Musical theatre

Instrumentation: for 6 singers, 1 comedian, chamber orchestra and recorded sound

Texts: Istvàn Zelenka

Developed beginning with the libretto and a little of the music from the opera Faust by Gounod.

Duration: 24' 00"
Manuscript

Musical theatre

Instrumentation: for singer-actor, singer-actress, piccolo playing actress, trombone playing actor, piano playing actor, sound recording

Texts: Istvàn Zelenka

Duration: 18' 00"
Manuscript

Musical theatre or concert

Instrumentation: for male voice and a pre-recorded historical sound document, piano, percussion, horn

Texts: Istvàn Zelenka

Duration: 8' 00"
Manuscript

Instrumentation: for flure, violoncello, female voice, piano

Texts: Istvàn Zelenka

Duration: 30' 00"
Manuscript

1 Plädoyer

Instrumentation: for mixed choir, speaker with megaphone, piano and Papageno's music box

Texts: Istvàn Zelenka

Duration: 8' 00"
Manuscript

Parabola

Instrumentation: for wind quintet and sound recording

Texts: Istvàn Zelenka

Duration: 10' 00"
Manuscript

Sequential exercise

Instrumentation: for violin, piano

Duration: 15' 00"
Manuscript

1 succession-selection

Instrumentation: for flutes and string trio

Duration: 15' 00"
Manuscript

Radiophonic itiniary on 4 stations

Texts: Istvàn Zelenka

Radio studio production with voice, instruments and recorded sound.

Duration: 26' 00"
Manuscript

Matrix

Instrumentation: for organ, synthesiser and piano

Duration: 16' 00"
Manuscript

Scenic exercise in 1 act

Instrumentation: for diseuse, cornist, pianist, percussionist and sound recording

Texts: Istvàn Zelenka

Duration: 12' 00"
Manuscript

Instrumentation: for partial orchestra

The first part of this composition is to be played just before the pause and the second part just after.

Duration: 22' 00"
Manuscript

Espace philophonique

Instrumentation: for 3 automobiles equipped with cassette players with loud speakers on the outside + 1 cymbal player

Philophonic performance-network at open locations/places in the city.
This composition was performed in Yverdon but can be arranged for new/other circumstances.

Duration: 3h 00" (en de nombreuses séquences)
Manuscript

Instrumentation: for 2 violoncellists, 3 pianists, 8 cymbal players

Performance-network in the 'Alten Stadtgärtnerei', Basel.
This composition can be arranged for new/other circumstances.

Duration: 2h 00"
Manuscript

Instrumentation: for violoncellist, pianist, cymbal (beaten with sticks) player

Philophonic performance-network at open locations/places in the city.
This composition was performed in Geneva but can be arranged for new/other circumstances.

Duration: 4h 30' 00" (en de nombreuses séquences durant toute une semaine)
Manuscript

Instrumentation: for flute, guitar, sound recording

Duration: 11' 00"
Manuscript

Instrumentation: for trombonist, street vendor and sound recording

Texts: Istvàn Zelenka

Duration: 10' 00"
Manuscript

Instrumentation: for opera singer (f), pianist, clarinettist, homme-phontaine, chime player, 5 cymbal players (with sticks), portable recordings

Philophonic performance-network at open locations/places in the city.
This composition was performed in Geneva but can be arranged for new/other circumstances.

Duration: 19h 30' 00" (en de nombreuses séquences durant toute une semaine)
Manuscript

Instrumentation: for accordionists with bells on their feet and recorded sound

Texts: Istvàn Zelenka

Duration: 10' 00"
Manuscript

Compositionn for a symphonic programme

Diffused distribution of 5 sound recordings and a violinist.
To be played between two symphonic pieces immediately after the orchestra has left the concert hall.

Duration: 12' 00"
Manuscript

3 autonomous compositions

Instrumentation: for 1 pianist

All three pieces can be played separately.
This piece is a part of (s)'écoute, which can be interpreted:
a) in an intimate/private room, without an audience or in the presence of several loved ones
b) at a (busy) public open space in the city or countryside with no especially invited audience
c) integrated into a concert programme or spectacle, simultaneous to other spatially separated productions.
d) potentially within the framework of a somewhat "special" concert programme.

Duration: 30' 00"
Manuscript

Instrumentation: for 3 portable synth players, 1 portable cassette player, 1 amplified breather, 3 portable cassettes

Texts: Istvàn Zelenka

Sonates de gare; Harangue de la femme qui court; Souffle du respirant; News International; pas de 3-2-1.
Philophonic performance-network at open locations/places in the city.
This composition was performed in Geneva but can be arranged for new/other circumstances.

Duration: 15h 00" (en de nombreuses séquences durant toute une semaine)
Manuscript

Stillstück

Instrumentation: for a violoncellist with simultaneous live environmental sounds

This composition is one of those under the pieces known under (self) listening; it can be interpreted
a) in an intimate/private room with a window or door to the outside world, without an audience or in the presence of several loved ones
b) at a public open location/place in the city or countryside with no especially invited audience
c) integrated into a concert programme or spectacle, simultaneous to other spatially separated productions.
d) potentially within the framework of a somewhat "special" concert programme.

Duration: 15' 00"
Manuscript

Instrumentation: for clarinet, violin, horn, bassoon, viola, violoncello, double bass and two sound recordings

Duration: 21' 00"
Manuscript

Instrumentation: for bass clarinet, trombone, erhu (Chinese violin), piano, 1 pair of cymbals (with sticks), cassette players, notebooks, photos

Philophonic performance-network at open locations/places in the city.
This composition was performed in Geneva but can be arranged for new/other circumstances.

Duration: 60' 00"
Manuscript

Instrumentation: for 4 tams, 3 tambourines (Basel), 2 cow-bell players, 1 set of tubular bells

Philophonic performance-network at open locations/places in the city.
This composition was performed in Geneva but can be arranged for new/other circumstances.

Duration: 3h 30' 00" (en 7 séquences durant toute une semaine)
Manuscript

Instrumentation: for violinists, flutists, clarinettists, chime player, violoncellists, photographers, writers

Philophonic performance-network at open locations/places in the city.
This composition was performed in Berne but can be arranged for new/other circumstances.

Duration: 3h 00" (in 7 Sequenzen auf eine ganze Woche verteilt)
Manuscript

Sound carry-on

Instrumentation: for 1 breather, 5 portable recorders, 1 photographer, 1 pianist

Philophonic performance-network at open locations/places in the city.
This composition was performed in Basel but can be arranged for new/other circumstances.

Duration: 6h 15' 00" (en 12 séquences durant 3 journées)
Manuscript

Instrumentation: for 1 breather, 5 carriers of sound, 1 photographer, 1 pianist

Philophonic performance-network at open locations/places in the city.
This composition was performed in Berne but can be arranged for new/other circumstances.

Duration: 8h 15' 00" (en 15 séquences durant 3 journées)
Manuscript

Behavioural action, sound and/or gesture

Instrumentation: for 1 performer

This piece is a part of (s)'écoute, which can be interpreted:
a) in an intimate/private room, without an audience or in the presence of several loved ones
b) in a (busy) public open space in the city or countryside with no especially invited audience
c) integrated into a concert programme or spectacle, simultaneous to other spatially separated productions.
d) potentially within the framework of a somewhat "special" concert programme.

