different intervals of
time. First they strike the suspended plates and tubes, then write and draw with marbles on suspended and lying plates. This leads to a brief, very free passage using all materials in which marbles are rolled in the 'roller coaster' systems. Finally, in level D, noises take the upper hand. The piece ends with the dying out of the last sound or noise, however
soft.
Ideally, the audience should be able to move about freely in the room, discovering and rediscovering the sounds from different angles.
This disc contains an excerpt from "Glas-Spiele". Gisela Gronemeyer (Translation: J. Bradford Robinson)
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