53066_33161582_

Inter-relations
2016
Sara Rodrigues

for string quartet

and fixed-media soundtrack

Composed for the

Kreutzer Quartet
First Violin Peter Sheppard Skaerved
Second Violin Mihailo Trandafilovski
Viola Clifton Harrison
Cello Neil Heyde

Fixed-media soundtrack

The fixed-media soundtrack lasts 5 minutes and is to be played back through

speakers during the performance of the score, which should be in time with it from
start to finish.
The soundtrack was created from a selection of various audio fragments of
spoken voice with or without background music, taken from YouTube videos. The
videos were searched using specific words found in each of the Kreutzer Quartet
members biography; being it educational or professional background, awards or
grants, performances or concert venues.
The sound material was structured so that each sound
fragment relates to one of the musicians
in order of appearance:
Mihailo (.1) Peter (.2) Clifton (.3) Neil (.4)
The piece lasts 5 minutes and has 5 cycles of 1 min. each.
Once every cycle, the musicians hear 1 of their sound
fragments which last approximately 15 seconds.
(15 sec. x 4 musicians = 1 min.)
temporal structure

1.1 George Soros and the Open Society

1.2 The Library of Congress
1.3 Juilliard Music Division
1.4 Performance at Harvard Art Museums

1
0

2.1 George Soros and the Open Society

2.2 The Library of Congress
2.3 Beauty and the Beast
2.4 Performance at Harvard Art Museums
3.1 George Soros and the Open Society
3.2 Royal Academy of Music
3.3 Beauty and the Beast
3.4 Coats of Arms an introduction
4.1 George Soros and the Open Society
4.2 BBC Documentary on Stradivarius
4.3 C.S. Lewis from atheism to theism
4.4 Coats of Arms and introduction
5.1 Chevening Scholarships
5.2 BBC Documentary on Stradivarius
5.3 Grant Norsworthy on C.S. Lewis
5.4 Pablo Casals cello interpretation and technique

3
duration of
piece

5
5
min.

Score Instructions
When the fixed-media sound fragment relates to a particular musician the score is
notated as a transcription of the spoken voices approximate rhythm and pitch.
The words underneath the staves are only to serve as a guideline for the
soundtrack so that the musician plays in time with the voice fragment.

optional playing modes:

(in relation to text)
in agreement
sul tasto
Singing

in confusion
sul pont
Mysteriously

in disagreement
overpressure
Rampantly

The optional playing modes are the same for each of the musicians own fragments
and are limited between 3 playing techniques. The choice on which to execute needs
to be made in relation to each text fragment. For this, the musician needs to read and
understand the texts before a decision is made on whether they agree or disagree
with the text or are in confusion about it.

Play only 1 of the 3 lines:

(in relation to the text above)

melody (in agreement)
ornament (in confusion)
bass (in disagreement)

Only one musician at a time is to play the transcription of their text. Whilst this
happens the other 3 play a musical accompaniment to it, whose material has been
taken from the original fragment. All texts are to be read and understood beforehand,
so appropriate selections of 1 of the 3 lines are made. This is to be done individually
and not to be communicated before playing, meaning that all 3 musicians might end
up playing the same accompaniment line, only separated by octaves. (Always play
with arco unless pizz. Is specified)
Musicians are welcome to circle all their choices in pencil before beginning the piece.
If the piece is played multiple times but its performances are spread apart in time the
choices are subject to change according to the state of mind or personal views of the
musician at a given time.