Substrata 1.3.3

 

This weekend was the third iteration of the yearly Substrata Festival of which I attended the final night. The festival has always been held at the Chapel Performance Space in conjunction with Wayward Music and being on their mailing list I’ve been aware of it from it’s conception but this was my first time attending.  Every year there has been one or two acts I’d have been interested in seeing, but being a festival that would of course mean sitting through the rest, some of which were distinctly not to my taste.  These festivals are put on by the ambient musician Rafael Anton Irisarri and have proven to be popular enough that they sell out fairly quickly which considering the space is certain to lead to a hot crowded experience.  This years festival, which has been expanded to three days, was no exception except that the third day wasn’t sold out when last I got a mailing from Wayward Music and Kim Cascone was closing the festival. I haven’t really kept up with Cascone’s work, but back in the early days of my interest in various experimental forms he had a number of releases I was pretty into.  I also have been aware that his recent work is more along the lines of acoustic experiments utilizing beating patterns and acoustical phenomenon which is certainly something I find fascinating if not a primary interest of mine.  Since I could secure a ticket online and the other performers on this night, neither of whom I’d heard of, sounded at least interesting I went for it.

Of course the other thing worth mentioning is that this festival is basically ambient music and while I’m not adverse to the form, there really are few outstanding examples of it. The festival is driven by Irisarri’s tastes and has grown to include post-minimalsim as well as an eclectic mix of electronica and hybrid compositions. The materials provided by the festival read rather like an ‘artists statement’ (with all the connotations that implies):

Our goal is to create an immersive weekend experience that engages the audience in a dialog with the artists that goes beyond the constrains of traditional performer/listener interactions. Each showcase is curated to distinctly portrait different takes of the potency of minimalism, varying between weighty combinations of tonalities used to sculpt out atmospheric ambiance, or powerful dynamic structures made up of the subtlest filigree of sonic building materials. By creating compositional spaces dealing with a sense of mass, along with openness of structure, the perspective of scale and the listener’s place in relation is shifted to allow for greater a sense of place beyond the environ of the performance in the interplay of the moment and physics of the larger world. In all, Substrata is an event that fosters appreciation for our natural surroundings and creates meaningful interaction between artists/participants while exploring a new locality.

As the name substrata implies, it is about subtle aesthetics that go beneath the surface and into deeper aural territories.

Saturday July 20th was as nice an evening as can only be found in the Pacific NW. A beautiful sunny day with temps in the uppers 70s (F) by the time I arrived at the Chapel the sun was beginning to dip behind the Olympic Mountains.  There was a lot of people here and the wait for the doors to open in the lobby was a hot and sweaty, though happily short, experience. Once we were all inside the Chapel itself wasn’t completely packed and it wasn’t oppressive it at all, especially with the cooling air blowing in from all the open windows. I got a seat a few rows back by a pillar that created a gap that allowed for an easy escape if that proved necessary and was relatively centered. I would have liked to have sat by the windows as I think that would have added greatly to the experience but felt that for the Cascone piece I’d want to be inside the surround sound setup. They had very defined times for each act and apart from starting a bit late maintained that schedule fairly closely.

1) Christina Vantzou

Christina Vantzou is a an American multimedia artist/composer who is now based in Brussels. She introduced the string trio and harpist who would be playing the numerous mostly short (unidentified) pieces on this evenings program and then returnign to her laptop kicked things off with a loud, overbearing synth pad. The pieces were almost all constructed of her playing multitrack recordings on her MackBook while the string trio and harpist played along. The tracks she trigged mostly consisted of rather loud pads and washes plus the occasional sustained vocals worked into multitrack choirs. The musicians were pretty good and several of the pieces where they were more dominate I thought were the more engaging. Their playing was usually fairly long sustained, usually unaffected tones. Even the harpist bowed her instrument in the first piece though after that she played mostly rather staccato notes.  Vantzou also “conducted” these pieces, sort of “dancing” around doing rather Butch Morris-esque conducting.

Along with this there was also rather cliched video such as a slowed down candle flame and slow pans of a girl in a church and so on. This it appears was done by an unrelated “video artist” and accompanied most of the performance in the festival.

2) Michal Jacaszek

Michal Jacaszek  is a Polish “electro-acoustic composer” who for this show at least appeared to be laptop DJ-ing along with a harpsichord (Kelly Weyse) and clarinets (“Crystal” Beth Fleenor). Rather Saule like in his DJ-ing though with perhaps not quite as good of choices.  He used lots of acoustic instrument samples and was perhaps processing and sampling the two live instruments but it did seem that barring improvisation from the instrumentalists (which did not seem to be the case) he could have just played their contributions along with multitude of other elements he was utilizing.  Often fairly loud and dense each peice always had a point (or two) were everything dropped out to a bare minimum and then rebuilt in a different direction.  Overall fine with some nice moments, typically involving the harpsichord and bass clarinet interacting with the more worn way, fractured less beat-driven samples.

The video that was played along with Jacaszek included lots of slowed down water images and some forests shots but also some bad cg effects and cartoony figures with Afteraffects fliters applied to them.

3) Kim Cascone

In the booklet that accompanied the festical was a good four pages of bio and rumination from Kim Cascone. In it he goes through his history with meditation and developing “heightened awareness” especially w/r/t listening.  It even includes a series of exercises for you the listener to go through.  I have to say that while I’m sympathetic to his goals here I can’t help but wonder if it is perhaps not better to just let the listener find one’s own way there?  It didn’t spoil my enjoyment of the performance, though this, along with his introduction of the piece as “aural meditation”, did add a ponderousness to it that I do not think is inherent to the sounds.  Cascone sat in the very middle of the surround sound speaker setup which also included a huge sub-woofer right in the middle of the room. Equipped with just a laptop and mixer he played for about 30 minutes in the dark with no video playing. We were instructed to sit with our eyes closed and focus on our breath which I did. He also told us that since this wasn’t really music there was no need to applaud at the end.  The sounds were all beating tones at first pretty intense and then of varying intensities as the sounds shifted.  Typically he’d pick a pattern, which all resolved itself in your head into hyper-rythmic oscillations, sometimes with higher pitched stuff seeming to swirl about at an upper level, other times just a single repeated sound. This he’d let play out for a decent amount of time, at least five minutes I’d say – this would be about six different sounds over the thirty minutes which seems about right. There was definitely those interesting physical sensations of vibrating in the ear that you get with these acoustic experiments.  I agree with his assessment that it’s not really music per se  – that is he was more or less just presenting one acoustical phenomenon after another – but it was fascinating and completely engaging. It just being thirty minutes was also a wise choice; too much might get tedious and this seemed just the right amount to keep one interested and engaged the whole time.  Good stuff and while not a very effective aid to meditation IMO (the highly rhythmic nature tends to force you into a pattern that is contrary to natural breathing, which rather undermines the “focus on breath” aspect)  it was a good focusing experience. It probably would have been aurally interesting to have been able to walk around during the performance but I certainly respected his setting of the events parameters.

 

 

Wandelweiser + Bozzini in Victoria, day 2

 

The second day of the Wandelweiser + Bozzini concerts was once again at Open Space in Victoria B.C. My report on the first day of concerts can be read here: Wandelweiser + Bozzini in Victoria, day 1 and my introduction to these concerts here: Wandelweiser in Victoria. Day 2 was another beautiful sunny day in Victoria which made for very pleasant concert environment with the  sounds of the harbor – including some seriously baritone ship horns – and the pleasantly warm sunlight.

The afternoon concert featured two composers that I was completely unfamiliar with Thomas Stiegler from Germany and Daniel Brandes from right here in Victoria B.C.. Daniel, whom I talked to briefly before this concert (and also on Twitter) I would describe as a second generation Wandelweiser composer; a student of Antonie Beuger he definitely seems to be in that lineage. Of course this being the only piece of his I’ve heard can’t expound on his body of work, but from what I heard here I think that to be the case. Thomas Stieger, though his bio is rather brief on the Wandelweiser site,  would seem to be an early member of the collective. He’s trained and works as a physician but his CV lists him winning a composition prize in 1997, not too long after the founding of Wandeweiser.  It was nice to have an introduction to two new composers especially in a live context which seems to be the best way to experience this music.

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Wandelweiser + Bozzini at Open Space, Victoria B.C.

Quatuor Bozzini: Clemens Merkel, Stéphanie Bozzini, Isabelle Bozzini, Mira Benjamin
Wandelweiser Komponisten Ensemble: Jürg Frey, Thomas Stiegler, Antoine Beuger, Daniel Brandes

 

 Daniel Brandes, Jürg Frey (obscured) Thomas Stiegler, Stéphanie Bozzini, Clemens Merkel, Isabelle Bozzini & Mira Benjamin

Concert #3 Sunday, June 9, 2013, 2:30 p.m.

