#10

kc — Wed, 21 Feb 2018 10:53:18 +0000

November 23, 2017. It seemed an obvious choice to invite tuba virtuoso Robin Hayward to provide musical counterpoint to Mitya Trtozki’s FUGITIVE SOULS. But the program for ITINERANT INTERLUDE #10 ventured beyond mere timbral associations of the exhibition’s themes to present works that explore sounds and techniques not usually associated with the tuba in its classical form. The three compositions – Barge, Treader, and Release – describe three very different soundscapes, each the fruit of Hayward’s ongoing research to expand the language of contemporary instrumental technique with his instrument.

Both Treader (2009) and Release (2002/2009) belong to a series of works that draw on the ‘noise-valve’ technique developed by Robin Hayward, in which the piston valves of the tuba are rotated, rather than depressed, in order to produce noise. The gradual rotation of the other valves leads to micro-variations in timbre as the same impulse passes through different acoustic spaces. Whereas Treader utilizes the technique to create percussive sounds, Release filters turbulent air within the tuba, adding an extra layer of material upon each repetition of the initial structure, resulting in a work that is an acoustic version of tape overdubbing.

The actual sounds of the cruise ship depicted in Trotzki’s photo essay provided both the inspiration and the musical material for Hayward’s Barge which was composed especially for ITINERANT INTERLUDE #10. In this work, Hayward utilized field recordings of the ocean liner on view in the exhibition as a background track with the tuba playing a radically slowed version of the repetitive signature melody that appears in the audio recording.

The evening’s musical performances counterpointed a conversation between artist Mitya Trotzki and curator Anatoly Shuralev and readings from “A Supposedly Fun Thing I’ll Never Do Again”, American writer David Foster Wallace’s very personal deconstruction of the luxury cruise experience which he originally wrote for Harper’s magazine in 1995.

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#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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L40 Kunstverein am Rosa Luxemburg Platz Archives - itinerant interludes

#10

#1.111.007