Sep 152016
 
Dec 15, 2016 | Thu | 16年12月15日
8:00 PM | 20時00分

Cop Tears

Cop Tears is a trio of Derek Baron, John Andrew Wilhite, and Cameron Kapoor. CT plays exploratory improvised music as well as interpretations of chamber music from the American canon in the interest of troubling and questioning that canon.

Thirteen Harmonies is a selection from John Cage’s 44 Harmonies From Apartment House 1776, written for the American bicentennial, which itself is a selection of pieces in the colonial and early American choral canon. Arranged for double bass, electric guitar, and flute, from the arrangement for keyboard and violin, from the original four-part chorale, Thirteen Harmonies is an arrangement of a reduction of an arrangement of a reduction. The choral composers whose works were the material for Cage’s Apartment House were considered the avant-garde of choral music of the 18th century, and their music became the seed of Sacred Harp music, a radical lay tradition of the rural American south. John Cage composed the harmonies by way of erasure of the Protestant chorales and set them in an “apartment house” among other American voices: Native American ritual music, slave spirituals, and Sephardic incantations. What binds the lay experimentalism of William Billings and his contemporaries (all white American men) to the ‘multiplicity of centers’ of the Apartment House of John Cage (a white American man) is the destruction of a privileged musical space, the making-permeable of the division between the music of the piece and the sound of the people coming together to make the music of the piece. A positive destabilizing from within. Thirteen Harmonies was recorded live on two consecutive mornings in 2016 to a faulty 4-track on bled-through tape in Cameron’s apartment house in Queens, New York.

http://www.readinggroup.co/coptears.html

Antez / Continuum

The roots of this performance is to play the sympathetic resonance of the room structure, individually sculpted according to its architectural singularity, and which the plot of the show remains permeable to the immediate moment, using exclusively acoustic methods of production and governed by motions which implicate the full motor capabilities of the body.

My first challenge to produce a continuous sound wiht a percusif musical instrument, evolved through an investigative process of the acoustic gifts of the performance space. A large drum is used as a vibrational amplifier, with varied implements rubbed on the skin to activate its vibrational potential. These implements are positioned beforehand around the drum for access in my circular walk. After having personally developped this technique for eight years, I’ve highlighted three key elements in the interrelationship :

.The atmospherique conditions of the space volumes for their influence to the vibration propagation. .The regularity of the ground leveling .The specific nature of audience and the energy which emanates from the venue. ( Energy in the etymological sense of the word “force in action”.)

Today my knowledge of materials and shapes allow me to produce sound vibrations that are often compared to some particular sound of synthesizers. However, the physical perceptions of my sounds, have nothing similar to those issued by a speaker. We are no longer in that frontal relation with the sound wave emitted by the menbrane. The immersion phenomenon in the sound material is no longer dependent on the power of sound system, but by the resonance of surrounding structures.

From larger through to smaller scales, all turns around an axis. Mine, during the performance it’s the horizontal drum. The focus of my rotations is consciously refer to ancetrals rituals used by numerous culture and civilization and called circumambulatoin sinistrocentrique.

http://www.antez.org/

Sep 202016
 
Dec 20, 2016 | Tue | 16年12月20日
8:00 PM | 20時00分


Samo Kutin, born in 1982, is known for his use of unconventional instruments, be it instruments that have already disappeared from everyday use or sound-making contraptions that feature strings, wood, pumpkins, stone, glass and waste material. One of the traditional instruments in his repertoire is the Hungarian medieval stringed instrument hurdy gurdy, which he can be seen playing on the streets of Ljubljana or at events of experimental and improvised music. He organises children’s workshops, makes music for storytelling and theatre performances and is a member of a number of formations, including Samo Gromofon, Salamandra salamandra, Najoua, Horda grdih, Širom.
When it comes to non-idiomatic improvisation, Samo has been exploring at length in recent years the sound and noise potential of the hurdy gurdy. He has been using effective accessories with the instrument and amplifying it in a convincing manner with intentional roughness with the help of contact microphones and acoustic resonators such as springs and water tanks. One could say that it is above all the use of contact microphones that helps him scan and bring to the surface the processes taking place in the “guts” of the instrument, while the direct physical methods allow him to cause and locate previously unknown frictions.

Based in Berlin and London,
cyclist and artist Daichi Yoshikawa is interested in the spaces we can construct together through the intensities of live performance.
His practice is feedback.His work is the push and pull of extremes: pitch, volume and gesture.

Oct 192016
 
Jan 19, 2017 | Thu | 17年01月19日
8:00 PM | 20時00分

Simiskina

Simiskina is a duo consisting of Jonas Cambien & Adrian Myhr, playing acoustic improvised music. The duo is based in Oslo and the music is rooted in Oslos vibrant scene for improvised music. Simiskina uses prepared piano and extended techniques on double bass to create multiple layers of ever changing rhythmic patterns, which occasionally grow together and flow apart again. Sometimes very dense, and other times open and meditative, the duo creates varied music rich on details and textures.
Both players have established themselves as notable improvisers in both Norway and abroad through a series of recordings and performances. Simiskina will release its first album as a duo on the Portuguese label Clean Feed in June 2017.

Adrian Myhr is a Norwegian bass player known from bands like Dr. Kay & His Interstellar Tone Scientists, Whirl, simiskina, Bansal Band, Oker, Humdinger, Pet Zoo and Myhr /Doneda. He is a very active and versatile musician, focusing on improvised music. He has played in the most important venues and festivals in Norway, and has toured much of the world.
http://www.adrianmyhr.com/
Jonas Cambien is a Belgian pianist and composer, who has lived in Oslo since 2008. With a background in both classical music and jazz, he is active in the Norwegian environment for contemporary and improvised music, and playing in bands like Platform, Aksiom and Karokh. He also leads his own trio, which recently released its debut on Clean Feed Records, to critical acclaim.
http://www.jonascambien.com/

Alessandro Vicard

Esplorazioni dal basso
Erforschung aus der Tiefe

Eine Reise von der Barockmusik bis zur Gegenwart ohne Grenzen oder Barrieren. Eine Expedition in die technischen und expressiven Möglichkeiten des Kontrabass, quer durch stilistische und idiomatische Unterschiede zwischen Komposition und Improvisation. Als Soloperformance eines Instruments, das vornehmlich begleitend, maximal phasenweise solierend in Jazzformationen bekannt ist, eröffnet Alessandro Vicard aussergewöhnliche Klang- und Seelenwelten des Kontrabass: Eine Rarität.

Mit Musik von J.S.Bach, Hans Werner Henze, A. Vicard, Giacinto Scelsi, Nicholas Maw und Rolling Stones.

http://www.rarafestival.com/