Quartet for Heart and Breath

Introduction

This is the second in a series of compositions which use the automatic/involuntary muscles in the human body (specifically the lungs and the heart) as the performance parameters. All of the notes and cues are read from a score, but the tempos and rhythms and dynamics in which they are played are governed by either the heart rate or breathing rate of the individual players.  Performers wear stethoscopes during the piece, which enables them to play in synch with their own heartbeats. At other times, the players are instructed to play as directly in synch with their own individual breath as possible, either playing along with their inhalation, or exhalation, or both.  The idea is less about "performing" and more about directly translating  into music the subtle, naturally varying internal rhythms of the individual players.
This kind of performing can yield a subtlety, a spaciousness, and a uniquely fragile style of interplay between performers and musical parts which can never be played the same twice: each performance is it's own unique, gentle collision of notes, dynamics, timing and shifting harmonies which has new life literally breathed into it every time it is played. 

Process/Guidelines/Explanation
 In general the players should be paying very little attention to their own "performance" or "musicality".  The idea of the piece is for each individual player to get very "internal", to imitate or translate as closely as possible the contours and dynamics of their heartbeat or breathing.  
The feel of the piece is fragile and somewhat loose.  There is no actual time signature, the length of notes and general pacing is all dictated by the players' breathing and heart rates. By nature of the way in which each person has to follow their own internal rhythms, there may be points at which the player will find they are not quite in synch with themselves, that they have lost track of their pulse, that they are controlling their breathing, etc., which may lead to uneven notes, little gaps in playing or moments where the notes "stutter" a little.  This is fine, and adds to the natural fragility of the piece.  It seems to be part of the demands of this somewhat challenging method of performing - following one's own breathing and or heart rate while also playing an instrument and following the other players.  
Throughout this piece, each player is going to be playing in one of a few different ways, outlined here in brief but more thoroughly explained in the instructions:
1. Playing the breath: the player plays arco, along with his/her own inhalations and/or exhalations.  When playing arco, vibrato should not be used at all, as it interferes with this direct imitation or translation.
2. Playing the heartbeat:  the player plays pizzicato in synch with his/her own heartbeat.
During certain sections of the piece, there is a designated leader.  In these instances, the leader will always be playing Breath notes.  During other sections of the piece there is no leader, and either one designated player will signal others to start, or the cues will be entirely breath-based.

About Warhol Dervish:

Based out of Montreal, Warhol Dervish is an unorthodox chamber music collective gathering together some of the most interesting and creative musicians in Canada. Pioneers and visionaries, Warhol Dervish uses the term "post-good" to describe it's approach. Made up of early-music HIPsters, new music specialists, ardent 19th century romantics, pop collaborators, rockstar wannabes, meditators and yogis, the members of the ensemble seek to move the chamber music concert experience into the 21st century. Post-good means that good has been done, and that WD reaches its audience through new channels. Warhol Dervish actively seeks to blur the lines that separate classical music from other styles, to rehearse as would a band, to collaborate with improvisers, to actively seek alternative spaces in which to perform, to collaborate with and learn from artists in other media. The members of Warhol Dervish draw on their professional experience working with artists and playing in ensembles as diverse as Ensemble Kore, Patrick Watson, Lhasa de Sela, Bradyworks, La La La Human Steps, Socalled, Ensemble Caprice, SMCQ, Theatre of Early Music, Music in the Barns, and l'Orchestre Symphonique de Montréal.

Warhol Dervish plays Quartet for Heart and Breath - Richard Reed Parry

Prelude from Bach Suite # 6 I

Live at La Chapelle Historique du Bon Pasteur, Jan. 2011

Pemi Paull - viola
Brigitte Poulin - Piano


Kindling by Emily Hall

Live in Montreal, January 2011

Pemi Paull - viola
Phil Hornsey - percussion

Luciano Berio: Naturale

From Tim Brady/Bradyworks album 24 Frames.
Tim Brady - Electric guitar
Pemi Paull - viola

Tim Brady and Pemi Paull perform Frame 4: Still by Tim Brady

Pemi Paull - viola
Katelyn Clark - harpsichord

Bach Sonata for viola da gamba # 2 (DMaj)

Recorded at the Banff Centre, Feb. 2010