1) Daniel Brandes a tenuous “we” (2013)

performers: Jürg Frey (clarinet),  Antoine Beuger (flute), Thomas Stiegler (viola), Stefan Maier (guitar), Quatuor Bozzini (Clemens Merkel (violin), Stéphanie Bozzini (viola), Isabelle Bozzini (cello), Mira Benjamin (violin))

This piece was for the largest ensemble of the series and included the entire Bozzini Quartet along with Stiegler, Beuger and Frey and for his only performance of the weekend Stefan Maier playing electric guitar.  Maier played his guitar with eBow generating long, sustained low tones. Likewise for the other instruments, with long drawn out, barely affected tones. There was also a set of text fragments, which were included in the series program, that were read out by the performers. The vocal performances were akin to that of the Beuger piece from yesterday, all murmured and hummed and rather self-consciously performed. Considering that Brandes was a student of Beuger this seems a pretty direct influence here. It also makes me wonder how deliberate that vocal performance style is.  As I noted in my thoughts on the Beuger piece I’m not very taken by this type of vocal performances and this held for this piece.  Otherwise I found the long, shifting instrumental lines rather pleasant and I found the piece quite accommodating to the sounds of seagulls and several conversations from the mezzanine down below.  Especially at the times when the piece was purely instrumental – which as I assume the material of the piece was gone through at the performers desecration was arbitrary  – did it seem to almost provide a background “wash” for the compelling exterior sounds.

Here’s a selection of the text fragments used in the piece:

1. nobody else could hope, except for those who grieve
3. enter the silence again, in the midst of words
4. loss has made a tenuous “We” of us all
9. only a poem could bring the grief to notice. the poem, so urgent and so fragile

2) Thomas Stiegler

Gelbe Birne III (2008) (violin, clarinet, violoncello)
Treibgut 1/2 (2011) (violin, violoncello)
Gelbe Birne VI (2013) (string quartet, world premiere)
Und.Ging.Außen.Vorüber (I) – for 3 voices and 3 radios (2005) 

Performers: The first three pieces performed by Quatuor Bozzini and subsets
Und.Ging,Außen.Vorüber (I) – for 3 voices and 3 radios (2005) performed by Jürg Frey (voice),  Antoine Beuger (voice), Thomas Stiegler (voice)

The rest of the afternoon program was pieces by Thomas Stiegler. These were all very short except for the last two. I should note that the program lists these pieces in a different order (the string quartet first) but according to my recollection (and notes) the string quartet, which was the longest of all the pieces was final piece before the piece for 3 voices. My notes weren’t very good for this part of the concert, which I’ll replicate here:

• The first piece rather pointillistic and very short < 100 notes

• The second piece made me think of Lachenman with it’s scratchy extended techniques and rather staccato style. Again a short piece only a few minutes.

• Quartet long, vibrato-less drones that went on for a long time and unraveled at the end with rapid dry bowing and then an abrupt simultaneous end.

• Frey, Stiegler, Beuger – each reading fragments of words and such in German. Frey seemed to be almost just reading syllables and Beuger repeated single words and in the middle Stiegler  The speakers were then joined by the titular 3 radios toward the end, which were playing randomly tuned Victoria stations – mostly pop music. The speakers kept it up in the same fashion they had been reading, though a bit haggard at this point.

 
I have to admit I wasn’t taken by the short pieces, or by the text piece. I did enjoy the longer string quartet quite a bit. It was rather drone-y with a single note played by the players in an unaffected style. This continued for a long time varied only by subtly beating tones until the last minute or so where they shifted to these rapid shorter attacks and it had the feeling of coming apart at the seems and then suddenly ending. Really interesting piece and one the fit into the space really well.

 

Clemens Merkel, Stéphanie Bozzini, Isabelle Bozzini & Mira Benjamin

Concert #4 Sunday, June 9, 2013, 8:00 p.m.

1) Antoine Beuger little more than a whisper (2010)

Performers: Jürg Frey (Clarinet) & Antoine Beuger (flute)

A primarily soft, gentle piece that structurally seemed rather call and response, that is they seemed to play in reaction to each other. In this it seemed like some Christian Wolff pieces I’m familiar with where the instructions are that your options are informed by what you are hearing from your partners in the performance. The sounds were mostly rather short tones with the occasional  scales and a  small amount of extended technique – tongue clicks and over-breathing and the like. There was one or two slightly loud bits, that is to say louder than the overall softness, that seemed to be in reaction to something the other had done. There’d be something from say Jürg and you’d see a slightly quizzical expression from Antoine which he’d respond with something that would slip into slightly louder territory. Really engaging and charming piece.

Antoine Beuger little more than a whisper score

After the concerts I took a peek at the score and it did seem to have the elements of interaction that I sensed there. I took a (bad) cameraphone picture of it which if you squint hard enough you might be able to make out some of. But the instructions are that the performers alternate sounds, they should be uniformly soft and the that alternated sounds should constitute a phrase. I like the instruction that between the phrases there should be “some silence to allowing the previous phrase to resonate in memory“.

2) Jürg Frey Streichquartett 3 (2010-12)

Performers: Quatuor Bozzini (Clemens Merkel (violin), Stéphanie Bozzini (viola), Isabelle Bozzini (cello), Mira Benjamin(violin))

The final piece of the concert series was a string quartet from Jürg Frey.  Now I should note that in my initial introduction to the Wandelweiser Ensemble one of the recordings I listened to was Frey’s String Quartet Disc on Edition Wandelweiser Records and I didn’t care for it at all. While I have gotten into the works of many other Wandelweiser composers (Pisaro and Beuger especially) I’d really not delved much further into Frey’s works. In this concert series it was his pieces that I enjoyed the most (along with the Pisaro) and was the most revelatory to me. So I was quite interested to hear this String Quartet – would it be how I recalled his earlier ones, or more in line with the piece of his I’d heard the day before? The piece was rather Feldman-like sharing his penchant for beginning and ending abruptly, utilizing lots of unison playing and was of course overall soft but not extremely so. I found this to be a nice piece and found it to be another highlight of the weekend. While not as long as a late Feldman piece – it was around 30 minutes perhaps – it did have several different sections to it. Along with the aforementioned unison play there was some solo violin from Clemens Merkel and some very dry rustling playing from the whole group. There were some sections that had a melancholy melodic feel, reminding me a bit of Mihaly Vig’s Werckmeister Harmonies score. I felt it was of a nice length, deliberately paced throughout with no real dramatic moments. I wouldn’t have complained if it had been a longer even.

And that was that. Another weekend of music done and as with all concert series it had pieces I enjoyed more than others.  But it is always welcome to get to hear new pieces from new composers especially in a live situation. Nothing I felt was horrible or hard to sit through or anything like that – some things were just more to my taste than others. With the nature of the entire series even for pieces that didn’t grab me it was was pleasant in context to the surroundings and environmental sounds. It was a lovely weekend in Victoria and it was great to be introduced to Open Space, which I am sure I will be attending concerts at again.

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 Christopher Reiche, Daniel Brandes & Thomas Stiegler

 

There was again a Q&A following the afternoon concert this time with Daniel Brandes and Thomas Stiegler again hosted by Christopher Reiche of Open Space. It was again mostly questions from the audience with a few from Reiche. I  had a harder time transcribing this one but I’ll again paste in what I was able to jot down again with a few corrections, clarifications and not much commentary.

Day 2 Q & A

? About the radio
Stiegler – Talked about the text, but I missed most of it. From artists with disabilities.

? about the durations
Stiegler – First couple pieces short and commissions, The quartet was written fast about a woman who died at 40. Put together with other short pieces.

Brandes – His piece not of fixed duration includes the instruction ‘duration: ends somehow’ he works with Beuger and he also had a piece with that direction. This Music is supposed to be immersive and a duration would impose he felt.

Clemens Merkel (Bozzini violinist) – mentioned they just recently replaced two short pieces with the long Stiegler quartet which begins with sustained Es.

? a subversive performer could refuse to let the peice end, would at not be in the spirit of the music?
Brandes – I find this peculiar notion of the subversive performer; would have to dislike me a lot to go to all the trouble. It’s about creating a sense of community of navigating this space together. Questions arise of how to begin, how to end how to play together. If players love the piece thy will find a way to end. (Long pause)

? why do you choose the specific material?
Stiegler – A piece without pitches (the long quartet IIRC) this was inspired by seeing a similar piece at a festival.

? community keeps coming up. How to foster that beyond the concert space
It’s music playing or listening teaches us something if you are sensitive to the situation, about gentleness, caring and such.

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All my photos from the concerts can be found here: Wandelweiser + Bozzini photoset on Flickr

Wandelweiser + Bozzini in Victoria, day 1

 

Open Space is pretty much right in the thick of a prime tourist zone Victoria, British Columbia and is a rectangular, bright, acoustically sound space. Really perfect venue for this kind of music in that some sounds drifted in from outside, but it wasn’t all just traffic. A skylight above the performance area let in natural light and the occasional pop’s and groans as it expanded in the sun. Most striking was Wendy Hough‘s Wall Drawing, which stretched across the entire back wall forming a hypnotic backdrop. A semi-cicle of chairs in two long rows was setup for the afternoon concerts and a third row added dynamically as the evening shows filled up. A really good crowd I though and the Open Space music director told me that they averaged around 25 people for most of their new music events. Pretty impressive – when I saw fellow Wandelweiser  composer Micheal Pisaro in Seattle, at a venue that is basically the Seattle’s equivalent to Open Space there was only a handful of people in attendance.

