SCOre JANI CHRISTOU (19264970) ANAPARASTASIS Il for soloist, conductor, instrumental ensemble and continuum“ANAPARASTASTS IIT" ("the pianist!) belongs to a oycle of about forty conzositions under the general title "ANAPARASTASES". Of ‘these, only "ANAPARATSASIS I" and "ANAPARASTASIS III"have been put down in notation so as to make their performance possible, "ANAPARASTASIS TIT" io written for a soloist, conductor, instrumental ensexble and tapes". It {s the last work Jani Christo ed. It was composed in the autumn of 1949, and was first performed in Munich on 13th November 1969 by the ‘Musik unserer The role of the soloist (pianist) was played by the painter Grigoris Semitekoloa, and the werk was:tenducted by the Composer Theodoros Antoniou. It was performed again with the sane soloist, and the 'Ensentle of Contemporary Music' under The Antoniou, in Athens on 26th Novesber 1969 and 26th September 1970. These three performances used a rough sketch drawn by the composer instead of a score, He was planning to write a proper score and parts later, His eudden death made thie impossible, The present score was put together on the basis both of the sketch and information we took from the original performers of the work. Thus Gr. Semitecolos gave us all the information relating to the role of the soloist, and for which he had taken extensive notes under the directicn of the composer. Information about the orchestra and the function of the tapes was given to us by the conductor of the work, Th. Antoniou. ‘A fundanental problen in putting together the score was the method to be followed in noting down the role of the soloist. At first there were tvo solutions! either by using detailed cinematographic directions or by using a more general and free notation. ‘The firet method, which would have been based on the personal interpretations of the original soloist, would have run the risk of becoming stylised or fossilised, The second sethod, that of a free notation, ran the danger of straying fron the spirit of the work. We finally preferred a third and nore certain solution! a free notation, but’ one bound by definite directions at certain critical points of reference. This in the method we believe will allow every performer of the work to develop hie own personal interpret= ation, but within the limits prescribed by the compo: Another problem was that of the tapes surrounding the work, In his rough sketch, the composer presented two tapes, and these were used in the first and third performances of the work, But he used three tapes for the second performance. This was told to us by ‘the composer Stefanos Vassiliades, who assisted Christou at the tape-recorders on this occasion, This third tape was in fact found in the composer's archives. It appears that he must have noticed a lack of ‘high frequency! in the original tapes, and later prepared a third, which he called 'throads', This tape is caleed Number ] in thie score, All the other information concerning the function of this tape was given to us by St, Vassiliades In the Composer's Notes we have included extracts of his thoughts on the meaning of notes. the pianiet', which we found in his personal At the ond of this edition we have added a series of photograrhs taken at rehearsals of the work for the second performance at Athens. The photogranhe avpealed to the composer, who intended to include thes in an edition of the work as an adled assistance to the performers. We should like to express our thanks to Th. Antoniou, Gr. Semiticoloa, and St. Vassiliades for their substantial participation in the assembling of "ANAPARASTASIS III". heir conreibution is a guarantee that the acore represents the composer's intention, Wo should alec like to thank the poet Nicos Germanacos who translated the directions in the score, and all the other texte in thie edition, into English ~ 3 stereo tapes comprise the ‘continuum’, characteristic elenente in Ohristoa's philosophic conception | Nicos Ave-ris ska TEE Loki pert tettar ioe Son hnsige and sriteide ‘the oanoess hers Co) | hice Jess 07ORCHESTRA 1, CONDUCTOR 1, SPRCIPICATIONS ‘The composition and site of the orchestra are ‘SINS not precisely defined, The work can be performed with eight to fifteen instrumento, Apart from these, three or four more performers are necdod to reinforce the vocal participation (breaths, shouts, shrieks, stoning and mysterious sounds). ‘These performers need not necessarily be musicians. A typleal orchestra micht consist of: 1 piocolo, 1 flute, 1 horn, 2 trombones, 1 tuba, 2-3 pereuss- jonists, 1-3 violins, 1-2 violas or oelli, and 4 menbers for the vocal participation, The orchestral parts are the same for all instrmenta. 