AK Coope clarinet, Rebecca Whitling violin, Peggy Lee cello, Allen Stiles piano, Vern Griffiths percussion, Giorgio Magnanensi conduction and live electronics with Veda Hille piano & vocals, Christie Reside flute, Cameron Wilson violin, Steve Wright guitar, Kedrick James screaming and spoken words
dispersion, infiltration, osmosis,
adoption, abstraction, contagion
music that aspires to the dimension of scent
the ONE converting, integrating and engulfing the MANY
the MANY are not isolated, they are in a state of mutual contamination
musical communication only exists on a purely emotional level.
emotionality is immanent,
expression is definitely linked to the instant,
instant is unpredictably transcendent.
PREFORMED MATERIAL AS RAW MATERIAL – AVAILABLE FOR RECREATION
where the material of form is the material’s form
teatro dell’udito • TDU
A possible meaning of this work rely on the redistribution of sound,
on rendering the sound available to a re-creation on a perceptive level,
I find here a sense of openness, listening, unrestricted space and flowing movement.
I feel very attracted by this variable and ever changing flow.
I don’t feel a need to look for absolute causes or reasons,
I don’t recognise myself in hierarchical systems of thought
that endlessly try to “explain” and to “give reasons”.
No musical piece here can be reduced to a formula or to a score.
Simultaneity, policentricity and overlapping points of view
are the characteristic elements of this work.
The sound texture is not merely the addition or subtraction
of a number of isolated events,
but is a more complex combination of sound events
that works in a strategy of an imaginary scenography.