Canto Ostinato (1973-1979) for one or more keyboard instruments duration: variable, from approx. 80'
INSTRUCTIONS The scheme of repeats, as a structural element of the piece, allows the player(s) to make their own choices regarding:
a) the number of times the relevant sections will be repeated
(the sections specified as a bridge are to be played just once),
b) the intensities (forte, piano, etc.),
c) the manner of playing (legato, staccato, portato etc.).
The piece develops within the frame of choices offered in these three points and it is worth remembering that the players are by no means allowed to act as composers and play notes not found in the score.
Octave transpositions in the wandering parts are to be applied with caution and restraint. Playing octaves, in the right as well as the left hand, is categorically prohibited.
The players should well remember that (as a starting point) the right hand of the main part and the (shifted) right hand of the part above should be played continuously and consequently in ‘narrow spacing’.
The players should keep in mind that there is no conductor waving a baton over Canto Ostinato and that it is the inner strength of the players themselves that should perform this task. The control, even when looked after by one of the players, lies in the sum of interactions.
After some time has elapsed the different intensities alternate with a noticeable transition, from forte to piano and the other way around (terraced dynamics) and this happens collectively, which means that all players switch at the same time. This may coincide with a change in the manner of playing, from legato to staccato for example and vice versa and this is performed by all players at the same time as well. The composer has always insisted that the transitions in intensity and manner of playing be carried out with a maximum of control and distinction.
