Statistics Post & Mulder
Angle: "For centuries composers wrote notes on paper. We call these notes music, although they only become music when a musician interprets them to do all sorts of athletic movements on an instrument. In most cases this results in sound. Usually we assume that this result is what the composer had in mind originally." - Gilius van Bergeijk.
Standard practice: much the same concept as above, but with a different outcome
Height: at least 2m 20, or problems with the weights occur
Nested irrationals: that Pauline = Nora and Nora = Pauline
Frequency: irregular
Sustenance: diversity & diversion
Time:1966 - 1978
Panos Ghikas (The Chap) interviews Nora Mulder about Gilius Van Bergeijk's 6 Piano Installaties
Q. In the first piece ("Be prepared!") the piano is covered with a large number of mattresses and duvets. You seem to be following a score which doesn't sound as if it was written for prepared piano. The resulting sound is mostly that of muffled staccato notes. Do you think of the resulting sound while you perform this piece? If yes, how much control do you have? If no, how easy is it to surrender control to the process?
A. The pianist is focused on the score and how it should sound. It's a "Liszt-like" piece. As a listener, in the beginning it is really funny to see/hear. But surprisingly enough, after a while you imagine you really hear the piece. Which is not possible of course. A very strange awareness.
Q. Have there ever been any accidents during the performance of pieces like "High / Low" or "Weight"
A. Not yet!
Q. Which piece is the most fun to perform? Which demands the highest level of concentration?
A. All pieces require an enormous amount of concentration, to make them "work" and/or not to get injured or into trouble. The fun is afterwards.
Q. Can someone without any sense of humour still enjoy these pieces?
A. Absolutely: these pieces are not "just" fun, they are also serious, tragic, hypnotising, irritating, sad; and each one of them is very different from the other.