House Music

By way of introduction to some of the things we’ll be doing on the evening of the 25th, here’s a little info on the composers featured (some sound examples at their websites):

Tim Parkinson

‘I like clear and direct thoughts or images, presented individually, one after another, each one a self-contained centre. I like the music to move and change by itself, like the weather. I like the poetry of the limitless everyday, and the quality of “anything”, contained within a frame of time.’

‘Walking the line between seemingly accidental, and the definitely purposeful. Which I find very exciting.’ (Tim Parkinson)

Peter Ablinger

‘While standing at the waterfall, we become aware of our thoughts, but not the waterfall itself; if we succeed in letting our thoughts stand still, we hear a melody within the turmoil. Everyone his own.’ (Peter Ablinger)

Alvin Lucier

“Lucier has pioneered in many areas of music composition and performance, including the notation of performers’ physical gestures, the use of brain waves in live performance, the generation of visual imagery by sound in vibrating media, and the evocation of room acoustics for musical purposes. His recent works include a series of soundinstallations and works for solo instruments, chamber ensembles, and orchestra in which, by means of close tunings with pure tones, sound waves are caused to spin through space. Mr. Lucier performs, lectures and exhibits his sound installations extensively in the United States, Europe and Asia.”

Jennifer Walshe

‘The sounds I am interested in include those that we hear all the time but are normally considered flawed or redundant: twigs snapping in a burning fire, paper tearing, breathing, instrumental sounds that aren’t considered ‘beautiful’ in standard terms. I think these sounds have their own beauty in the way that pebbles on a beach or graffiti can have.’ (Jennifer Walshe)

Markus Trunk

Is that the way you work, you boil things down? I keep paring down and throwing things out, yes. I want to get to the phenomenon itself, so all kinds of compositional devices we have been trained to use are just a distraction. How do you approach, then, writing a piece? I would sit and wait. Think about the instruments, their timbres, their ranges? try to avoid the temptation of grand schemes. I’ll usually stumble on something that gets me going, some kind of found object.” (Markus Trunk interviewed by Tim Parkinson)

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