Studio recording, Jenny Hettne, 2004.
For Ashley is an interaction between the tapepart and the young performer/amateur pianist. The score opens to improvisations around a given pitch material. The performer could interpret the score freely, or follow it more exact with a stopwatch, whatever is preferred. All the sounds in the tapepart derives from the piano, and can be seen as an extension of the timbre. The idea is to stimulate the performers imgination.
A device to play the sound file, a loudspeaker, a slip of stiff paper, a bell free of choice and, if one prefers, a stop watch is needed to perform the piece.
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