Duration: 37' 00"
Manuscript

Instrumentation: for organist, yeller

Texts: Istvàn Zelenka

Duration: 12' 00"
Manuscript

Instrumentation: for organist, street vendor, vocal ensemble and tubular bells

Texts: Istvàn Zelenka

Duration: 12' 00"
Manuscript

Philophonic network for Jena

Instrumentation: for 3 sound carriers (Pas de 3), 2 sound carriers (Sandwich-(wo)men), 1 breather (amplified), 2 speakers, 1 pianist, 1 writer, 1 tagger, 6 photographers, 2 cymbal players

Philophonic performance-network at open locations/places in the city.
This composition was performed in Jena but can be arranged for new/other circumstances.

Duration: mehrere Stunden in 35 Sequenzen auf eine ganze Woche verteilt
Manuscript

"...es gibt keine unschuldige Tat, das ist die Wahrheit!"

Instrumentation: for 1 violoncellist, 1 photographer, 1 sound carrier, 1 clarinettist, 1 percussionist, 1 writing observer, 1 pianist, 1 accordionist

Philophonic performance-network at open locations/places in the city.
This composition was performed in Bienne but can be arranged for new/other circumstances.

Duration: 7h 50' 00" (en 18 séquences durant toute une semaine)
Manuscript

A model

Instrumentation: for 3 performers, 2 speakers, 1 cymbal player, 1 sound carrier, 1 photographer, 1 writer, 1 tagger

Texts: Istvàn Zelenka

Philophonic performance-network at open locations/places in the city.
This composition was performed in Berne but can be arranged for new/other circumstances.

Duration: 21h 16' 00" (in 26 Sequenzen auf eine ganze Woche verteilt)
Manuscript

Concept

Instrumentation: for 1-3 performers, their specification is undetermined

Philophonic performance-network at open locations/places in the city.

Duration: unbestimmt
Manuscript

Performance

Instrumentation: for a single interpreter with an acoustic guitar

Texts: Istvàn Zelenka

Non-guitar players can perform this composition without difficulty;
This composition is one of those under the pieces known as (self) listening; it can be interpreted
a) in an intimate/private room, without an audience, or in the presence of several loved ones
b) at a public open location/place in the city or countryside with no especially invited audience
c) integrated into a concert programme or spectacle, simultaneous to other spatially separated productions.
d) potentially within the framework of a somewhat "special" concert programme.

Duration: 12' 00"-45' 00" (variabel)
Manuscript

Performance

Instrumentation: for 1 interpreter with a frame drum

Non-percussionists can perform this composition without difficulty;
This composition is one of those under the pieces known as (self) listening; it can be interpreted
a) in an intimate/private room, without an audience, or in the presence of several loved ones
b) in a public open location/place in the city or countryside with no especially invited audience
c) integrated into a concert programme or spectacle, simultaneous to other spatially separated productions.
d) potentially within the framework of a somewhat "special" concert programme.

Duration: 32' 00"-64' 00"
Manuscript

Performance solo

Instrumentation: for 1 player of 2 cow bells (holding 1 in each hand) and a wooden board (+/- 70x30x1-2cm)

This piece is a part of (s)'écoute, which can be interpreted:
a) in an intimate/private room, without an audience or in the presence of several loved ones
b) in a (busy) public open space in the city or countryside with no especially invited audience
c) integrated into a concert programme or spectacle, simultaneous to other spatially separated productions.
d) potentially within the framework of a somewhat "special" concert programme.

Duration: 30' 00"-54' 00"
Manuscript

Actions of behavior

Instrumentation: for 1 or more performers

This composition is one of those under the pieces known as (self) listening; it can be interpreted
a) in an intimate/private room, without an audience, or in the presence of several loved ones
b) at a public open location/place in the city or countryside with no especially invited audience
c) integrated into a concert programme or spectacle, simultaneous to other spatially separated productions.
d) potentially within the framework of a somewhat "special" concert programme.

Duration: 32' 00" (oder variabel)
Manuscript

Audio performance

Instrumentation: for 1 performer and 1 portable cassette or CD player

Body-gestural performance in a public location/place in the city.

Duration: 30' 00"
Manuscript

A workshop for all

Instrumentation: for an undefined number of performers who are able to play either the piano, a wind, string or percussion instrument, who were vocalists or performed silent body gestural series of actions (in Jena over two dozen people participated)

Texts: Istvàn Zelenka

Philophonic performance-network at open locations/places in the city.
This composition was performed in Jena but can be arranged for new/other circumstances.
The duration of the 245 sequences, performed over the whole week in several places (partly simultaneously) within Jena totals over 60 hours.

Duration: variabel
Manuscript

A concept

Instrumentation: for the public entering the shop and a couple, at the most three, professional musicians

In this project the traditional distinction between interpreter and audience is nullified. Each individual enters the shop (Laden) when he/she wishes and becomes simultaneously and equally performer and listener; independent and jointly responsible through trust. This composition, performed in Zurich and Baden, can be arranged for new/other circumstances.

Duration: variabel (1996 in Zürich: 10 h)
Manuscript

Instrumentation: for 1 pianist and 1 vocalist

Texts: István Zelenka

Duration: 3' 00"
Manuscript

Domestic performance

Instrumentation: for a private person at home listening and acting to a special sound-recording on CD

Duration: 60' 00"
Manuscript

1 arrangement

Instrumentation: for alto flute, viola, harp

Duration: 12' 00"
Manuscript

1 armwork

Instrumentation: for an unspecified number of armworkers who play with both arms having each hand on the surface of a door

This composition is one of those under the pieces known as (self) listening; it can be interpreted
a) in an intimate/private room, without an audience, or in the presence of several loved ones
b) in a public open location/place in the city or countryside with no especially invited audience
c) integrated into a concert programme or spectacle, simultaneous to other spatially separated productions.
d) potentially within the framework of a somewhat "special" concert programme.

Duration: 15' 00"-25' 00" (variabel)
Manuscript

A workshop in three phases

Instrumentation: for 20 instumental or vocal or bodily gestural, sound carrying, writing, tagging, photographing performers

Texts: Istvàn Zelenka

QUER-IN 50 sequences; HINUNDQUER 23 sequences; QUER-ÖFF 37 sequences, distributed over a 3-week period.
QUER is a composition for events over a 3-week period. It is a development of the private into the public domain. This composition, performed in Kreuzlingen and Constance, can be arranged for new/other circumstances.

Duration: variabel
Manuscript

Instrumentation: for 2 (1 pianist/photographer/writer, 1 guitarist/writer/kalimba player/ringer of 2 cowbells and body-gestural performance)

Philophonic performance-network at open locations/places in the city.
This composition was performed in Geneva but can be arranged for new/other circumstances.

Duration: 4h 23' 00" (en 7 séquences durant toute une semaine)
Manuscript

1 Model

Instrumentation: for an undefined number of rather more vocalists, rather more instrumentalists or rather more non-specialists, and 'Phontaine' (an electronic tape composition)

Created in collaboration with Peter Trachsel/HASENA.
Philophonic performance-network in 16 private apartments and 14 public spaces in FL-Vaduz-Nord.
This composition can be arranged for new/other circumstances.