The concert series was over two days with an afternoon concert, followed by a Q&A, then an evening concert. If you attended all four concerts, as I did, you were able to hear 12 pieces from 6 different composers. I’ve listened to various Wandelweiser composers for maybe 5-6 years now and just like everything certain things appeals to me more than others. There is also a lot of material from this collective which has been active for more than 15 years now and I’ve hardly heard it all. So for me when discussing composed pieces the historical context, both of the composers own compositional history as well as the lineage in which they are situated is really key. Since I feel that I can only provide limited insight in that vein here I am going to mostly try to sketch out the overall nature of the pieces. I should also add that I don’t feel that a blow-by-blow description of this kind of music is that useful. In the main without actually analyzing the piece I feel that is of limited utility and can actually be misleading. Likewise focusing too much on the environment I think can just be a laundry list and also push understanding of the piece to specifics that undermine the intention.  That is to say that these pieces in general are accepting of these sounds, but not reliant on the specifics that you heard.  This may seem like I’m leaving little to write about but really I’ll talk about all of these aspects, but just in passing without trying to claim any sort of notion of completeness.

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Wandelweiser + Bozzini at Open Space, Victoria B.C.

Quatuor Bozzini: Clemens Merkel, Stéphanie Bozzini, Isabelle Bozzini, Mira Benjamin
Wandelweiser Komponisten Ensemble: Jürg Frey, Thomas Stiegler, Antoine Beuger, Daniel Brandes

 

Antoine Beuger & Jürg Frey

 

Concert #1 Saturday, June 8, 2013, 2:30 p.m.

1) Jürg Frey Canones incerti (2010)

performers: Jürg Frey (clarinet) & Antoine Beuger (flute)

The piece was all held tones with occasional ascending and descending runs. There was beating tones at times between the flute and clarinet that reminded me a bit of The International Nothing. But with the different tonality of the flute and clarinet as opposed to two clarinets this was richer and more engaging in my opinion.  The piece was really nicely paced; not overly spacious but not hurried or at all busy. Overall it was very pretty and it’s softness welcomed the sound of seagulls, the occasional passing pedestrian and motor vehicle. A telephone rang twice in the Open Space office and at the end in the concert venue itself. I’m pretty sure these were unintentional (they occurred the next day) but I thought fitted in nicely with what could be thought of as an overly pretty piece. While that obviously wouldn’t happen at every performance, the equivalent certainly could.  This was maybe my favorite piece of the series.

2) Antoine Beuger méditations poétiques sur “quelque chose dàutre” (2012)

performers: Jürg Frey (clarinet), Antoine Beuger (flute), Thomas Stiegler (viola), Clemens Merkel (violin) & Mira Benhamin (violin)

The piece began with Beuger introducing the piece as being based on text fragments from five philosophers. He then read text fragments that the piece utilizes. One immediately makes note that the quintet includes a muscian as representative for each philosopher. Following the reading each performer then clearly worked though a set of material at their own discretion and with each ending at different times. They mumbled and chant/sang bits of the text which were all in French. This seemed very self conscious to me but I should note is not really generally too my taste. It is certainly in the lineage of all of John Cage’s text pieces which frankly I’m pretty mixed on, but can get into a times. So I don’t write off this entire area but I feel that you have to be completely committed: no one would deny that Cage threw himself wholeheartedly into his text performances.  Apart from the text readings the played pitches were nice, mixing a variety of traditional tonal playing along with faint, dusty scraping of strings at times. Each performer stopped after they worked through their material and the performance concluded with just Frey on the clarinet.

Concert #2 Saturday, June 8, 2013, 8:00 p.m.

1) Michael Pisaro – asleep, river, bells, chords (2009)

performers: Jürg Frey (clarinet),  Antoine Beuger (flute), Clemens Merkel (violin), Stéphanie Bozzini (viola) + Field Recordings

The field recordings seemed to be of a bus stop with cars, birds, various voices and the busses pulling in (un)loading and pulling out. The recording was rather loud and included within it various synthetic tones and sine waves. The strings mostly played very quiet long dry strokes. The flute and clarinet petty much blended right in with the field recording but also was long held soft ntes. the peice is interacting tones and incidental sounds. I really enjoyed this piece, especially the balance between the field recording, additional natural sounds from outside the venue, the pre-recorded sounds seamlessly blending in and then the nearly inaudible classical instrumentation. This is clearly in the same family as asleep, street, pipes, tones the recording of which was put out on the Gravity Wave label.  In the linked blog post he describes how he put together the recording used for that piece from snippets of pipe organ, vocal pieces, sine waves and field recordings. While we don’t have the specifics for this piece it clearly is in the same style but in my opinion the live performance aspect works better. I especially appreciated the bowed strings here but I also think that the higher tones of the clarinet and flute also worked really well. This piece was right up there among my favorites from this series and was happy this was part of the repertoire as Pisaro was the only Wandelweiser composer not present from whom a work was performed.

2) Martin Arnold – Waltz Organum (2012)

performers: Jürg Frey (clarinet), Quatuor Bozzini (Clemens Merkel (violin), Stéphanie Bozzini (viola), Isabelle Bozzini (cello), Mira Benjamin(violin))

This was a more standard new music peice for string quartet and clarinet from a Canadian composer not associated with the Wandelweiser collective. The art supporting agencies always require works from Canadians to get grants and this piece I presume was at least present for that reason. That being said it was okay if nothing very remarkable. It was mostly muted strings, playing mostly long tones rather dry, without vibrato. It was all very upper register in the strings and the clarinet also was rather high and quiet. The cello often played percussively by bouncing the bow on the strings. The piece was constructed from several rather disparate, movements giving it a rather episodic feel. They reorganized the performers and their setup for the different combinations: one movement was violin and cello only and IIRC at least one was the quintet and then various trios.

Antoine Beuger, Jürg Frey & Christopher Reiche

There was a Q&A with Jürg Frey and Antoine Beuger following the afternoon concert hosted Christopher Reiche of Open Space. It was mostly questions from the audience with a few from Reiche. I sort of transcribed this the best I could so I thought I’d just paste that here at the end of this post with a few corrections, clarifications but not much commentary.

Day 1 Q & A

? how did you all meet?
(This was how Bozzini met the Wandelweiser group and I didn’t record the answer)

? Political importance; music displays passivity yet is confident.
Frey – my music doesn’t work when it’s loud, doesn’t make sense. When I want it to be loud I composer explicitly for trumpets and trombones because they are naturally loud. When it’s quiet the sound is primary, the musician doesn’t have to push it. When I want a loud piece I use brass or a whole orchestra. It’s not pushing it to be loud; it just is loud.

Beuger – (specifically, addressing the political part of the question) Music always has an inherent political meaning, about how we deal with each other. In a piece of music you are dealing with each other in a specific way. I hope musical situations can include a promise, about how the world could be, if we would deal with each with a lot of care and attention as per the peice they played.

Frey – why should I shout through the notes when I can speak? I try to deal with them in similar way as I’d try to deal with my friends. Try to find out what the notes want to do. If they are in balance (with himself) no need to shout.

? Do you compose in real time?

Frey- These two pieces have no fixed duration. You have to have security with the situation. It can take a long time.

? w/r/t performer choice. Christopher Reiche relayed a bit of advice a teach had given him: Imagine the worst possible interpretation of a piece and if you are okay with that than your notation is okay.

Beuger – This is a bad piece of advice. As composers we have to understained that we are not making the music it is the musicians who do. At its best it is a collaboration. My job is to have a relation of trust with those who play my music. I try to create a situation in which the musicians can feel comfortable. It is an ethical problem. If the players can feel at ease and be attentive to what they are doing and pay attention to each other then I’ve done my job, that is the quality in the composition. There has been more and more mistrust of the last 200 years between musician and composer. That is not what notation is or should be about.

Frey – What is the worst? What is possible for a piece? (he then relayed a story about Andrew Lee playing his piano pieces which he didn’t like at first. The realized at Lee played it as it was written and didn’t insert himself into it, which Frey assumes and generally prefers).

? what constitutes a good or accurate performance? What has to be there?

Beuger – no such thing as an accurate performance with my scores. I just sit and listen and the music either pleases me or not. It’s hard to say if ere is a good or bad performance. That is what we are writing music for, for the performance.

? So you think of yourself as more of a catalyst?

Beuger – Music is a practice, part of a culture a way of doing things. Celebrating life. Think of it like going to a Blues Pub – you go for being in that experience. What we are doing is similar.

