Swiss composer Annette Schmucki (*1968) has written compositional work for the concert hall, a laptop duet with Petra Ronner (band) and collaborative radio plays (Hörspiele) with Reto Friedmann (blablabor). In this interview, she describes her work as related to, but essentially different from, the ideas presented and exemplified by Cornelius Schwehr. Responding to Schwehr’s article on the topic of music and language, during this discussion Schmucki explains her aesthetic position, her lifelong engagement with music and language, and the ways that these concerns translate practically into her compositional approach. In relation to this, Schmucki describes her growing distance to the traditional composer/performer divide, in preference for her increasing interest in collaborative work. One of the main consequences of this has been the ways that her scores are notated, becoming more instruction-based and inviting her performers to share responsibility for the piece. In 2018, Lauren Redhead and Alistair Zaldua commissioned Schmucki to write a piece for organ and live electronics. The piece that ensued, a discussion of which concludes this interview, is 54 stops/gresillement/alphabet des rauschens (2019). As a score that consists almost entirely of instructions, the piece exemplifies her specific approach to collaborative work in the field of music and language.

中文翻译：

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“音乐和语言相互倾斜”：Alistair Zaldua 采访 Annette Schmucki

瑞士作曲家 Annette Schmucki (*1968) 为音乐厅创作了作曲作品，与 Petra Ronner（乐队）和合作广播剧（Hörspiele）与 Reto Friedmann（吹嘘）在笔记本电脑上二重唱。在这次采访中，她将自己的工作描述为与 Cornelius Schwehr 提出和举例说明的想法相关，但本质上不同。在回应 Schwehr 关于音乐和语言主题的文章时，Schmucki 在本次讨论中解释了她的审美立场、她对音乐和语言的终生参与，以及这些关注实际上转化为她的作曲方法的方式。与此相关，Schmucki 描述了她与传统作曲家/表演者鸿沟越来越远的距离，更喜欢她对协作工作日益增长的兴趣。这样做的主要后果之一是她的乐谱记谱方式，变得更加以指导为基础，并邀请她的表演者分担对作品的责任。2018 年，Lauren Redhead 和 Alistair Zaldua 委托 Schmucki 为管风琴和现场电子设备写一篇文章。随后的作品是 54 停止/gresillement/alphabet des rauschens（2019 年）。作为几乎完全由指令组成的乐谱，这首作品体现了她在音乐和语言领域进行协作工作的具体方法。本次采访结束时的讨论是 54 stop/gresillement/alphabet des rauschens (2019)。作为几乎完全由指令组成的乐谱，这首作品体现了她在音乐和语言领域进行协作工作的具体方法。本次采访结束时的讨论是 54 stop/gresillement/alphabet des rauschens (2019)。作为几乎完全由指令组成的乐谱，这首作品体现了她在音乐和语言领域进行协作工作的具体方法。