Duration: 60' 00" (in mehreren Sequenzen)
Manuscript

Instrumentation: for 1 interpreter with a rainstick of about 75 cm in length

This composition is one of those under the pieces known as (self) listening; it can be interpreted
a) in an intimate/private room, without an audience, or in the presence of several loved ones
b) at a public open location/place in the city or countryside with no especially invited audience
c) integrated into a concert programme or spectacle, simultaneous to other spatially separated productions.
d) potentially within the framework of a somewhat "special" concert programme.

Duration: 20' 00"
Manuscript

Instrumentation: for 3 wrist alarm clocks and 2 guitars

Duration: 30' 00"
Manuscript

Instrumentation: for an individual standing stable and acting with the hands

This composition is one of those under the pieces known as (self) listening; it can be interpreted
a) in an intimate/private room, without an audience, or in the presence of several loved ones
b) at a public open location/place in the city or countryside with no especially invited audience
c) integrated into a concert programme or spectacle, simultaneous to other spatially separated productions.
d) potentially within the framework of a somewhat "special" concert programme.

Duration: 12' 00"
Manuscript

1 tour

Instrumentation: for 4 cymbal players, 2 speakers, 1 sound-machine-operator, 1 pianist, 3 clarinettists, 1 flutist, 1 guitarist, 1 vocalist, 1 body gesturing actor, 5 people standing, 5 people walking

In Winterthur, in the conservatory building, in the gardens, across the city, in public squares, in a theatre (Theatre am Gleis): in the entrance hall, in a rehearsal room and finally on the stage and into the auditorium.
This composition can be arranged for new/other circumstances.

Duration: 10h 00" (in 12 Sequenzen innerhalb von 10 Stunden Dauer)
Manuscript

1 Example

Instrumentation: for 3 vocalists or rather more instrumentalists or rather more non-specialists, 2 speakers, 1 cymbal player, 1 instrumentalist, 1 tagger/photographer/writer 3+2 sound carriers, 1 breather (amplified)

Texts: Istvàn Zelenka

Philophonic performance-network at various open locations/places/rooms in the city.
This composition was performed in Gera and Lusan but can be arranged for new/other circumstances.

Duration: 22h 54' 00" (in 34 Sequenzen auf eine ganze Woche verteilt)
Manuscript

Model

Instrumentation: for 5 interpreters, as far as possible consisting of 5 (min 4) various categories: wind, strings, plucked instruments, percussion, vocalists, (upright) piano, sounding objects, and/or..

With this composition I suggest a model as an antidote to sacrosanct reproducibility whereby the participants first discover and study the "score" before the eyes of the audience without any possibility of hoping to "do it better next time", to be interpreted most intensively prima et ultima vista. It is about the becoming and not the become, the creating and not the creation.

Duration: 30' 00" (variabel)
Manuscript

Duo, a dialogue between a project collaborator and a craftsman (small-business man/woman)

Instrumentation: for an undefined number of duos, rather more vocalists, rather more instrumentalists or rather more non-specialists, each with a craftsman (small-business man/woman)

A partnership between a project collaborator and a craftsman (small-business man/woman) should be developed in a dialogue. The project collaborator searches for a craftsman willing to allow his daily business activities to become amicably "coloured" by a series of sounding or "theatrical" actions, in other words: illuminated in a different light.

Duration: 3h 00"-5h 00" (in 3-5 Sequenzen auf eine ganze Woche verteilt)
Manuscript

Quartet

Instrumentation: for vocalising and bodily gesturing instrumentalists, bodily gesturing vocalists, bodily gesturing actors (dancer, mime?); Sound-Machine-Operator with a portable radio recorder (radio, cassette or CD player)

Within the framework of a concert or spectacle programme, possibly taking place simultaneously to other spatially seperated productions.

Duration: 90' 00"
Manuscript

Quintet

Instrumentation: for 5 interpreters

Within the framework of a concert or spectacle programme, possibly taking place simultaneously to other spatially seperated productions.

Duration: 60' 00"
Manuscript

1 canon for 2 speakers

Instrumentation: for 2 speakers who create the texts themselves following a given method

Within the framework of a concert or spectacle programme, possibly taking place simultaneously to other spatially separated productions.

Duration: variabel doch nicht kürzer als 30'
Manuscript

Instrumentation: for 26 various protagonists

Duration: 8h 00"
Manuscript

Instrumentation: for a mentally-acting individual lying on his/her belly on the floor holding his/her slightly lifted head with both hands and his/her elbows supporting in the usual way

For an acting individual lying on his/her belly holding his/her somewhat lifted head with both his/her hands with his/her elbows in the usual position.
This composition is one of those under the pieces known as (self) listening; it can be interpreted
a) in an intimate/private room, without an audience, or in the presence of several loved ones
b) at a public open location/place in the city or countryside with no especially invited audience
c) integrated into a concert programme or spectacle, simultaneous to other spatially separated productions.
d) potentially within the framework of a somewhat "special" concert programme.

Duration: 14' 00"
Manuscript

Instrumentation: for a single interpreter with a walking stick

This composition is one of those under the pieces known as (self) listening; it can be interpreted
a) in an intimate/private room, without an audience, or in the presence of several loved ones
b) at a public open location/place in the city or countryside with no especially invited audience
c) integrated into a concert programme or spectacle, simultaneous to other spatially separated productions.
d) potentially within the framework of a somewhat "special" concert programme.

Duration: 16' 00"-26' 00"
Manuscript

1 Exercise

There can be found, close to Dalvazza in canton Grisons, a very old, long-standing and totally uninhabited house with its surroundings (garden, streets): every visitor can contribute to this project/adventure by being voluntarily and simultaneously performer and onlooker; the usual confrontation between interpreter and audience is here nullified.
This composition can be arranged for new/other circumstances.

Duration: nicht voraussehbar
Manuscript

A self discovering

Instrumentation: for an undefined number or school pupils

There can be found, close to Dalvazza in canton Grisons, a very old, long-standing and totally uninhabited house with its surroundings (garden, streets): every pupil from a class at the secondary modern in Pany (Grisons) receives a score with various proposals for actions. Each of the individuals should first treat the information found onsite as he/she wishes and orientate themselve indepentently.
This composition can be arranged for new/other circumstances.

Duration: nicht voraussehbar doch wahrscheinlich nicht länger als 1 Stunde
Manuscript

Instrumentation: for speaker, singer, drummer and pianist

Texts: István Zelenka

Duration: 3' 00"
Manuscript

1 tour

Instrumentation: for 5 performers with cassettophones

Duration: 3h 00"
Manuscript

1 tour

Instrumentation: for instrumentalists, vocalists, dancers and sound machine operator

Duration: 3h 00"
Manuscript

1 tour

Instrumentation: for 5 wind instruments

Duration: 2h 30' 00"
Manuscript

1 Occupation

Instrumentation: for 10 project participants: rather more vocalists, rather more instrumentalists or rather more non-specialists or bodily gesturing and an undefined number of people entering the room

As in several of my projects "desto" does away with the customary interpreter/audience confrontation. This piece is basically about occupation with and not production of.
This composition, performed in the 'Dampfzentrale' in Berne, can be arranged for new/other circumstances.

Duration: 10h 00"
Manuscript

1 sound carry-on

Instrumentation: for 10 sound carrying flyer manipulators

Texts: Istvàn Zelenka

From Saturday afternoon until Monday evening moments of dialogue, not a dispute, between the aesthetic and everyday, the unexpected and the familiar can begin. The perception of the external and internal environment should/could be a little enriched. The performances are predetermined, composed sequences of actions and sounds which appear unexpectedly from the everyday leading the onlooker to ask the question "should I approach or walk past?" This composition, performed at public locations/places and along connecting walkways between the old city and Prater in Vienna, can be arranged for new/other circumstances.

