Home 1. Introduction 2. Markers 3. Archive 4. Audible Markers 5. Visible Markers 6. Notational Markers 7. Conclusion
3.1. Integrated Silences 3.2. Inherent Silences 3.3. Silent Discourse 3.4. Meta-Silences 3.5. Silencings
This re-composition of Chopin’s famous piano étude (opus 25, number 12) raises intriguing questions about virtuosity and the transparency of the performance. The silence is intrinsic to the composition, but the silencing makes it noisy too. I am deliberately taking a broad view of the concept of silence. Indeed in this example, I am stretching the concept of silence, but perhaps there is no border, perhaps it can always be stretched further. The silencing of the performer makes the performance louder since the struggle to play as many correct notes as possible—without sacrificing speed—leads to a clumsy and awkward performance. The metal handcuffs are to be calibrated in such a way that the performer can only reach a 9th, rather than the customary 10th that separates the left and right arpeggi throughout most of Chopin’s composition. The performer becomes extremely present. The attempt to preserve virtuosity in the classical sense should make the performer transparent when playing Chopin. Hinton’s version is the opposite. The illusion of effortlessness is lost due to the handcuffs. The audience recognizes the original Chopin and expects it to sound impeccable. This silencing is thus metaphorical: silence is not audible, but the performer’s skills are silenced.