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All my photos from the concerts can be found here: Wandelweiser + Bozzini photoset on Flickr

Wandelweiser in Victoria

So I am heading up north to Victoria B.C. in Canada to catch a two day concert series of Wandelweiser compositions. The Wandelweiser Komponisten Ensemble (Jürg Frey, Thomas Stiegler, Antoine Beuger, Daniel Brandes) will be performing several pieces as will be Quatuor Bozzini (Clemens Merkel, Stéphanie Bozzini, Isabelle Bozzini, Mira Benjamin).  Should be a good time and I always love visiting Victoria. If any readers of the blog are going to likewise be in attendance (and I certainly encourage any in the region to make the attempt) do say “hi”. I’ll put in the full details on the concert, venue and the like from the event webpage below.

 

Concert Series Info

Event: Wandelweiser + Bozzini
Artists: Quatuor Bozzini (Clemens Merkel, Stéphanie Bozzini, Isabelle Bozzini, Mira Benjamin), Wandelweiser Komponisten Ensemble (Jürg Frey, Thomas Stiegler, Antoine Beuger, Daniel Brandes)

Place: Open Space, 510 Fort Street, 2nd Floor

Concert Programs

Concert #1 Saturday, June 8, 2013, 2:30 p.m.
Jürg Frey – Canones incerti (2010)
Antoine Beuger – méditations poétiques sur “quelque chose dàutre” (2012)

Concert #2 Saturday, June 8, 2013, 8:00 p.m.
Michael Pisaro – asleep, river, bells, chords (2009)
Martin Arnold – Waltz Organum (2012)

Concert #3 Sunday, June 9, 2013, 2:30 p.m.
Daniel Brandes – a tenuous “we” (2013)
Thomas Stiegler – Und.Ging,Außen.Vorüber (IV)- for string quartet (2007)
Thomas Stiegler – Gelbe Birne III (2008)
Thomas Stiegler – Treibgut 1/2 (2011)
Thomas Stiegler – Gelbe Birne I (2007)
Thomas Stiegler – Und.Ging,Außen.Vorüber (I)- for 3 voices and 3 radios (2005)

Concert #4 Sunday, June 9, 2013, 8:00 p.m.
Antoine Beuger – little more than a whisper (2010)
Jürg Frey – Streichquartett 3 (2010-12)

The Art of David Tudor preview

 

The Art of David Tudor  is a new 7 CD boxed set released from the ever great New World Records. The most exciting release IMO since their epic Music for Merce. Of course while there was much music of interest to me on Music for Merce it was the David Tudor pieces, especially the unreleased material, that was particularly of interest. In my series of posts covering that box set I time and time again bemoaned that the bulk of the Tudor pieces were only excerpts and more than once mentioned that there should be a boxed set of his pieces. Miraculously New World has provided.  This set can now be ordered, though I’m not sure if it’s in anybodies hands yet.  It will apparently be available for download on at least iTunes though the link is not currently active. However the liner notes for the set are currently available (major props to New World for putting these online – makes quotes and such from them a lot easier) and I’ve given it a looksee.  So before I have this set in hand let us consider what we are going to be getting.

 

The Art of David Tudor

Variations II  (John Cage)
For 1, 2, or 3 People  (Christian Wolff)
Bandoneon ! (A Combine)  (David Tudor)
Anima Pepsi  (David Tudor)
Pepsibird  (David Tudor)
Pepscillator  (David Tudor)
Mesostics re Merce Cunningham/Untitled (John Cage, David Tudor)
Weatherings  (David Tudor)
Phonemes  (David Tudor)
Rainforest IV  (David Tudor)
Webwork  (David Tudor)
Rainforest IV  (David Tudor)
Virtual Focus  (David Tudor)
Neural Network Plus  (David Tudor)

Quite a few of these pieces have been previously released either in whole or in excerpt. But these pieces were performed live and often performed with the Merce Cunnigham Dance Company or in concerts and due to the nature of live electronics can be quite variable. So in the cases where there are new performances or different versions it is certainly a cause for celebration.  The full versions of the pieces released only in excerpts are of course especially welcome.  Let us now consider each of these pieces in brief.

Variations II can be heard on the David Tudor Edition RZ set plus a different version on vol. 1 of the John Cage Shock set from EM Records, Edition Omega Point. This version is from the ONCE Festival and is I believe a third recording of the piece. I’m all for more versions of this piece as they all vary due to the nature of working with feedback.

For 1, 2, or 3 People  is currently available on Edition RZ’s Christian Wolff set as well as an excerpt on the Music for Merce set. These two versions are the same IIRC and this one is listed as also from tour with the Merce Cunningham Dance company. So could be the same one or a different performance.

Bandoneon ! (A Combine)  This has been released in excerpt on the DVD documentary series on the E.A.T. 9 Evenings series. This is not listed here as an excerpt but at just over 14 minutes it almost certainly is. In my review of the DVD I note that the length of the performance is not known, but I do go into the available data. This is a longer excerpt than found on the DVD by about 5 minutes which is welcome, but one still awaits the full piece.

Anima Pepsi was released on the album  Live Electronic Music (Electronic Music Foundation) and this appears to be the same version (both are 23’37” which is a pretty good clue).

Pepsibird  & Pepscillator These two pieces were along with Anima Pepsi were recorded at Recorded in the Pepsi Pavilion at Expo ’70 in Osaka, Japan but only Anima Pepsi has been released. So these are two new tracks that presumably will be in a similar vein of Anima Pepsi.

Mesostics re Merce Cunningham/Untitled  Untitled, a definitive Tudor composition, has been released in a couple of forms but was originally performed with John Cage’s vocal performance of Mesostics re Merce Cunningham. As far as I know this version has not been released (a version with Takehisa Kosugi on vocals is on the album Three Works For Live Electronics released by Lovely Music).

Weatherings  This was released in excerpt on the Music for Merce set and assuming this is an entire performance, this would be the first complete recording of this piece.

Phonemes  This was released in excerpt on the Music for Merce set and a complete version can be found on  Three Works For Live Electronics released by Lovely Music. However this is a full live performance of the piece, whereas the  Three Works For Live Electronics version is a layered version of many recordings. So this will be a full, live, single version which is a welcome addition to the recordings of this piece.

Rainforest IV  There are two versions of Rainforest IV on this set both credited to Composers Inside Electronics during the period when Tudor was performing with them (they are still a going concern). As Rainforest IV is a sculpture based piece that was constructed anew on numerous occasions and thus was often different this is certainly justified. However the Rainforest pieces are of course Tudor’s most well know and most well documented. Mode has a disc with Rainforest IV (as well as Rainforest I) on it and there was an German instance of the installation in 1980 which has been released on an LP  by Edition Block and on CD by Lovely. One of the versions of on this set is this German installation the other from a Stockholm version. While most likely the German versions are all from the same source it could be a different excerpt or even a different recording. The Stockholm one appears to be a new release.

Webwork – This was presented in excerpt form on Music for Merce so a complete performance is of course highly anticipated. This has only otherwise been released as a 7? excerpt  on the John Cage tribute CD A Chance Operation. 

Virtual Focus  This very interesting piece excerpted on Music for Merce so a complete performance is definitely a huge plus here. There has otherwise been unreleased barring a 3? of excerpt on Musicworks 73.

Neural Network Plus  Again excerpted on Music for Merce but in this set a whole disc is dedicated to a 55″ version.  While Lovely Music has put out a double CD of the related Neural Sythesis pieces and Atonal Records put out a disc split between Neural Synthesis No.2 and a Cage piece this is the only recording of Neural Network Plus which includes Kosugi on violin. Even the extract was intense and wild so really can’t wait for this complete performance

Basically the pieces from Expo ’70 are the most novel of the set but the complete performances of the later live electronics pieces are of course the big draw. There is still quite a bit from David Tudor’s oeuvre that is still unavailable. His first piece, Fluorescent Sound is of course the first one that springs to mind (though perhaps no recording exists) but just scan through his list of compositions on DavidTudor.org and you can see that many are not represented here or anywhere. One hopes that of those that recordings exist that some day these will come out in some form.  With all the variation and iteration in his live performances one hopes that in the future these will all be available for download. This is I think the direction that any music that is so varied in performance needs to. It is a shame that these recordings just languish in vaults.  Still I can’t wait to get this set and and it is a vital edition to the David Tudor legacy. I commend New World for putting it out and will write more here once I’ve had a chance to absorb it.

Haiku, Mobiles and Earle Brown

Alexander Calder's Spinner (1966)

As described in these pages the core concerns of the Eleven Clouds project was Post-Tudor Live Electronics, Conceptual Music and Music as Object. Typically most pieces realized two or all three of these notions in one way or another in a way that directly informed what the piece was.  Beyond each of these primary themes there could be numerous subthemes which shaped how the primary concepts was approached or realized. Of the eleven ‘Clouds’ three of them reversed this general form in that a subtheme was the primary driver for the piece and primary concept was somewhat tangential to this in that the expression of the subtheme resulted in an Object and (sometimes) the Conceptual aspect was a component of the interactions with the recipients.