Duration: 7h 30' 00" (in 12 Sequenzen auf 3 Tage verteilt)
Manuscript

Instrumentation: for an undefined number of people: musicians or actors or dancers, gymnasts, writers or individuals

Originally composed for American musicians who are unable to read notes.
This project can also be performed by musicians who can read notes. Performed in various versions until 2004 in Talkotteville, Chicago, California, USA and Curutiba, Brazil.

Duration: unbestimmt
Manuscript

1 Performance

Instrumentation: for 1 performer with a book as an object held/moved with the hands/arms

Duration: 14' 00"
Manuscript

1 Composition

Instrumentation: for 1 reader

Texts: Istvàn Zelenka

Duration: variabel
Manuscript

Instrumentation: for one small electronic (toy) keyboard player

At three highly different socio-acoustic places/rooms each one of the three parts are played:
a/ at a busy, open place/area in the city
b/ in an additional room within your own apartment or another apartment
c/ in a peaceful, quiet, large, broad, high, reverberating room such as a church, disused factory or museum.

Duration: 64' 30"
Manuscript

Instrumentation: for 1 player of a simple portabe electronic piano (toy?), possibly only diatonic

Look for 3 places/spaces that are socially and acoustically differentiated:
a) a public open, busy space in the city
b) public location/space, rather quiet and calm
c) in private sphere at home
During a day or a week play all of the 3 sequences in each of the above specified locations and listen carefully to the surrounding sound slightly 'coloured' by your instrument.

Duration: 3 séquences: 25'40– 18'–21'20
Manuscript

Instrumentation: for 1-5 interpreters with unspecified specialities

The score consists of a series of precisely chronometric time sections: within each of the time sections is given an exact indication as to the duration of any action or activity to be performed at any one time.

Duration: variabel, höchstens 90
Manuscript

1 enterprise

Instrumentation: for an unspecified number of praticipants: musicians, comediens, sculptors, writers, photographers, individuals etc.

Philophonic performance-network for individuals or groups at open public or private locations/places in the city.
This composition was performed in Geneva but can be arranged for new/other circumstances.

Duration: durée et nombre des séquences durant 3 mois indéterminées
Manuscript

5 + 5 text-voice pieces

Texts: Istvàn Zelenka

Computer generated voices recorded on CD.

Duration: 55' 00"
Manuscript

Instrumentation: for a performer manipulating his/her ears with his fingers and the palms of his hands

1 Hörspiel is a composition to try out/experience. I have not created it for a public presentation. 1 Hörspiel should be "experimented" in a room or location/place where sounds from all directions, even from behind and from a distance, can be perceived.

Duration: 36' 00"
Manuscript

seam piece for 1 guitarist - dedicated to Christoph Jäggin

For one guitarist with an open, slightly filled plastic mineral water bottle, a "flexible" medium sized plastic bag, 2 similarly large pebbles, a large teacup containing a small glass marble and a small portable radio with a loudspeaker.
These 'seam pieces' are distinguishable from the pieces for guitar on numerous levels:
- the proposed actions for the seam pieces with an object, with the voice or with the body, their articulation and the nexuses with the actions
- the conceptual freedom of the interpreter to determine the beginning and the end of his/her version, the duration of the single actions and the choice and formulation of the text for the vocal actions
- the basic heterogeneity of the 4 varieties of propositions for action and the dispersed insertion/application of the seam pieces.
->= give a composition within which my occupation with time, style, sound and silence is most probably different from that which occurs in the purely instrumental recitals.

Duration: variabel
Manuscript

1 performance for 2

Instrumentation: for 2 individuals with no particular qualification

This project is made for two friends or members of a family. It is a succession of propositions for actions of all kinds: vocal, physical, with accessories, mental, social and exceptional.
This composition, performed in Geneva by a mother and her daughter, can be arranged for new/other circumstances.

Duration: indéterminée
Manuscript

Instrumentation: for a piano player who performs, but for a single exception, only silent actions on the claviature

This composition can be performed per se or in the presence of a loved one in a private room: Falterunser can also be performed simultaneously to other miscellaneous productions but within a framework where it is possible for the people present to follow visually the key-play of the interpreter.

Duration: 13' 30"
Manuscript

Instrumentation: for a speaker

Texts: Istvàn Zelenka

This text should be spoken after the beep of an automatic telephone answering machine belonging to an acquaintance of the interpreter in such manner as to seem like a message.

Duration: 2' 00"-4' 00"
Manuscript

Silent performance with both arms & hands

Instrumentation: for 1 performer

The performer sits in front of a muted television set with a CNN or CNN-like programme; he/she performs the series of simple actions as written in the score while simultaneously observing the silent tv programme and being aware of the strange duet. This composition can be performed alone, without any audience, or in the presence of loved ones.

Duration: 30' 00"
Manuscript

Instrumentation: for 1 reader

Texts: Istvàn Zelenka

Duration: 8' 00"
Manuscript

1 opportunity

Instrumentation: for an undefiend, yet not too large, number of interpreters (musicians or not)

This project is recommended to those people (musicians) who wish to implement and perform actions/activities with instruments, all kinds of sound producing objects, common everyday objects, their bodies, silently in their heads, their voices or by other means or ways.

Duration: variabel
Manuscript

1 enterprise

Instrumentation: for an unspecified number of qualified/specialist interpreters

Performance composition as a succession of propositions for actions of all kinds: vocal, physical, with accessories, mental, social and exceptional.
This composition, performed in Geneva, can be arranged for new/other circumstances.

Duration: 2h 00"
Manuscript

1 main piece in memoriam Hellmut Gottwald

Instrumentation: for 1 performer

A series of silent actions using hands and fingers on the head and face, carried out by a seated performer.

Duration: 12' 00"-18' 00"
Manuscript

Instrumentation: for an individual

For a performer sitting on an armless stool at a stable, square kitchen or office table acting with a relatively large, somewhat loosely filled (used) feather pillow in a white pillowcase and a smaller, flatter, hard cushion (without cushion cover).
Kissentwurf is one of the possible realisations of the composition withinsidexplorer; it can be interpreted solo, at home, per se, without an audience or in the presence of a small number of loved ones. It can be played within the framework of a concert or spectacle or other simultaneously but spatially separated musical or non-musical productions, at a public location, inside or outside of buildings, in the countryside and so on.


Duration: 34' 00"
Manuscript

1 graft

Instrumentation: for a pianist, a speaker and a silent female performer with viola

Librettist: István Zelenka after Goethe.
This composition was created for the 250th birthday of Mozart and his lied "Das Veilchen", based on a poem by Goethe. Within the 30 minute duration of this piece the 5 pianists play separate fragments, the speaker recites 15 separate fragments and the silent actress performs 10 non-instrumental actions with a viola.

Duration: 30' 00"
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8 poetries-actions

Instrumentation: for 1 reader (m or f)

Texts: Istvàn Zelenka

Duration: variable
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1 reformation

Instrumentation: for 1 reader (m or f)

Texts: Istvàn Zelenka

Duration: variable
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5 installations

Instrumentation: for 1 reader

Texts: Istvàn Zelenka

Duration: variabel
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Common property - dedicated to Antoine Beuger

Instrumentation: for 5 or 8 interpreters, instrumentalists and/or vocalists and/or...

