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.

—

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.

—

  

 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.

—

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

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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.

—

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.

—

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)

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).

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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.

Grey

 

As summer decays into autumn and the days spent out-of-doors to indoors ratio begins to shift, one’s thoughts turns ever toward ones projects left to hibernate over the summer. For me my primary project this year has been The Curve of the Earth, which I’d had just begun to really develop when various externalities put it on hold. But now I am fully back into it with the final parts of the score finished, its premier performance scheduled and the first recording made. There will be more on all of this in posts to come, but first some groundwork needs to be laid. The most essential notion that I haven’t discussed much (if at all) at this point is the concept of grey.

I outlined extensively in an earlier post my experiences and general opinions on field recording and related enterprises but there was one realization about a fundamental aspect of our sound environment that I didn’t really delve into in that post: that there is a constant aspect to nearly all field recordings which are the sounds of humanity; primarily traffic. This has of course been commented upon before but I’d like to generalize the notion.  First off it should be noted that yes if there are dominate sounds in ones field: rushing water from rivers, ocean swells, mechanical device, etc or if one is in a sonically pristine environment – increasingly rare these days – then there certainly are different aspects to the recording.  Likewise in processed or other less pure recordings.  But in the main there is a background wash made up of layers of traffic, punctuated by airplanes, other mechanical devices and the sound of general human activity. This I call the grey.

Grey is distinguished from white noise in that it basically is layers of white noise. Distant traffic at varying degrees of distance become a wash, but not as uniform as white noise, it is more like layers and layers of white noise, interfering with each other, starting and stopping, changing in density and basically chaotic a finer levels of detail. Beyond hearing the grey in field recordings, you also hear it in live recordings of pieces that work with notions of silence, especially those where silence is a primary component.  And this is the part that interests me – for all intents and purposes grey is silence.  Non-grey silence is as artificial as anything and only exists in artificial constructions.  There being no such thing as silence is of course one of the many points of Cage’s interest in silence and that notion is no new thing. But the relative uniformity of the “silence” as a medium I think is a notion that has not been so explored.

Following my realization that what we take for “silence” is actually this grey noise, I then came to notion that instead of simply being silent and letting whatever grey-ness exists in the listeners environment fill in, why not generate the grey oneself? Thus was born the Grey Sequence, the first project where I explored this notion. The Grey Sequence, of which I posted the first four pieces of earlier this year (with no explanation at the time), was a multimedia project where a photograph and a piece of music were placed into correspondence and any “release” of a piece had to include both.  The recorded sound for these pieces involved two separate instruments one acoustic, one electronic. One instrument would be setup to play on its own, but in a not entirely static way, while the other one would improvise with.  The instrument that wasn’t being played was providing the grey that would always be in the background and become the foreground during the “silences”.

 

Grey Ripples setup

This I think is an actual extension of silence beyond notions that Cage explored and along with Network Instrument theory had been the primary area of investigation I’ve been exploring. First with the Grey Sequence and later with a number of the Eleven Clouds pieces this has been a primary concern with my projects and has moved from the focus in the earlier project to a tool in the later pieces. It is an essential aspect of The Curve of the Earth, the very fabric upon which it is composed,  though I’ll defer to later posts to go into details about this.