 Earle Brown's Calder Piece

One thing that I share with Earle Brown is a love of the American sculptor Alexander Calder and like him I was inspired by his mobiles as a structure for composition. Earle Brown’s Open Forms directly implement the shifting nature of mobiles and of course his Calder Piece couldn’t be more explicit.

Spontaneous decisions in the performance of a work and the possibility of the composed elements being “mobile” have been of primary interest to me for some time; the former to an extreme degree in Folio (1952), and the latter, most explicitly, in Twenty Five Pages (1953). For me, the concept of the elements being mobile was inspired by the mobiles of Alexander Calder, in which, similar to this work, there are basic units subject to innumerable different relationships or forms. the concept of the work being conducted and formed spontaneously in performance was originally inspired by the “action-painting” techniques and works of Jackson Pollock in the late 1940s, in which the immediacy and directness of “contact” with the material is of great importance and produces such an intensity in the working and in the result. the performance conditions of these works are similar to a painter working spontaneously with a given palette. – Earle Brown from his Instruction on conducting Open Forms

The primary element of Calder’s mobiles that Earle Brown utilized in his open form scores is the shifting and unfixed nature of mobiles. Most of the open form pieces are traditionally or partially-traditionally notated piece with a mutable structural element that reflects this “innumerably different relationships of forms”. The Calder Piece itself involves an actual mobile which is performed upon (as can be seen in this charming gallery from a performance of the piece) and engages with other aspects of the mobile such as color, construction, material and so on. The Open Form is in my mind an ideal kind of implementation of one’s influences: it captures a genuine aspect of said influence and yet is not so dominated by it that it is of limited utility. That is to say that Open Forms was something that Earle Brown was able to utilize and develop throughout his career as a composer. In that way it is akin to John Cage’s use of the I-Ching to implement his notions of indeterminacy – a deep well that one could mine endlessly.

Sometimes the Rain is Hard to See (9 Haiku)

 

Sometimes the Rain is Hard to See (9 Haiku) is a complex web of influences, intentions and methodology.  At the core though is the haiku and the poets to whom this project paid tribute. For the Eleven Clouds project, where a new piece was created each month, I delved into years worth of unrealized ideas, compositions and concepts.  I’d long wanted to do a project where I turned haiku into scores and for this project I finally realized that goal. I created a simple meta-score, that is to say a score for generating scores, that is used in concert with the generated score to create the realization.

Performing Haiku

1) Select a haiku
2) draw lines for each word whose length is determined by syllable count
3) Perform outdoors or bring the outdoors inside
4) Play an event whose duration is determined by length of the line.
5) Pause for a set amount of time between each “word”
6) Between each line pause for 3-6 times the length of (5)
7) Begin and end with a pause the duration of (6) or 2x(6)

I followed this direction using brushed ink on rice paper. For each individual recording I chose to use the prepared wire-strung harp as the instrument. The concept was that each piece was recorded open air, ideally out of doors, utilizing a single preparation. I chose eleven haiku from among my favorite Japanese and American poets and on a long scroll of rice paper brushed out the graphical element of the scores.

A fragment of the original hand brushed (9 Haiku) score.

There was always meant to be Nine Haiku in this release but I recorded eleven for good measure.  For the object that was the result of this process was to be unique; nine individual objects for each of the 9 haiku.  For the construction of each object, I then copied the score onto rice paper which I hand stitched into an envelope utilizing a book binding stitching I had learned in elementary school.  The music was burnt onto square “business card” CD-R’s which were painted white which fit into these envelopes.  The final package was tied off with a red ribbon. The original description of the project:

Sometimes the rain is hard to see (9 haiku), the October entry in the Eleven Clouds project, are nine (9) individually handcrafted artifacts each one containing a singular piece of music. The culmination of several months of effort that began with a process that turns a haiku into a performable score, the selection of nine haiku (plus two), the creation of each score using brush and ink on rice paper, the recording of the score over a month (specific weather conditions were required), the editing and selection from among the takes of the most representative of each score, the development of the envelopes from rice paper which necessitated that they be bound by hand, the re-painting of the score onto the packaging, the creation of the labels, the preparing and burning of the cd-rs and finally the tying of the ribbon. Each one of this bespoke edition are unique from the score, to the music, to the packaging and each reflects this individuality. The music is a record of the artists explorations of the prepared wire strung with each recording utilizing a single technique, preparation or gesture. The score calls for the pieces to be performed out of doors (or the outdoors brought indoors) which makes for a varied accompaniment that is of course different session to session.

 

This world of dew,
is but a world of dew,
and yet…
— Kobayashi Issa

As with all of the other Eleven Clouds releases the way the release was to be acquired varied. As I’ve explained in previous posts on this project this was part of the exploration of Music as Object and as well as often exploring various conceptual notions. When the conceptual was considered in this aspect of the project it was almost always to make the recipient a collaborator in the process. This was always to a greater or lesser extent and in this case while it was not a major factor (as compared to say 100 Black Kites or aleph) it was certain an important aspect. Again to quote the original press release:

Sometimes the rain is hard to see (9 haiku) is released in an addition of nine (9), each one a unique recording, in handmade packaging featuring the score performed within. In acknowledging the handcrafted aspect of this project these releases will be offered in trade for an item of your own making. Said item could be anything of your own creation that you are willing to mail out in trade: a handwritten poem, short story, a sketch, a piece of music, a fifty-ton cor-ten steel sculpture, a score of your own devising, a DVD, a 17 foot hand knitted scarf, a watercolor, or anything else that you have made yourself. Simply send electronic mail to the address below before November 12^th stating your desire to trade for one of these and if one of the first nine to respond, you will be contacted with mailing information. All copies will be mailed out Saturday, November 13^th; copies not claimed in trade will be mailed out randomly to previous Eleven Cloud recipients.

Five people engaged in this process sending me such objects as CD-Rs of their own music to little water color paintings. Three more were sent out randomly to those who had previously been sent releases. One release was kept as part of the archive which itself was considered the twelfth and final “release” in the project, titled aleph (there is more to aleph which perhaps I’ll write about at another time). There was at this point in this project a very small amount of people interested, but this group was pretty engaged with the project. As I’ve written elsewhere the degree of engagement in the project was somewhat discouraging, but (as also previously mentioned) I do tend to blame my own inadequacies in various aspects for this.

Another fragment of the original hand brushed (9 Haiku) score.

While I kept extensive notes throughout the project of recipients, communication, objects traded and so, by this point in the project other information was not being so rigorously maintained. For instance the oft cited essay No Ideas But In Things documented each release through August (47° 32′ 25.80″ N / 121° 54′ 32.0″ W) at which time I ceased writing it. Thus I do not have my specific motivations, thoughts, feelings and notions on record. Nor did I keep (at least that I can find now) a comprehensive list of the haiku that correspond to each of  the scores. I have to admit I find that rather unfathomable and I do have vague memories of writing them down to use for reference to create the graphical elements. These pages were never completely digitized (I have a document with a couple of them) and has been lost in the course of several moves. I do recall that the poems were by Issa, Bash?, Sant?ka, Snyder, Kerouac and Whalen but I can’t say with any confidence which poem goes to which score (beyond No. 2).

Beyond the lack of keeping more rigorous notes I also did not end up really exploring the secondary more ‘conceptual’ aspect of 9 Haiku which was that each individual recording could be thought of as a ‘leaf’ in a Calder Mobile. The idea here is that one can take each piece and play it in concert, starting each one independently, repeating each one as often or as infrequently as required and so on. The structure for this was only ever mentally sketched out and due to my lack of writing on this entry it is actually hard to say what I really intended at the time for this aspect. The individual pieces could all be played live as described, or the files could be arranged in a DAW, or one could take the individual rice paper scores and make them into a physical mobile and perform them as it lazily moves around. This last notion is definitely something I’ve long had in mind and this piece was certainly part of that.  The recordings released as part of this project, as their covers are the score, could certainly be tied onto a framework with their red ribbons and created into such a mobile. The bit of weight that is the CD-R in each one would help steady against light breezes. The far flung nature of the recipients who resided in Scotland, Maine, New Zealand, California, Spain, Texas, Australia  and Illinois makes assembling such a mobile seem very unlikely but to me just add to the notion.

Another fragment of the original hand brushed (9 Haiku) score.

 

I do hope that someday such a mobile will be constructed. But until then sharing files digitally is easy and as each portion becomes available then one mobile becomes more filled out.  Not monitoring online sharing sites I have no idea how much of it appeared online but now that I’m putting each of the releases out there myself and have described these intentions these forms can be experimented with. The two additional recordings I made, Haiku  No’s. 10 and 11 are also part of the archive being release allowing for one to create 9 Haiku from these eleven sources (though only 9 should be used in any one realization). Archives in lossless formats containing these 11 recordings, plus supplementary documents and images can be found here:
Sometimes the Rain is Hard to See (9 Haiku)

For David Tudor

David Tudor performing John Cage's Water Music

Today, January 20^th 2013, would have been David Tudors 87^th Birthday. This occasion provides sufficient impetus for me to write a bit about the major theme of the Eleven Clouds project. This is the notion of what I’ve often referred to as Post-Tudor Live Electronics.  Before delving into that subject let me relate the origin and early history of the Eleven Clouds project.  I’ve written many times about the Network Instrument and how I began thinking about the live electronics work I’d been doing in those terms.  While I want to explicitly state that I didn’t really independently develop any of this I was quite ignorant of this history when I began my own music making. I was aware of what might be thought of as third or fourth generation live electronics and perhaps that could be thought of as my starting point. In a way I was working backwards but it wouldn’t be for several years until I really realized that.  Network Instrument theory on the other hand is my own development in that it is a way of thinking about these existing practices, practices that were often treated as mysterious, purely intuitive and esoteric.