This composition is recommended to those people (musicians) who wish to implement and perform actions/activities with instruments and sound producers, everyday objects, their bodies, silently in their heads, their voices or by other means or ways.

Duration: variabel doch nicht kürzer als 20
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1 Reformation

Instrumentation: for 3 readers

Texts: Istvàn Zelenka

Duration: variable
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Instrumentation: for 5 mail pigeons each transporting 1 fragment

Texts: Istvàn Zelenka

This text composition can/should form part of a performance network with various actions and activities.

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1 occasion

Instrumentation: for 1 performer or a small ensemble of performers

At the centre of this composition, as in a great number of my projects over the last few years, stands the ideal of the autonomous accomplice. Following an introduction you perform your personal and completely independent version, you can then play accompanied by partners, zealous people or solo and possibly simultaneously together with other productions within the framework of a concert, a spectacle or a workshop.

Duration: variable, mais au moins 15'
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1 pastime for example

Instrumentation: for an unspecified number of qualified/specialist interpreters

An autonomous performance of individuals who build, in the form of a workshop, an ensemble with no audience present. It is a succession of propositions for actions of all kinds: vocal, body-gestural, with accessories, mental, social and exceptional. The participants find the score onsite.

Duration: variable
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1 Incitement

Instrumentation: solo or ensemble from 3 -5 interpreters without specification

Verbally notated "score" of actions (homogeneous or heterogeneous), audible or not and/or visible or not, with or without instruments, objects etc. It can be interpreted as a solo at home without an audience or in the presence of one or several loved ones. It can also be performed solo or by an ensemble(s) in the countryside or a busy place in the city or within the framework of a somewhat "special" concert or spectacle programme.

Duration: variabel zwischen 15 – 57 Min.
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1 publication

Intended for people visiting the place where the project is being realised; these people perform, as they wish, a succession of propositions for actions of all kinds: vocal, body-gestural, with accessories and/or instruments, mental, social. They will find the score onsite.

Duration: indéterminée
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Instrumentation: for 1 seated accordionist

One accordionist playing on one chromatic, preferably large, instrument.
"...you will play certain notes and sounds but most of the time you will be certainly present but remain quasi (pour ainsi dire) immobile…"
This composition can be performed in an intimate/private room with an open window, without an audience, or in the presence of a small number of loved ones, at an open public location/place in the city or countryside, integrated into a concert programme or spectacle, simultaneous to other but spatially separated productions.

Duration: 12' 00"
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à 3

Instrumentation: for 3 readers (m/f)

Together the interpreters select 1 novel and decide on the duration of the common parts and the personal parts of the "score". They read fragments extending from one vowel to one entire page.

Duration: variable, mais pas inférieur à 30 (15) minutes
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Instrumentation: for 1 speaker and 1 ratchet player

Texts: Istvàn Zelenka

Just! is a simultaneous performance of 2 autonomous compositions: Just! for a speaker and Just! for a ratchet player.

Duration: 15' 00"
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Instrumentation: for a keyboard player who plays a positiv organ in a chrch, on another occasion a machanical harmonia in a public place in the city and another time an electric keyboard somewhere in the countryside

You can play these three variations of tones, rooms and times either per se, that is alone, or in the presence of one or several loved ones.

Duration: 3 x 37:50
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1 Programme

Instrumentation: for one or more interpreters without specification

From Monday to Saturday of a week choose consecutively several objects from 6 different places in the countryside and in the city; on Sunday find a special place and arrange the chosen objects casually and without haste around yourself; within the framework of the so attained "biotope" invent and realise an unhurried activity, a peaceful, imaginative play with the elements of this "biotope", and likewise with yourself.

Duration: variabel, eine Weile jeden Tag einer Woche
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Stand(s)

Instrumentation: solo or, if prefered, 1 ensemble with 5-7 soloists without specification

Solo version at home or in the nature; solo version or ensemble version as an installation inside or outside in a city; also possible within the framework of a spectacle or concert simultaneously together with other sound and/or visual productions.

Duration: variable mais pas inférieur à 30'
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1 Reading

Instrumentation: for 1 or 2 readers

Texts: Istvàn Zelenka

Duration: variabel doch nicht lang
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1 reading

Instrumentation: for 1 or 3 readers

Texts: Istvàn Zelenka

FrED: 30 or 60 minutes;
such words as or: 30 or 60 minutes;
c'est-à-dire: 30 or 60 minutes;
dünkt schlief werde: 30 or 60 minutes
Each one of the 3 texts could be read as an independent solo; these 3 texts could be also associated and constitute an ensemble of/for 3 autonomous readers;
FrED could be performed
a/ in an intimate/private, or
b/ in a public context:
a/ at the home of one of the performers;
b/ as a sort of installation in the nature or in the city; inside of a public building; in a concert-hall or theatre as an autonomous composition or simultaneously played with all sorts of projects/productions.

Duration: 2h 00"-4h 00"
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Instrumentation: for 1 performer playing with his palms, elbows, knees, with some natural objects, with some manufactured objects

You could play this composition as a solo, as a kind of installation, in an intimate/private space; in the nature or at a public space in the city; in a public building or within the framework of a somewhat "special" programme in a concert-hall, theatre or alike, as an autonomous solo piece or simultaneously with other musical or non-musical pieces/activities.

Duration: Versions of 30 or 60 or 90 minutes
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1 reading

Instrumentation: for one reader/elocutionist or 2 or 3 interpereters

Texts: Istvàn Zelenka

This composition could be read/spoken/interpreted as a solo version at home without an audience or in the presence of a loved-one. It could also be interpreted within the framework of a public concert or spectacle simultaneously together with other performances/productions with or without sound.

Duration: variable
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Installations (from phontaine & Entwickler & 1 Hörspiel )

Instrumentation: for a single contributor or for several independent single contributors or for an ensemble of 3 contributors or for several independent ensembles, each with three contributors

Through a combination of these 3 autonomous compositions, I invite you to an adventurous experience of the room(s).
Duration: a little every day for one week, variable, depends on the number of people contributing.

Duration: variabel
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1 experience for 5 participants

Instrumentation: for 5 participants without specification

Any matter gives out sound when it is struck, stroked, ground, knocked, mashed, kicked, beaten or in any other way touched/felt.
On a round tour of the city the 5 collaborative yet simultaneously autonomous participants experiment/play with materials to which they are personally attracted.


Duration: variabel
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Instrumentation: for 1 or 3 - 5 participants without specification

Collect a large number of many things, preferably smaller objects, enough to cover a reasonably sized table (board), possibly even multilayered: sitting at the table and following the six-page "score" play the objects with fingers, hands, fists, palms, elbows and forearms. '1 Tafelmusik' can be played per se as a solo at home or in the countryside, alone or in the presence of one or several loved ones. It can also be interpreted as an installation at a public place/area in the city, within the framework of a spectacle/concert or simultaneous to other musical or non-musical pieces. '1 Tafelmusik' can be performed by 3 – 5 participants in the city, the countryside, a public building or within the framework of a spectacle/concert simultaneous to other musical or non-musical pieces.

