works<\/p>\n
Part I.<\/p>\n
Encounter (1) –\u00a0Michael Pisaro, 1998, for four players<\/p>\n
Part II.<\/p>\n
Hinwandeln<\/em> (zwischen Himmel und Erd<\/em>) –\u00a0Michael Pisaro, 2005, for three players<\/p>\n Quelque chose qui nous attire – <\/em>Antoine Beuger, 2007, for three players<\/p>\n #21<\/em> from The Collection –\u00a0<\/em>Michael Pisaro, 2000, for one player<\/p>\n Un lieu pour \u00eatre deux<\/em> –\u00a0Antoine Beuger, 2007, for two players<\/p>\n Three drops of rain \/ east wind \/ ocean –\u00a0<\/em>Antoine Beuger, 2006, for two players<\/p>\n Certain species of eternity \u00a0–\u00a0<\/em>Michael Pisaro, 1996, for one player and one sound [four consecutive versions]<\/p>\n piano & strings<\/em> (harmony series #9<\/em>) –\u00a0Michael Pisaro, 2005, for four players<\/p>\n <\/p>\n <\/p>\n description We are grateful to Dani and Joaco for their presence at the concert.<\/p>\n <\/p>\n <\/p>\n Encounter (1)<\/em> was performed in a room in an apartment. We used an agogo bell, a guitar harmonic, an accordion tone or key and a double bass bowed string. The rest of the sounds one can hear belong to the bodies of the people in the room, the birds and the people in the open space between the buildings in Santa Mar\u00eda and Bellavista, or the distant sound of traffic. The evening\u2019s light remained stable during the 40 minutes.<\/p>\n Encounter (1)<\/em> – Michael Pisaro<\/p>\n
\nIn April or May 2010, among the different ideas we had when we started these concerts of experimental scores, we contacted some composers from the Wandelweiser collective, whom we knew for their recent relation with a contemporary area of improvisation.
\nA few days after we had written to them, Manfred Werder, Antoine Beuger and Michael Pisaro sent us a happy and enthusiastic reply, and all of them generously sent us some scores for us to perform.
\nThis concert is in gratitude to their disposition, kindness and support.
\nHaving said this, and proceeding with a brief description of the concert for the online audience, we believe it is necessary to include some characteristics of our enterprise.
\nWe are absolute beginners in these matters. On one hand these scores allow us something we\u2019ve never had: to know them through the actual performance, and not merely hearing the recording or studying the score. Their utterly simple instructions, the clarity of thought and the multiple ways of performing them, lead to a new kind of virtuosity: Listening and Collaboration.
\nWe\u2019ve surprised ourselves with these work\u2019s demand not solely for a radical state of concentration, but for a maximum inquiry on what is concentration in the first place, what should it be applied to: is it fixed, hooked to a point, stable and always the same or moving and ever changing, at an indeterminate speed but very fast, going everywhere and jumping from one sense to the other?
\nThus, we insist, we are absolute beginners: while performing Encounter (1), we listened to the sound of our bodies (the soft machine), we forgot to breathe or wondered whether we should do it or not, which is obviously ridiculous.
\nAm I playing too loud? Is this sounding correctly? Should I be here and now all of the time? Is it too long, too extremely long? What should I listen to? Should I like it? What is the idea? What is the Idea?
\nMaybe the right question would be:
\nIf you don\u2019t know, why do you ask? (David Tudor)
\nNCD<\/p>\n