Thank you for your reply, and for your kind words about “Riflessioni” — I have sent you a copy of the score directly. I am enjoying learning more about you on your website.
You are correct, there is live processing on the bassoonist during performance; it uses specially developed software in Max/MSP running on a Mac laptop. In addition there are sound files that were generated by the bassoonist long before the first performance at the very beginning of the composition process. Some of these sound files are also triggered by a keyboardist during the performance. In fact, this entire score originated as an electroacoustic composition, solely based on bassoon samples (both dry and processed) recorded six months before the score was finished. This audio-based electroacoustic version was then transcribed into music notation by hand; selecting instrumentation then orchestration followed.
There is live mixing during the performance (a mixing board out in the audience), and someone was dedicated to controlling and monitoring the real-time signal processing of the bassoon during the performance.
The present version of the effects software was not designed to be “stepped” through in live performance, so that the soloist can concentrate on his performance, though it could certainly be programmed that way. (I’ve done this for smaller ensemble work, and for soloists with electronics, but when dealing with a full orchestra I thought I would reduce that level of complexity). And although I haven’t organized the effects patches for distribution yet, I do anticipate making them available.
For other readers, I have attached the first 5 pages of the score, which shares some of the performance information as well as its instrumentation. I encourage others who are interested in seeing the full score to please e-mail me directly at firstname.lastname@example.org.
Thanks again for your interest — it is much appreciated!
Anthony Paul De Ritis, composer
“Riflessioni compellingly ‘reflects’ the lyrical and the aggressive, the stable and the unstable, light and dark, and sustains its length throughout.”
— Gramophone (June 2017)