Frissons : fris·son
Pronunciation: frE-'sOn
Function: noun
Inflected Form(s): plural frissons /-'sOn(z)/
Etymology: French, shiver, from Old French friçon, from Late Latin friction-, frictio, from Latin, literally, friction (taken in Late Latin as derivative of frigEre to be cold)
: a brief moment of emotional excitement : SHUDDER, THRILL - Merriam-Webster Online Dictionary
Frissons I and II are composed for Kia Hui Tan with admiration and respect for her musicality and muscianship, and dedicated to Eddy Chong, a true champion of new music in Singapore. While Frissons I is through-composed, Frissons II is a musical landscape for one or more players to explore. Its length is not determined by the composer but is to be decided by the performer either pre-planned before a performance or ad lib during the performance.
Frissons I, beginning
Frissons I, in the middle
Frissons II, ending
Frissons III is for multiple strings adapted from I and II for my students on their study tour of the UK in 2014
Frissons III for multiple strings version 1
Frissons III for multiple strings version 2
Frissons IV is written for solo violin/viola with tape or live electronics, based on materials and structuring of Frissons I and II
Frissons V is part of the frissons series of works for string(s).
Taking this complex of meanings in a word frissons into account, I imagine how that translates to the effect of the bow on the string(s), the finger(s) on the fingerboard(s), the 'rubbing' between same musical materials in a performance between different players. And in Frissons V, recordings of frissons IV for viola and tape was shredded and distributed across the registers of both keyboards, and triggered by the score of another work of mine, Reef Weave for solo piano, so the concept of one work (X2) 'rubs' against another (and itself), while the materials of one version of frissons, frissons IV, 'rubs' against another - the original frissons I and II - leading to performance thrills and shivers.