4 with the objects performing cuss The msicians' dress mst not reflect the lig Black suits and dark shirts are preferable. The moicians mst remain motionless during t performance when, of course, they are not act Playinge Apart from his normal functions, the conductor ia required to speak, shout, play the er. cas or tan-tam ete (seo Metapraxis onward below). Hie participation, of course, doce not contribute to the sound, but his sovenenta or grinaces 4mpooe themselves on the msicianc ani help then in releasing the aaximin of their energy. In cues 13 and 16 the conductor reads the text* simply and clearly. He cust not colour his wice at all, It mst be a dry reading, such as that of @ newscaster (Moderato, mf). The pointe of appearance of the tapes and their change in volune must be signalled by the conductor. ‘The time duration of the cues are approximat: However, the work mist not exceed 18 minut area markt It marks the beginning of each area of duration and encloses ite cue miner. The duration of each area is given in seconds = synchronise: The sign ealls for synchronised delivery stop-dends The cut mist be sudden, with no ‘trailing of unfinished material: an abrupt and total ‘awitch-off* netapraxies ‘The porformer ie required to carry out an action (praxis) which takes him "beyond" bie homaal function, Thia action 4a specified (cues 3, 9, 15, 14, 16, 18 and 20) For further information on the notation of J. Christou, seo "Praxis for 12" and "Enantiodromia" (J. & W. Chester, London). See also magazine "Source" (No. 9, 1969, Saoranento, California), “although you are a member of a group caught up in the sane pattern, you are nevertheless on your own, Perform with individual abandon, mindless of the others, contributing as mich of your own individual’ inventiveness as poss ible within the limita set by the specifi- cations for the patter",backstage SEATING ARRANGEMENT ~ PLACES OF ACTION ~ LIGHTING STAGE BELOIT ot walle opus Lp mr . AUDITORIUM NOTE: ‘Two spotlights from different directions follow the soloist continuously from his appearanes to the end. ‘The soft light of the spotlights mst not light up the orchestra (if ronsible) but mist ell be absorbed by the soloist.SYSTEM: ANTT-SYSTEM: COMPOSER'S NOTES The conductor and his tean belong to a world which, although it wants ‘to be controlled by sone "syaten", cannot manage to ignore the events ‘that threaten the coherence of this syst On the other hand the soloist, with his activities and efforts at the end of the work to mike an explanatory gesture, aims at breaking ‘through the barrier of the coherence of the "oyatea", and capture A meaning beyond the "systex". This cesture is the’ signal for the scatter" that urges the seabers of a team, who are bound to a prearranged course, to perform their “programe” in their own Individual and uninhibited fashion. But since, perhaps, such an initiative 1s a falce illusion of freedom, the gesture ‘in novor ‘oonpleted., Tho conductor's toxt consiste of extracts from apecifications of 'ENANTIODROMIA" ‘explaining the theoretical ideas of the comoser in their practical application to misic...ee. Jani Christo + ‘This is perhaps the only text the composer wrote in Greek. See "SCATTER" (although you are a mecter of @ group. etce)e Tn these rough rotes, the composer preferred to refer to hinself in the third person,[] . Orchestra Condector fn of Soloist (Tre peenat) Tage { Tape 2 Tape r4 Corre) { al | fot walhing are ieee ee not in| for eter tirs 10 arting tape 2 Wee tne, fen dpe? alt - ; : 1 ' ' APREARANCE OF SOLOIST. Let monn tg rer fo MN EE EE gh yeti . . eRe 7 i t 1 i [Ftooeer (oy Ost for eh catn ar Jaw.Chester, thd, London, C64 saws. Bo steps ge ia smal), ) A peer | | alting hanna = = [PRP iF avaible I 2 = | I 1 1 i 1 I Il I I i i i i e 2nd walking speed [1 litle faster, { T ! I I i T Al ight cerned Pras egiandDre thy eae is __am punctuations Welini ~ Wola ca Jat, ell “1 I mew eel Tell Ly i 2 T Cond. | _ _ _ Serle sags frcfe ead oar poe eatins ‘STIFLED La T FT euort even ike stifled cabe, Srertey net Teal el See ell oa st ‘Soremtinty Soloista} #B 7 Heo, 45° Gramm. Seibel Sar een anys ony nate Secectorer” PERLE a epics rebtog of the hand ea ta ed Soloi Tape t= Tinie alm tr deafening volume (OA) Fe caste ha gecte tas ete