Duration: variabel, doch mindestens +/- 40:00
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1 Reformation

Instrumentation: for 1 reader

Text by Istvàn Zelenka based on a fragment of James Gleick's book "The Theory of Chaos – toward a new science" (Viking Press N.Y. 1987).
Read my text at a comprehensible level, without any particular expression, throughout with the chosen more or less same force and in a constantly alert and fluid tempo; this composition should be performed as solo in intimate surroundings, without any public, or perhaps in presence of a close person.


Duration: variable
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1 speaking piece

Instrumentation: for 1 reader

Texts: Istvàn Zelenka

Duration: variabel
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Instrumentation: for 1 reader

A succession of 7 text sequences, which are articulated while the reader bangs strongly against his chest with his right hand; he pronounces the synthetic "words" of this text which are inspired by the phonetics of different languages.

Duration: 30' 00"
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1 openly determined collection - performance

Instrumentation: one or several performers (non specific)

Project/invitation to the discovery of a personal melody based on the independent interpretation of the proposals laid out in the introduction, which give regard to the method and the material for the formulation of this melody.
This composition can be performed in private or in public areas as an installation or played within the framework of a composed "concert" or multi-media programme, independently or parallel to/with other productions or activities.

Duration: variabel
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3 "lieber ohne Worte" texts

Instrumentation: for 1 reader

Texts: Istvàn Zelenka

Speak these texts in German (D), English (E) and French (F).
If these three texts are to be performed within the framework of a concert then it is preferable that they are spoken as programme intermezzi rather than interpreted in a single block.

Duration: variabel
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1 invitation for one or 3 - 5 performer - performance

Instrumentation: for one or 3 - 5 performers (non specific)

Project/invitation to the discovery of a personal succession of six times 1 – 6 shortest – principally long actions and/or activities: This discovery or form is based on the independent interpretation of the proposals laid out in the introduction, which give regard to the method and the material for the formulation of this version.
'In Erinnerung keine Rede' can be performed in private or in public areas as an installation or played within the framework of a composed "concert" or multi-media programme, independently or parallel to/with other productions or activities.

Duration: 60' 00"
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1 activity for three or one reader

Instrumentation: for 1 or 3 readers

Librettist: Choice of any 1 (3) book(s) with a minimum of 180 pages by interpreter(s).
Polyphonic version: Any book chosen by each reader, or any one book chosen by all readers (same edition for all).
Solo version: the reader chooses any book.
The 'pre-score' is a succession of details concerning the page-turning actions and the parts to be read, be they word fragments or paragraphs.

Duration: variabel doch mindestens 30"
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1 Composition

Texts: Istvàn Zelenka (Fred and Victoria)

Presentation of a CD, pianist, performer.
This composition consists of a progressively overlapping performance of 3 autonomous compositions:
1/ the three last text-voice-pieces on CD from "Fred and Victoria in Concert, Bruce and Agnes too" (2002)
2/ musique nécessaire / musique possible? (1989) – for pianists
3/ 1 Handwerk (1998) – 1 Performance


Duration: 24' 34"
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an activity

Instrumentation: for one organist who like to play with all kinds of objects

Audible but hidden activities in a congregation-filled church in the form of singular actions and/or activities with movable or sturdily fixed elements of a non-activated organ and various every-day objects.

Duration: 37' 20"
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For an undetermined, but preferably reasonable number of widely autonomic and congenial pick-uppers (?)

Instrumentation: for an undetermined, but preferably reasonable umber of readers

Librettist: Fragments of articles from any of the daily newspapers published on the day of performance. Each of the readers chooses any daily newspaper.
A succession of fragments (as determined by the "score") about political/economic and/or national political/economic and/or regional-local events/affairs and/or sport and/or culture and/or a particular theme not included in the above 5 categories.

Duration: variabel doch nicht weniger als 20 Minuten
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1 Gestural quartet

Instrumentation: for 4 women or two women and 2 men

This composition replaces fixed pitches and rhythms with gestures such as snivelling, laughing, coughing, harrumphing, snarling, audible inhaling and exhaling and motionless, frozen waiting.

Duration: variabel, doch nicht weniger als +/-15:00
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1 activity for 1 - performance

Instrumentation: for 1 non-specific performer

Variable from sequences spread over a global duration of +/- 5 weeks.
Repeated insertion of a particular activity into "normal" daily life including, for example, about/with sound and silence, sound generators (instruments, objects), time (rhythm, duration, speed…), intensity (volume, etc…), anything vocal, physical, mental or anything whatever…

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1 Performance

Within the space of 10 minutes or for a globally agreed duration of the performance, each of those taking part performs any very short or very long action and/or any one or two relatively short to relatively long activities – or none at all.

Duration: 10 Minuten oder variabel
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1 Handling

Instrumentation: for one reader with any book with a minimum of 100 pages

The number of pages to be turned forwards or backwards and the parts to be read, which can vary from word fragments to full pages, are detailed in the verbal "score".

Duration: variabel
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Performance, initially for 1 sound generating person, then for 3

Instrumentation: for 1 then 3 performers (non-specified)

With any 9 objects from the following 3 categories:
a/ objects found in nature created without the intervention of man
b/ everyday objects
c/ self-made and/or intended for children and/or "exotic" sound generators.

Duration: 30' 00"
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Instrumentation: for 1 reader

This composition consists of 7 verbal sequences, which have to be pronounced with a sonorous sound intensity at a constant speed (1 word = +/- 72 M.M.), well articulated and without specific expression. At 7 precise moments the reader beats his chest powerfully with his right hand.

Duration: 30' 00"
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Instrumentation: for 1 oboe player

"Intact" should be performed in a large and special space, on the roof of a building, in an apartment through an open window, somewhere in the city or in the countryside for example, as independent solo or simultaneously with other musical or non-musical productions in a non-traditional concert or theatrical context.

Duration: 40' 00"-45' 00"
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Instrumentation: for 1 or several

This composition consists of a series of 41 propositions for actions/activities, from which each of the interpreters chooses any combination of 17.
"multiverse? Universe" can be performed as a solo "for oneself", at home for example with friends "for us", or performed with several voices for an audience within a concert, theatre or multi-media programme etc.

Duration: unbestimmt
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Performance

Instrumentation: for 1 or several breathers

the "score" of AIRYA contains 5 sections of various breathing actions & 4 non specified activities between them. This composition could be played as a solo in private surroundings or as a solo or ensemble version simultaneously with other musical or non-musical productions in a non-traditional concert or theatrical context.

Duration: 30' 00"-45' 00"
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Performance

Instrumentation: for 1 or more people who would like to produce sounds with various objects

The "score" of 'yet' consists of a segmented and articulated succession of verbal indications about the duration and volume of sounds; look for, choose and collect various objects to create a diversified instrumentarium. 'yet' can be played in private surroundings or as an autonomous piece or simultaneously with other musical or non-musical productions in a non-traditional concert or theatrical context.

Duration: 29' 00"
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Instrumentation: for one or several players with various sound generating objects

The "score" for 'beinahe äusserst' consists of a succession of instructions that verbally suggest the duration and volume of the single sounds; each of the freely chosen objects chosen by the three players should allow the production of all kinds of differing and/or related sounds.

Duration: 29' 00"
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Instrumentation: for 3-5 mobile performers or a single one

Look for a nice area/space/field for example in the countryside, on a mountain, in a large garden/park or beside a lake and realize/play this mobile circular performance at this chosen place.