Around the end of 2009 I began working exclusively with various networks in order to further develop my understanding of this theory I was developing. This would generally take the form of setting up a network and working with it, changing it, pushing specific parameters and the like. If I hit a configuration (a cloud in Network Instrument parlance) that was particularly interesting I’d document it in various ways, typically a recording, photographs and any patching data. In late December 2009 this process led to a piece I found so strange and yet compelling that I felt I should do something with it. But I was pretty attuned to the tastes of my fellow travelers at the time and I knew this was a particularly odd piece not particularly attuned to those tastes. But I still felt that the music demanded that I do something with it. So I made a few 3″ CD-Rs of the piece and I gave one to a fellow live electronicist. This gave me the germ of the idea – I would continue my exploration of network instruments, documenting it as I went and releasing a series of recordings of these efforts. I decided right off that if I was going to do this it had to be done right and that this exploration of network instrument theory had to be just the base of the project. That is that it had to have multiple components to it; it had to be an exploration of several ideas both overarching and in each individual release.

 

 Winter Clouds Setup - used for I'm not completing any thoughts and Skipping Stones

The overarching themes of the project were three: Post-Tudor Live Electronics, Music as Object and Conceptual Music.  Not every release would encompass all three themes though they often did. Music as Object, clearly pointed at by the projects slogan ‘No ideas but in things‘ (William Carlos Williams,  A Sort of a Song¹), was the fulcrum around which each release was built.  Additionally each release was also done in tribute to one or more musician, composer, artist or poet. It is this additional layer that would generally determine how an individual release would engage the overarching themes.  Three of the releases were explicitly engaged with ideas of live electronics particularly the notion of a configuration as score. These three releases were dedicated to David Tudor.

In the unpublished companion document to the Eleven Clouds project there is a short section on each of the overarching themes as well as an entry for each individual release. Below I’m including the section on Post-Tudor Live Electronics as well as the entries for the three releases dedicated to David Tudor. The generally short entries for individual releases describe the format, dedications and additional ideas. Also there is some discussion of how it was released and how this was received. This aspect is part of the Music as Object thread of the project which as I noted above is the axis upon which each release revolved. This document was unfinished and there was meant to be additional writing on each release exploring the individual idea(s) that may be explored herein. These entries are primarily included for completeness sake. Additionally the music and photos from each of these releases has been uploaded to their corresponding sub-pages in the Eleven Clouds webpages. Thus for the first time complete versions of these pieces can be heard by anyone. The three releases dedicated to David Tudor in the Eleven Clouds project are:

I’m not completing any thoughts
Skipping Stones, and
A Closed Letter

 

Network Instrument utilized for A Closed Letter

Post-Tudor Live Electronics

The first overarching idea is purely musical: what should follow on after David Tudor in the area of live electronics. Tudors legacy in live electronics is huge but barring a few people who were working with him at the time as well as some tangential artists it did not seem that many followed in his path during his lifetime.  After his death in 1996 there were many tributes and retrospectives and the like there wasn’t much in the way of attempting to follow on with his work. Those who had been engaged in live electronics already did of course continue on, but they were following their own trajectories that could be seen as concurrent to Tudor’s as opposed to starting from it.

Over the next decade though there would be a renaissance in analog synthesis, followed by a DIY resurgence and suddenly more and more people are citing Tudor as an influence, working in the same general areas and, finally, trying to use his techniques to explore the ideas that have captured the current zeitgeist. I think of artists such as Matt Rogalsky and Micheal Johnsen that can be seen as having started where Tudor left off as well as those such as Brian Eubanks and James Fei who started within the current milieu and found their way toward Tudor.  However I think that it can be said that even with an increased awareness and interest in his work it is still an open question of how to iterate from where Tudor left off. He was such a virtuoso and so idiosyncratic plus there is a dearth of information on the subject that this is hardly surprising.

The very first release in the Eleven Clouds project, I’m not completing any thoughts², was part of an initial stab at this notion. The electronics in this piece are, unlike David Tudors custom and modified electronics, commercial products interconnected in such a way asto increase unpredictability. The Network Instrument³ was a theory devised to attempt to create an understanding of the instruments that Tudor created and to attempt to develop a language to facilitate to further developments in this area.  I’m not completing any thoughts was an interesting step in this direction but in isolation didn’t seem sufficient.  It was at this time that the notion of Clouds (a configuration of a given network instrument) was codified and the notion arose of a series of statements exploring this instrument.

(01) I’m not completing any thoughts.

Released January 2010 on 3” CD-R in an edition of 4.

This release could only be acquired by being given it. Of the three copies that were given away none of the recipients were from the same country. The ideas explored in this piece were Post-Tudor Live Electronics and network instrument theory. It is the network that was developed for this piece utilizing an interconnected Clavia Nord Micromodular and a Chimera BC-16 that would form the basis for many of the following pieces.

The webpage with downloads for this release can be found here: I’m not completing any thoughts

(02) Skipping Stones

Released toward the end of February 2010, offered to anyone who would send a Self Addressed Stamped Envelop to an addressed supplied by an auto-responder.

This was perhaps too great of a jump for the initial release – actually asking someone to go to the post office is perhaps too much. It also is of course difficult for those outside of the US though it was stated from the beginning that there would be allowances for that.  Ultimately eleven (11) copies of this piece were sent out, though only a few of these to people who jumped through the hoops.

Musically this piece expressed the most successful attempt at a Post-Tudor live electronics. The network was iterated from the I’m not completing any thoughts and I think displayed a way to work out complex sounds from minimum structure. Ideas of the last decade of improvisation mixed with Live Electronics in a way that was different and engaging.

The webpage with downloads for this release can be found here: Skipping Stones

 

(07) A Closed Letter

Released in July 2010 on a single 3” CD-R.

This piece used an expanded network to create a denser more spiky piece than previously generated. As part of the promotion of this piece a short excerpt was put up onto Sound Cloud to allow people to check it out.  According to Sound Cloud statistics it was played around 40 times. The method of acquisition was not stated; only a question mark. Again this garnered no posts in response, no inquires publically or privately.  Interest does not seem to have bee acquired.

The webpage with downloads for this release can be found here: A Closed Letter

—

In retrospect I am of the opinion that I’m not completing any thoughts and A Closed Letter are closer to examples of historical live electronics. It is only with Skipping Stones that I think that the ideas of live electronic are iterated upon with respect to the work that occurred since Tudors time. Which isn’t to say that there isn’t aspects or portions of those two pieces which I do think work in that way and it is the case that I was coming from that mindset.  That I think is a critical aspect to these abstract notions of instrumentality. A live electronics configuration truly is the score – that is it directs and limits what you are going to do. But it is the performers mindset that influences how that score is performed and what it becomes. In this way it is like a graphic score – a noise musician playing Christian Wolff’s Edges is going to end up with a different soundworld then a classically trained cellist.  But unlike a graphic score the sound world is set and it has definite boundaries with a live electronics configuration. So it is the networks of those pieces and not just the mindset of the performer (myself in these cases) that keep these at least one foot in the past. It is interesting to note that Skipping Stones – the most successful I think of all of the Eleven Clouds pieces is an iterated version of the I’m not completing any thoughts network⁴. While A Closed Letter is as well I added many more components to the network and is best thought of as more evolved (punctuated equilibrium even) than iterated upon. What all of this goes to show is that the network, in effect one’s score, has to be as reflective of your mindset as anything else.

—

Footnotes

1)    William Carlos Williams, A Sort of a Song

Let the snake wait under
his weed
and the writing
be of words, slow and quick, sharp
to strike, quiet to wait,
sleepless.
— through metaphor to reconcile
the people and the stones.
Compose. (No ideas
but in things) Invent!
Saxifrage is my flower that splits
the rocks.

