http://sluchaj.bandcamp.com/album/son-icon-music-orchestra-and-choral-works

Son-Icon Music - orchestra and choral works by Charlotte Hug
Music notation and conducting form the basis of the classical Western tradition of composition and performance. As early as the 1960s, alternatives to this system were sought again and again – a system which implies a lack of maturity in the individual performer. With her “Son-Icons” Charlotte Hug developed a medium and compositional technique, which integrates the imagination and artistic resources of the individual into a guided whole. These are “sound drawings”, which form the basis of both her “Nachtplasmen” for orchestra and “Inn Cammino” for choir: graphic, often mobile inspirational objects, which can be read precisely as a score, but without constraining the players. On the contrary, the Son-Icons can be turned and reversed, and can be read in reflection, backwards or in retrograde. Son-Icons are reminiscent of a visual transposition of a compositional technique, familiar from the work of Bach and the Second School of Vienna.

For “Nachtplasmen”, made of graphite drawings, which were quite literally created in the tides of the Irish Atlantic, Charlotte Hug assigned an individual Son-Icon to each player, thereby giving them their own flexible voice, with which they could work collectively on the development and overall sound. Hug directed the first and third parts of “Nachtplasmen” according to the Principles of Conduction initiated by Butch Morris, a language of conduction which was substantially developed by the London Improvisers Orchestra, of which Charlotte Hug was also a member for over ten years.
In the middle of the “Nachtplasmen” it becomes dark, the conductor pulls back, and the players are alone with the Son-Icon video score, which stretches over them like a canopy. Thrown back on their own senses and resources, the individual is now invited to draw from their imagination .......
more

Son-Icon Music - orchestra and choral works by Charlotte Hug
Music notation and conducting form the basis of the classical Western tradition of composition and performance. As early as the 1960s, alternatives to this system were sought again and again – a system which implies a lack of maturity in the individual performer. With her “Son-Icons” Charlotte Hug developed a medium and compositional technique, which integrates the imagination and artistic resources of the individual into a guided whole. These are “sound drawings”, which form the basis of both her “Nachtplasmen” for orchestra and “Inn Cammino” for choir: graphic, often mobile inspirational objects, which can be read precisely as a score, but without constraining the players. On the contrary, the Son-Icons can be turned and reversed, and can be read in reflection, backwards or in retrograde. Son-Icons are reminiscent of a visual transposition of a compositional technique, familiar from the work of Bach and the Second School of Vienna.

For “Nachtplasmen”, made of graphite drawings, which were quite literally created in the tides of the Irish Atlantic, Charlotte Hug assigned an individual Son-Icon to each player, thereby giving them their own flexible voice, with which they could work collectively on the development and overall sound. Hug directed the first and third parts of “Nachtplasmen” according to the Principles of Conduction initiated by Butch Morris, a language of conduction which was substantially developed by the London Improvisers Orchestra, of which Charlotte Hug was also a member for over ten years.
In the middle of the “Nachtplasmen” it becomes dark, the conductor pulls back, and the players are alone with the Son-Icon video score, which stretches over them like a canopy. Thrown back on their own senses and resources, the individual is now invited to draw from their imagination .......
more