The Tape portion of the score is meant as a guide for the violinist and is not meant to represent every nuance of the electronic/taped accompaniment. The performer should therefore approach it primarily as a source of location and cues.
The violinist should be amplified, preferably with a contact or bridge mic in which case a direct box may also be necessary. In the event such a mic is not available, an overhead mic with the necessary sensitivity specifications will suffice. In addition, a reverb unit is required. The “wetness” should match as closely as possible the depth and decay of reverb heard on the tape, especially for movement 1. For movement 2, the score specifies “no reverb”. However, some may be necessary, depending on venue acoustics. In either case, the amount if used should be discernibly dryer than movement 1.
Tape audio levels are consistent throughout, but a soundperson should be available to bring down or fade out the levels for the violin during the transition/pause between movements; this to avoid unnecessary amplification of noise due to motion of the performer. The pause between movements is recorded on the tape, so the length is predetermined.
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