2) Robert j Kirkpatrick, Eleven Clouds Hollow Earth Recordings 011: http://spiralcage.com/hollowearthrecordings/discography/ElevenClouds.html

(01) I’m not completing any thoughts. (January 2010, 3″ cd-r. Edition of 4)
(02) Skipping Stones (February 2010, 5″ cd-r. Available throughout February)
(03) Vertical Landscapes 1-5/aeolian electrics (March 2010, 5 Paintings w. 2×80′ cd-rs.)
(04) Mid-Spring (rock, breath, 12kHz) (April 2010, 3″ cd-r.)
(05) An delay (May 2010, 2×3″ cd-r. Edition of 16)
(06) 100 Black Kites (June 2010, box of assorted items. Edition of 1)
(07) A Closed Letter (July 2010, 3″ cd-r.)
(08) 47° 32′ 25.80″ N / 121° 54′ 32.0″ W (August 2010, micro-c60. Edition of 1)
(09) Fugue State (September 2010, 5″cd-r. Edition of 12)
(10) Sometimes the rain is hard to see (9 haiku) (October 2010, mini-cd-r edition of 9)
(11) …and yet (November 2010, Edition of 11)
(12) Aleph (December 2010) [never released]

3) Robert j Kirkpatrick,  The Network Instrument (a work in progress), A Spiral Cage, March 2010, and The Network Instrument (WIP): Subnetworks, A Spiral Cage,  April  2011

4) It is worth noting that the majority of the other pieces in the Eleven Clouds project also worked with the Network Instrument and are examples of Post-Tudor Live Electronics with varying degrees of success. They aren’t considered in this post due to not being specifically dedicated to David Tudor.

For Morton Feldman

 this world of dew,
is but a world of dew
and yet…

-Kobayashi Issa

November 2010 the final release of Eleven Clouds, …and yet, was made available. As previously noted each of these releases was dedicated to various artists, musicians, composers &c. Each of these was a complex web suspended between several overarching themes and ideas, trying to be true to them all while staying true to itself. Let me once again quote from the unpublished essay that was written to accompany Eleven Clouds:

The Eleven Clouds project is a number of disparate ideas wrapped around the idea of creating a physical object, that contains data in the form of music, every month for year. There are ideas being explored that encompasses the entire project but also ideas that drive each individual release. The overarching ideas may be the primary idea in a given release or may not be instrumental to it at all. Additionally there are references, homages and nods toward a number of artists in plastic as well as musical arts. Finally considering that one of the overarching ideas has to do with interpretation there are some aspects that inherently must be left up to observers.

 

By November there had been ten releases encompassing over 8 hours of music and there was a certain level of exhaustion. Making a complete CD with often quite elaborate packaging month in and month out had taken its toll. For me the music of Morton Feldman is the music of exhaustion. It is the music I put on when I’m too tired to sleep and let its slowly iterating stasis fully envelope me. The principle members of the New York School have all been a major influence on me and they were all paid tribute, in greater or lesser form, throughout the series. By November there had yet to be one for Morton Feldman, though of course I’d always intended there to be and now at this point of weariness seemed like the time to do it.

 

John Tilbury and the Smith Quartet
Music for Piano and Strings by Morton Feldman vol. 2 (Matchless)

This year has seen a number of excellent recordings of Morton Feldman’s music. The incredible recording of Crippled Symmetry by the Feldman Soloists (Eberhard Blum, Nils Vigeland, and Jan Williams) on the Finnish Frozen Reeds label. A compendium of the the early, mostly indeterminate pieces, Early Works for Piano performed by the always stunning Sabine Liebner on the Wergo Label. The second volume of  Music for Piano and Strings from my favorite pianist John Tilbury accompanied by the excellent Smith Quartet on the Matchless label. Re-Releases of some of the classic recordings by the Ives Ensemble on hatHut. And of course plenty of releases that I have yet to hear.

In 2010 I was living in a small house in Kirkland WA that was right in front of an abandoned railway. On Sunday afternoons I would often walk for an hour or two one way or another along these tracks. Generally I’d listen to some recordings as I walked along usually softer stuff that I could play low enough so that ambient sounds would mix in. I found myself playing the Ives Ensemble recording of Morton Feldman’s Piano, Violin, Viola and Cello over and over again in these walks.  For me, while I love Feldman’s music across pretty much all times and all instrumentation, it is his pieces for piano that particularly move me. Especially the longer more etherial later pieces both solo and in the various chamber ensembles. Of these chamber pieces I’ve come to love Piano, Violin, Viola and Cello the most. Unlike say Piano and String Quartet, the piano here leads and the the string section, deemphasized without the second violin, seems to comment on the piano pieces. The piano begins more discordant sound, especially with the inputs of the strings, almost prepared. After some time it settles down into this pattern, in typical late Feldman style, that is fully explored, mutated, iterated upon. This pattern, melody, tinged with melancholy, even a sense of weariness eventually becomes broken by time before hesitantly completing itself as the strings prickle and poke at it. On these long introspective walks and many times as I was wearily trying to sleep this piece has been my companion. The new recording by John Tilbury and the Smith Quartet which is a little more leisurely at around 90 minutes is particularly effective in my mind. Tilbury’s unparalleled touch for Feldman’s music and the Smith Quartets meticulous attention to Feldman’s require (slow and low) has created the best recording of the three that I’ve heard of this piece.

 

...and yet

Another of the overarching themes of the Eleven Clouds project was what I refer to as Post-Tudor Live Electronics. Much of what I talk about w/r/t The Network Instrument is a way to codify these thoughts. A full discussion of the topic is beyond the scope of this post but there is one aspect that is apropos. David Tudor’s live electronics was typically wild, flirting on the edge of chaos. The early indeterminate, graph pieces of Morton Feldman would seem to be the closest his pieces hued to what Tudor was doing with his electronics (no surprise then that Tudor remains the most impressive interpreter of those early Feldman pieces). But could one’s live elections, in the Post-Tudor era, be more like Late Feldman – soft, slow, floating and enveloping. For the final piece in the Eleven Clouds sequence, I wanted to explore that, to express the weariness, the melancholy of the end of this near year long project.

...and yet booklet interior scan

Of course there was always more then one (or two, or many) thing going on with an Eleven Clouds release and this one was no exception. The physical release itself was a roughly DVD size cardstock booklet inside a vinyl pocket. The front of this can be seen two pictures up and the interior directly above this ‘graph (I should note the above scan doesn’t capture the color well at all which is more of a light, blue-grey). The “disc” that came with this was a clear plastic CD sized disc that comes with a stack of blank CD-Rs. Along with this was a postcard that had the Hollow Earth Recordings logo on one side and a QR Code on the other (see image to the left). These “cds”, of which eleven were made, were sent out to anyone who asked. The promotional posts on i hate music and on this blog showed pictures of the recording session as an additional hint.

QR Codes hadn’t quite hit the level of ubiquitousness (saturation even) that they have now in which probably everyone would know to scan it and see what it encoded. What it encoded (if you haven’t already reflexively scanned it) was an URL to this page: …and yet. This page contains lossless downloads of the music recorded for this project. Watching my web statistics I only saw one person download it during the time of the project. I posted the QR code to this blog and I’ve sent that link to a couple of other people but this is the first public release of these recordings.

 

...and yet recording session

This piece is an ~95 minute piece on a Network Instrument where I attempt to create something like PPiano, Violin, Viola and Cello. This was the single longest piece in the Eleven Clouds project (though Aeolian Electrics wasn’t far off at nearly 80 minutes). The length of course was essential to capturing that Feldman feel; allowing it to slowly evolving over time. It is meant to be played softly as Feldman would insist for his pieces and it was indeed performed at a low volume. The setup and the patch are the “score” for this piece and it was performed and recorded in one continuous session. Overall I think it works and captures what I was trying to go for. Like a lot of the longer Feldman pieces there are moments that seem jarring and discordant but they are resolved (as it were) long minutes later. Give it a listen for yourself and see how you think it works out.  Whatever the verdict, this one’s for you Morty.

Download  …and yet in either Apple Lossless format or FLAC:  …and yet

Radiating Lines

 

Radiating Lines performance score

For your consideration a new score and the first piece of music I’ve recorded since February. Radiating Lines is an example of a  Meta-Score in that it is a score that generates a unique score every time you use it. I made during the John Cage Centenary week though it is not specifically dedicated to him. It certainly owes plenty to Cage as I think he was he first to use transparencies and in the construction of the score one is completely free to use chance operations but it is not required. But certainly a Post-Cage and one’s whose debts are I hope are clear.  Anyway on to the score (PDF download).

—

For any instrumentation and any number of performers

Components

• A circular background mounted on a square backing matte
• A square overlay the same size as the square matte
• Mounting hardware of some sort
• These Instructions
Constructing the score

The included background and overlay materials can be simply printed out and put together as described in section 3 below. However if one wishes to create a unique version of the score the following instructions will guide you through the process.

1) The background

Take a circular piece of paper and numerous circular objects. With a pencil trace around these objects. The placement of the objects should be roughly centered. Tracings should be done quickly and mostly partially. This process should be done as unintentionally as possible. Chance procedures can be used as a guidance but are not required.

Mount this circular on a square backing matte that is 25 to 30% larger than the circular background. This matte should facilitate the mounting of the transparent over ally so that it can spin. E.G. allow a push pin or other mounting device.

