#1.111.007

kc — Wed, 21 Feb 2018 10:05:07 +0000

14 October 2016. In a series of improvisations for ITINERANT INTERLUDE #1.111.007, accordion virtuoso Silke Lange offered a musical reflection of Malene Landgreen’s four dimensional desires. Using pre-conceived intervallic and melodic patterns, at times, short sequences of only a few notes as starting material, Lange elaborates upon these simple elements, quietly developing them into longer and more intricately organized sequences. The contrast of Landgreen’s soft brush strokes with more sharply defined geometries, her warm and vibrant colors, find a musical counterpoint in Lange’s alternations of the quiet and static, active and dynamic, clear rhythmic pulses and the suspension thereof. Lange’s talent in exploiting the accordion’s ability to achieve almost transparent variations in sound color through an interplay of registers, reeds, valves and bellows will find a plastic reflection in the surrounding space, delicately coloring each musical phrase. And, as Landgreen’s works ultimately assume final form in relationship to the architectonic space, so too, the subtle modulations of timbre and register very specific to this instrument, and in the hands of this musician, play on perceptions of sound in space, as they react and adapt to the atmosphere of the moment.

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#14.1

kc — Wed, 21 Feb 2018 11:12:07 +0000

27 April 2017. The series of multivalent works comprising Aisha Khalid’s I AM AND I AM NOT provided unique inspiration for ITINERANT INTERLUDE #14.1. The three musical works performed that evening – two compositions and one improvisation – present different perspectives on the idea of repetition, allusion, and the resilience of tradition, and as such, offer an aural counterpoint to the works represented in the exhibition.

Repetition of the musical interval, the musical phrase, is a prominent feature of “Trauermusik für Michael Hirsch” (2017), composed by Dieter Schnebel (b. 1930), in memory of the recently deceased friend and colleague to whom the work is dedicated. Sequences of repeated intervals lead to a final section which introduces a musical phrase referencing the name of the composer; as if being viewed from differing perspectives, the phrase is then presented in varying permutations, with sections repeated ad lib according to the prerogatives of the performers. Time becomes elastic.

While composing “Melodia” (1979) for solo accordion, Toshio Hosokawa (b. 1955, Hiroshima) described his search “for a new sound dimension”. The main catalyst for the work, says the composer, was the idea of the sheng, the traditional Chinese mouth organ, an instrument consisting of 17 vertical reed pipes, whose origin dates back to the 11th century BCE. In excerpts from the work that will be presented this evening, quiet intervals build to create fascinating soundscapes, a sonic metaphor for the mesmerizing optical fields of Aisha Khalid. Indeed, the inspiration for “Melodia” as a whole can be seen to intersect in the broadest sense with I AM AND I AM NOT inasmuch as a contemporary Japanese composer’s inspiration reaches back to ancient China, the historical roots of the figurative miniature tradition of the Mughal Empire, a technique central to Aisha Khalid’s visual language.

The third performance of the evening put the improvisational talents of the performers on display, in particular, their intimate knowledge of the myriad possibilities of sonic interplay of timbre, gesture and extended techniques between their two instruments. Paté and Badczong have taken inspiration from I AM AND AM NOT and will perform a duet to accent and counterpoint the works on view.

Just as the works of I AM AND I AM NOT embody a wealth of references through space and time, so too, the program of ITINERANT INTERLUDE #14.1 aspired, in this more ephemeral encounter, to lend an acoustic dimension to similar artistic concerns.

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accordion Archives - itinerant interludes

#1.111.007

#14.1