Duration: variable
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Text to read

Instrumentation: for 1 reader

Texts: Istvàn Zelenka

Duration: variable
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1 Recipe

Instrumentation: for 1 person or 3-4 people

Texts: Istvàn Zelenka

I recommend "Blätterteig" to people who desire to perform this "mental exercise"-like composition per se, as a solo for oneself, to experience/form it alone or together with 3-4 friends as an autonomous and congenial occupation with and for oneself, that is without an audience.

Duration: variabel, etwa 30:00
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Proposals/possibilities

Instrumentation: for 1 or several

Texts: Istvàn Zelenka

Duration: unbestimmt
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Propositions/occasions

Texts: Istvàn Zelenka

Duration: indéterminée
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1 Lecture

Instrumentation: for 1 or several

Texts: Istvàn Zelenka

Duration: indéterminée
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1 lecture

Instrumentation: for 1 or more

Texts: Istvàn Zelenka

Duration: variable
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1 Performance

For 1 vocalist with objects and apparatus or 1 instrumentalist with objects and apparatus or 1 vocalist and one instrumentalist with objects and apparatus or 3 vocalists with objects and apparatus or 2 vocalists and 1 instrumentalist with objects and apparatus.
This composition is made up of six segments with a duration of 5, 17, 3, 13, 7 and 11 minutes respectively: the total duration for a soloistic peformance or a performance with several voices does not exceed 56:00.

Duration: 56' 00"
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Performance

Instrumentation: for 1 performer

As notated in the score, various actions with the mouth should be performed or the series of single words describing these actions should be read.

Duration: unbestimmt
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1 Reading

Instrumentation: for 1 reader

Texts: Istvàn Zelenka

Read this text clearly articulated without any particular expression and principally without haste at the volume of a "normal" voice for oneself or for several close people; the text can be simultaneously but not synchronously spoken together with other actions/activities/productions.

Duration: unbestimmt
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Activity

Instrumentation: for reader(s)

Collection, creation and adaptation of a series of words from any two opposite facing leaves from any book.
1 Reformation can be performed as a solo "for oneself", at home for example with friends "for us", or performed with several voices for an audience within a concert, theatre or multi-media programme etc.


Duration: unbestimmt doch mindestens 30:00
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1 reading for 1

Texts: Istvàn Zelenka

On any 5 consecutive days, at 5 identical or different times of the day between early morning and late evening read/speak 5 different yet complete series of the 11 sequences of the looped "score" from "ob". These readings should be performed at home as a solo, per se, "for oneself" or in the presence of a close person.

Duration: 41' 00"
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various suggestions, projects, compositions (2008->) + NB

Texts: Istvàn Zelenka

binnen 1: for 1 piano player
binnen 2: for 1 speaker
binnen 3: for 1 female reporter and/or poet and/or drawer and/or painter
binnen 4: for 1 player of a easy-to-carry melodiy instrument
binnen 5: for 1 organ or harmonium player
binnen 6: for 1 screamer – a friendly dedication to Pierre Thoma
binnen 7: inside: for 1 shouting person
binnen 8 cependant, peut-être: pour 1 crieur
binnen 9: for 1 drummer
binnen 10: for a performer with objects of choice
binnen 11: fabula rasa? for one or more readers
binnen 12: hammerfrey - 1 keyboard tour for 3 keyboard players and appropriate key instruments
binnen 13: for one player with tubular bells (cl-f2)
binnen 14: for 3 or more than 7 readers

These "binnen" compositions can be performed solo or simultaneously with other "binnen" compositions or with other audible and/or visible compositions/actions.

NB:

binnen: within, in, during, throughout, in the course of, for the time of, amidst, from time to time, between, during, on and on, continuously.
binnen: in a temporal, spatial, contextual frame.
binnen: incidental "sections" of the perpetual and unmeasurable continuum
binnen: non-directional, without a definate begining or logical end
binnen: experience(s) YES, product(s) NO

Duration: Jede solistische oder mehrstimmige Fassung dauert 60 Minuten.
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1 experience for 1 or 3 inventing, writing and speaking readers – in 2 phases

Instrumentation: for 1 or 3 readers

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Instrumentation: for one or several speakers

Texts: Istvàn Zelenka

Duration: 60' 00"
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1 experience

Instrumentation: for 1 - 4 essentially diverse breathing performers

Duration: variabel, mindestens 30 Minuten
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occupation for 3 people in 3 phases

Duration: unbestimmt
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Instrumentation: for 1 or several performers

This 'score' consists of hints, which determine the various tendencies of the actions/activities but not the nature, means or duration; the amount of time between the end of one action/activity and the beginning of the next is, however, suggested. Using these hints as a starting point and inspiration, the performers freely create/develop their own independent version based upon their interpretation of what these hints mean to them.

Duration: variabel, mindestens 30 Minuten
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Instrumentation: for a person typing on a computer combined with a system of simultaneous "projections" on a white wall or a video or televion screen of the "live" written text of this composition

Texts: Istvàn Zelenka

"has been accustomed" should be performed as the "second voice" of/in a duet-constellation, executed simultaneously but not synchronized with the "first voice", consisting of 1 or some audible or/and visible actions/activities, compositions, happenings, with a duration of about 1 hour;
this duet-constellation is somehow inspired by the function of the surtitle or supertitle system, the written and simultaneously projected translation of sung and spoken texts/lyrics in theater and opera; my duet project has been accustomed to works not as a "translation" or more precisely as a "commentary" to the simultaneous audible and/or visible actions/activities, compositions, happenings, but acts as their partner in a mutually autonomous and symbiotic relationship; this dialogue should be performed in a rather moderate space/room promoting an intimate relationship among those present: participating performers and participating listeners/spectators forming a close community without no hierarchical distinction.

Duration: 60' 00"
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Texts: Istvàn Zelenka

Duration: ' 30"
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1 succession of 15 texts with 14 lines each

Instrumentation: mute lecture per se or 1 voice

Texts: Istvàn Zelenka

Duration: variabel
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Instrumentation: tacit lecture/reflection per se or sometimes spoken

Texts: Istvàn Zelenka

Duration: undetermined
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Instrumentation: tacit lecture/reading, maybe even sometimes spoken

Texts: Istvàn Zelenka

Duration: indéterminée
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for 1 person which is at the same time quiet reader and observer with his/her ears and eyes

Texts: Istvàn Zelenka

During the course of your per se performance, that means for yourself, it becomes increasingly clear to you that this composition is designed for 2 "voices", both autonomous and yet accomplices, taking place simultaneously but not synchronised:
1/ your interior and therefore quiet reading of interrupted verbal sequences and/or connected by breathing sections;
2/ the acoustic and optical phenomena of your environment, which you experience during the whole time of your performance but especially during the breathing sections;

Duration: 30 minutes ou plus
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Instrumentation: for 4 interpreting people and one organiser/coordinator

Over the course of 4 successive weekdays, each of the quartet members carries out an independent 1-hour performance and then takes part in another 1-hour performance on any day of the following week together with all members of the quartet. Individual and coordinated, collective preparation and a final exchange of thoughts is also a part of this project.
This composition deals mainly with the intensive and fanciful experience of hearing, sight, thought and the imaginable universes of a place, which each of the interpreters have chosen independently of each other, be that place in the city or the surrounding area.

