Unhörbare Zeit is a much needed American showcase of the music of the Swiss composer Jürg Frey, a longtime member of the Wandelweiser collective. Frey’s music is often at the threshold of silence, requiring virtuosity of a different kind: extreme sensitivity to sound and timbre. The concert features at its center the American premiere of the monumental work Unhörbare Zeit (Streichquarttet & Schlagzeug), commissioned by the Bozzini Quartet the subject of a 2007 documentary by Urs Graf.
We would like to invite you to a benefit concert for Index 0, the first release by the cooperatively run label Index, on February 10, 2013, at 8 pm. The record includes pieces by Elizabeth Adams, Jack Callahan, Beau Sievers, Andrew C. Smith, and K.C.M. Walker.
The Audience vs Ecstasy Mule vs John Cage vs Ecstasy Mule vs The Audience is an aleatoric construction as opposed to an indeterminate one, using elements of the John Cage compositions Indeterminacy, Music Walk, Water Walk, Variation #1, Imaginary Landscape #5 and Radio Music, as well as some other chance determined sound sourcings. It was created at the request of Miguel Fransconi for the Cage100 Festival at the Stone in September, 2012 and was subsequently performed in the RipRig Series in Philadelphia. For this performance, the entire audience will be asked to play the piece.
Séverine Ballon will play pieces from her solo repertoire, including works written specifically for her, developed in collaboration with composers. These includes works by Liza Lim, Rama Gottfried, Ashley Fure, Mauro Lanza, and Dominik Karski.
The Guidonian Hand Trombone Quartet and Ensemble Indexical will perform new pieces for double quartet by composers Erik Carlson, Tyler Wilcox, and Andrew C. Smith, with Daniel (1) by Craig Shepard. The new pieces have been composed over the past months, with a workshop session for composers to try ideas and work directly with the performers. This sustained engagement with the music over two months allows composers to develop their new works more fully.
Bandwidth is about compositions that start from a single parameter or principle, extrapolating an entire piece from this one point. It is like looking through a paper towel tube, focusing on a small circle in the distance, until the outline of the tube becomes the viewer’s world. These pieces begin with a mechanism—a simple numerical series, the resonance of a room, or the shape of a singer’s mouth—and build into something more. They ask the listener to focus on a small space, and to find what is audible within it.