2) The Overlay

The overlay is a series of lines of different weights originating from a common center. The lines should extend to both directions of the centering at varying lengths. Again these can be created “by eye” without intention or via chance procedures. There should be 4 to 8 lines that extend both directions from the center (8 to 16 lines radiating from the center). At least one line should extend beyond the total size of the transparency (which is the same size as the backing matte). If more then one line is of this length they must be of different weights

The overlay should be printed onto a transparency which should be cut to the same dimensions as the backing matte.

3) Assembling the score

The circular score should be mounted to the backing matte perfectly centered. The transparent overlay should be also centered and mounted with a push pin or some other device that allows it to be rotated.

 

Performing the score

General

Radiating Lines can be performed with any instrumentation over the length of time required to get through all of the material. It can be simultaneously performed by any number of players each of which should have their own score and which should independently follow these instructions.

Setup

Each performer should take their copy of the score and rotate the overlay to an individually set position. This position can be set at the performers discretion or via some form of chance procedure.

Performance instructions

The longest, thickest line should be placed topmost and is the starting line for performance. The score can be read clockwise or anti-clockwise.  On beginning the material in between this starting line and the next line – referred to as a “wedge” – should be played. Only the material that is in-between both lines should be played.  That is if there is material above the length of one of the lines it should not be interpreted. All aspects of the material should be considered including spaces between material, overlapping sections, differences in densities, imperfections and so on.

After playing all the material in a give wedge the next wedge should be moved to in the direction chosen by the performer. This  wedge should be gone through silently in a manner corresponding to the length of time that a given wedge would take to perform the material. That is to say that every other wedge should be silent for the length time it’d take to perform it. The circle should be gone around twice in order that all of the material be either interpreted or considered silently.

All material must be played – the performance should continue for as long as this takes. When played with multiple performers the material should be played independently with no attempt to coordinate beyond the initial start. The piece concludes when all performers have performed all of the material.

—

 First Recording

For the first realization of this piece I played through the score several times with three different instruments: a pentatonic lyre, a Steim Cracklebox and a Prepared Piano iPad app. The latter uses samples made from John Cage’s preparations and is a great app available on several platforms (a perfect tablet app – worth the US$1). These three separate recordings were multi-tracked together as per the instructions – that is to say as if they were recorded live by three people. Each track is a different length, so they start together initially but end at different times generating an effect of a gradual thinning out of the ensemble.  The lyre is recorded open air so there is a bit of a field recording aspect in that layer. Anyway give it a listen for yourself and as always I reccomend downloading the uncompressed version from Soundcloud.

John Cage Centenary Week

John Cage sitting

John Cage was born September 5^th, 1912 and thus would have been 100 years old this week. There really has been no more influential twentieth century composer and his influence has loomed ever larger since his death.  His influence on my music making in the last few years is undeniable and even more-so if you consider the second (and third and …) generations of influence.  This year I ended up being away for quite some time on a cross-country bicycle tour which I set out on not long after I composed the tribute piece in the previous post. Alas I have yet to find an opportunity to construct that score and perform it but I hope to before the end of the year.  In the meanwhile I’d like present for the first time a few other pieces that I’ve made in tribute to John Cage.

In 2010 I embarked on a musical project where I released a musical object for eleven months of the year.  This project, the Eleven Clouds, project was a many layered project with each release have multiple facets to it. One of this facets was that each piece was dedicated to an artist that had been a major influence on me. The April entry in this series, Mid-Spring (rock, breath, 12kHz) was dedicated to John Cage. Another aspect of the project was that there was a task that one had to undertake to receive a copy of said release which were made in extremely limited physical releases. The task for this release involved decoding the instructions and then following them.  For the first time since this release I present both the decoded text for this release as well as lossless versions of the music.

 

 Mid-Spring (rock, breath, 12kHz)


0365501 0071612 1111201 2610111 0620206 2671704 0640113 0583014 0420704 1462405
2630204 1811604 0692009 0861004 0880306 0571804 1670104 0233209 0112402 2610111
0880306 0112310 2760203 0062809 0762109 2610111 2673501 1740205 2742106 0043108
0512804 0112402 2610111 0571301 2761209 0171109 0060206 2640501 2630204 0541301
2761209 0080104 0880306 2761209 2610111 0880306 0171109 1800107 0880306 0010101
0071612 1750802 0420704 0122112 2630204 0880306 1021112 2633416 1811604 0692009
0700306 0420408 0592102 0891103 2610111 1380201 0161204 0703009 0640113 0560601
0990402 1271006 0365501 0583014 1150103 0880306 2291506 1460210 0071010 0071612
0020402 2732404 1271006 1110708 1890503 0880306 0050703 1452305 0550517 0102104
1271006 1881401 1862301 2610111 0891103 0851816 0080904 0160202 0990402 0061106
1890503 0880306 1694100 0102808 0080203 2651509 0290403 1090916 0031506 0080203
0290403 0040811 0090605 0140502 2020106 1583104 2631508 0360120 2671704 0671707
0583014 1431308 1690906 0181410 2440703 0080203 0171804 1090916 0071612 0640113
1881401 2470803 1040701 1032103 0630210 0040811 0140502 1040701 0090605 1581905


2020106 1271006 0342502 2610111 0640113 0070308 1341706 2210206 1271006 0900902
2660210 0880306 0711210 1281106 0043108 0880306 0961602 0510112 0071612 0880306
0591906 0171005 0080203 1082210 2660210 2420801 0880306 0711210 0640113 1730505
0080203 1020114 2660210 0071612 0880306 0900902 0000000 0000000 0000000 0000000


For more information please feel free to contact us at
mgmt AT hollowearthearthrecordings DOT com.

Silencio, 16

Cleartext

Constructed in memory of John Cage, this piece was composed by chance operations using the I-Ching. The three layers of the score are made up of a fixed event with two layers of variable length events each separated by variable length silences. The length of the events and the silence in between was determined by the previously mentioned chance operations. Unlike previous any realization of other musical patterns this one is a constructed piece (whereas the others were realized in real time) a demonstration that the system does not require a particular form of realization.  As always it is essential that the sound sources be carefully chosen but  can be chosen from recorded material. For an even more Cage influenced piece these sounds themselves could be anything but in this particular case I chose them from material I recorded myself.

For a copy of this  recording simply send a message to the address below with the word anechoic in the subject line.  Be sure to include the address this should be sent to in the message. [Ed. note: this offer is no longer valid. Instead download the release from the Mid-Spring (rock, breath, 12kHz) page]

For more information please feel free to contact us at
mgmt AT hollowearthearthrecordings DOT com.

Silencio, 16

—

The code was a book code using John Cage’s Silence. The only plain text in the post, Silencio, 16, was the clue to to use Silence Weslyan University Press 16th Edition (though most editions from around that time would work) using the following system:

7 digits to find each word:

Page: 3 digits (e.g.: 029 is page twenty-nine)
Line: 2 digits (e.g: 10 would be the tenth line)
Word: 2 digits (e.g.: 01 would be the first word on that line)

Along with the 11 releases in the project there is also a corresponding document that describes the theory, the methods and the many layers behind each release. For various reasons this document has yet to be made public (though parts of it were used in an interview with Joe Milazzo on Drunken Boat). Below I’ve pasted in the entry in this document for Mid-Spring (rock, breath, 12kHz), the first unedited bit of this document to be published. Note that this document was a work in progress and there hasn’t really been any editing on this entry nor is it as complete as I intended. It does cover the basics behind it, its place in the 11 releases, the tributary aspects and the reception of the piece and the success of the challenge that was required to get a free copy of this release.

Excerpt from No Ideas But in Things, the companion document to the Eleven Clouds project:

(04) Mid-Spring (rock, breath, 12kHz) (April 2010)

Released April 2010 as a 3” CD-R in an unlimited series though only four were ever made.

While aolian electrics [Ed.: The previous months release] strayed from the pure notion of utilizing the network instrument, it was still a vital part of the release.  This one on the other hand, completely strayed from the preceding releases. The piece was a direct homage to John Cage utilizing the I-Ching to generate a Musical Pattern⁹ from which pre-existing recordings were used to assemble the piece.  These recordings were of playing a recorder in an extended fashion focusing on the movement of air through restricted passages and playing with rocks in the manner of Christian Wolff’s Stones. A 12kHz sine wave accompanied these sounds which were sparsely spread out over the pieces length.

The method of acquiring this piece was the most difficult to date and no-one rose to the challenge. This showed the limits of how much effort people would expend quite clearly (though this would be shown even more clearly in subsequent releases).  The release was to be freely sent out to anyone who successfully decrypted the press release. The cipher utilized was a trivial book code using John Cages Silence which was indicated in the plaintext ‘Silencio 17’ at the end of the message.  Some outcry or at least comments regarding some sort of befuddlement was expected but there was nothing.  Two copies of the release were sent along to people with other releases (how I would typically get rid of extra copies I had made of earlier releases).

—

Download the audio

This piece as well as a bunch of supplementary material is now available on the  Mid-Spring (rock, breath, 12kHz) page in both Apple Lossless and FLAC formats.  The supplementary material includes cover art, score, performance score, the encoded and cleartext PR, the encoding scheme and some additional images.