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Instrumentation: for 1 breather

1 willing breather searches for a place in his or her city or their surrounding area where he or she can perform and perceive (mainly through the ears) a repeated 45-minute long breathing performance.

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for 1 person

Instrumentation: 1 person without specifics

For one person, per se, for him/herself.
The particular temporal dimensions of a drop of water..., the total duration of this uniquely interpreted action/activity, including the two parts preceding and following this piece, should be in your mind while being occupied with this composition in various manners from time to time throughought the whole duration.
The total time is completely variable: 1 hour, 1 day, 1 week, 1 month, 1 season, 1 year; the duration of the individually created/elaborated action/activity shall not exceed 40 minutes.

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a reading

Instrumentation: for 1 reader

Texts: Istvàn Zelenka

Malapropism describes a intentional or unintentional, strange or even absurd adaptation of words, parts of words or the spelling of conventionally used words and sentences. It results in a different, unexpected or new sense, or sometimes no sense at all.

Duration: variabel
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Performace

Instrumentation: version for 1 person per se (for him/herself) or version for 3-5 people per noi, eg. amongst friends

Articulation of the one-hour long performance in 1-5 visual or audible or visual and audible actions or activities e.g with the body; with the voice; with all kinds of objects; with mechanical or electrical appliances; with electrical image or sound reproduction/transmission apparatus; with accoustic or electronic sound producers, music instruments (even ones intended for use by children, "exotic" ones or self-made ones); or other...

Duration: Gesamtdauer 1 Stunde
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Instrumentation: for 1 person without any specifiaction

Texts: Istvàn Zelenka

The concept of intercourse means social dealings between individuals, exchanges of trades, ideas, etc., sexual connecion.

Duration: variable
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a Reformation for 1 mute per se (for himself alone) Reader

Instrumentation: 1 mute Reader

Texts: Istvàn Zelenka (based on a fragment of James Gleick's book "The Theory of Chaos")

Version in a public house but not addressed to the people present there:
- look for a pub, bar, inn, tavern, hostelry or alike, with a rather vivid hubbub inside of a somewhat noisy environment;
- placed in an ordinary bag and bring with you the text-score and a stopwatch;
- sit down at a table preferably on the border of the room, order a (long) drink and, when you receive it, present the text-score and the stopwatch upon the table in front of you;
- according to the general indications above, choose freely a sequence of words to begin your upcoming version, switch on the stopwatch and start your interior mute lecture, systematically interrupted by breathing sections of +/- 0:10, 0:15, 0:30, 0:45, 1:00, 1:30 durations;
- when you have finished your version stop the stopwatch and place it back into the bag together with the score, ask for the bill and pay it, then leave the public house "normally" without haste;
- please perform your version of Scientist's chaos… throughout in a discreet and reserved manner; you will perform your strictly personal experience; you will not play a piece for un-informed and involuntary spectators

Duration: at least +/- 30 minutes
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Instrumentation: for a sometimes also without any particular expression " normally " reading/speaking page-turner

Texts: Istvà Zelenka

- you could play this composition in private surroundings, at home for instance, or on an open public place/space in the city, or somewhere in the nature, or countryside, or similar, per se, alone for yourself or in the presence of a single person or some close people;
- you could perform this composition in a more or less traditional concert/spectacle context as well, simultaneously but not synchronized with other hearable/viewable compositions, productions, activities;
- throughout the whole of your performance, remain as motionless and silent as possible!
- NB. the score of "playing hostility not even sounded beautiful" should be bound on the left side so that when the page-turns are made they can be loud without the score coming apart. I think that it would be profitable to print the 29 pages of this score on rather thick and +/- rigid paper, the page-turns could be easier in this way and the sound of them stronger.

Duration: about 43:00
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Songs for a person writing on a computer and a pianist

Instrumentation: for 1 person writing on a computer and one pianist

Texts: Istvàn Zelenka

- the computer is connected to a projection system, which is able to project the written text in real-time onto a screen or suitable white surface large enough to be read without effort by all in the performance room;
- 'konzentriert auf Einzelstehende' consists, on the one hand side, of 6 songs, whereby the singing of the text is replaced by its live writing and the progressive way of making it readable, and on the other hand side of 6 pieces for piano;
- these two parts/"voices" are autonomous compositions which should be performed simultaneously but not synchronously.

Duration: etwas mehr als 30 Minuten
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Instrumentation: for 1 or 3 performers

- a complete performance of this composition, for one as it is for three, consists of three versions carried out on three consecutive days at three different social and accoustic places in the city, countryside or in nature;
- each version lasts 1 hour
- each of the participants performs a single activity/action within each of the one-hour versions;
- before and after this activity/action the participant percieves the environment around them with ears, eyes and mind, while sitting as still as possible upon a chair;
- this exertion, carried out a single time during each version, shall be a very short action and then a relatively long action/activity and then a very long action/activity;
- in nature, with the voice, the body, instrumental, with any kind of objects, aparatus, tools, machines etc.. the total of 3 actions/activities, as well as the course of the 3 versions in the three different places, the duration of each single exertion and the moment at which these take place within the 1-hour duration of any one of the three versions, is left entirely to the individual performer;
- should this be carried out by 3 interpreters, the place, the course, the consecutive 3 days and the various or identical times of day should be determined by the 3 interpreters;

Duration: 1 Stunde (3 mal 1 Stunde)
Manuscript

Instrumentation: for a quasi intimate, yet clearly understandable speaker speaking without any particular expression

Texts: Istvàn Zelenka

- the score of this composition consists of 5 sequences lasting 6 minutes, each on a separate sheet and forming between 8 and 14 word fragments;
- the total duration of each version lasts just over 30 minutes;
- the words are taken from the German language version of the book "Über die Gewalt" by the French writer and publicist Georges Sorel;
- the first letter of each word gives the moment within the 10-second long section of the score when the vocalisation (at normal tempo) of the respective word should begin;
- before each private or public performance or private rehearsal of Proudhon by any who hope to attempt it, the 5 sheets of this score shall be mixed, with the blank side face up, and brought together to form a thin bundle;
- the speaker sits at a normal table where the score and a stopwatch can be laid out neatly before them;
- without knowing the contents, they take up the bundle of 5 sheets and lays these in any order in a row upon the table with the blank side face up;
- they then turn the sheets over and see for the first time the order of the 5 sequences of the version they are about to perform, they then lay the sheets one on top of the other, now with the printed sheet face up, and place this thin bundle upon the table before them;
- the speaker then takes the stopwatch and places it behind the bundle on the table, turns it on and begins the interpretation of the first sequence;
- at the end of each sequence, they stop the stopwatch, lay the played sheet to one side (left or right of the bundle?) and after a short pause continue to interpret the following sequences in a similar fashion
Apart from the slow movements necessary for the interpretation of this piece, please remain as still as possible throughout the performance.
This composition can also be performed simultaneously, but not synchronised or alternating, with all kinds of actions/activities or compositions/pieces.

Duration: etwas mehr als 30 Minuten
Manuscript

1 Einladung, 1 invitation 1 invitation 1 meghivàs

Instrumentation: 1 person

Texts: Istvàn Zelenka

Duration: variable
Manuscript

Instrumentation: indeterminate

Texts: Istvàn Zelenka

Duration: indéterminée
Manuscript

1 mute or audible reading

Instrumentation: 1 reader

Texts: Istvàn Zelenka

Duration: variable
Manuscript