ARCHIVE 26 May 2006 - back
Lounge with artistic interventions
With Eric Thielemans (drums), Lucio Capece (sax & electronics) and Kari Anne Bjerkestrand (dance).
Eric Thielemans::A snare is a bell
The snare drum is often called the ‘mother’ of the drum set.
The drum roll is the archetypal musical expression of the snare drum.
In this particular solo piece I use the snare as a container and/or vehicle for musical expression. It serves as a means of cutting through the surface, exposing the synapses between the nerves of being, like a palpitation. It allows me to be purely concentrated on my ‘state of being’ (that’s the metaphor). But it is also more than that. It’s about the creation of harmonics and vibrating soundwaves. What would normally only be an ordinary snare drum roll becomes a multiphonic piece in which many sounds can be heard resonating; it becomes coloured, a sound that is more than just ‘musical’. This touches upon one of the essences of drumming. Using a very basic technique (which is in fact the only way to really play long notes on a percussion instrument) allows the sound to be taken from the ground upwards, to anything you would choose to imagine.
The piece is electro-acoustic. I use an amplifier, a microphone and volume pedal, some filters, resonators and modulators, to create feedbacks and single-out the multiphonic sounds, thereby sculpting in real time the vibrations and resonances in time-space. This means things can get loud and physical as well as subtle and suggestive.
Kari Anne Bjerkestrand:: A snaredance
“Snaredance” is a close and intimate encounter in dance and music, a percussionist and a dancer live on stage. We want to look at the relationship between the motion in music and the musicality in dance, and create a state more than seeking an expression, almost like an artistic meditation. The aim is that these two components can melt into a higher unit, the one can not exist without the other, and that the audience can experience “visual music” through the dance and “audio movement” through the music joined with the lighting into a round whole.
The performance does not have a story to tell, but will present itself in an abstract form, making alive exchange of energy, ascent and descent of intensity and unfolding of power. Contrasts, disharmony, stillness, chaos syncronity and resonance are key factors.
As a dancer I experience a natural musicality in me, it has been emphasized as one of my strong sides as a performer. Intuitively and naturally I respond to frases and flow of rythms. Musicality in dance is one of my main inspirations. My dancing is closer to music than to drama, and with Erics music I find to have the opportunity of making the music visual. I am attracted to dance as a basic physical communication, as a pure state with no other message than it´s nature. Dance as a profound, free and human element in life. I like to see that the audience get a bodily, instinctual experience of my dance.
For Plankton::Bar Kari Anne Bjerkestrand and Eric Thielemans will start from these ideas. It is a combination of two separate projects combined to become one. They will really start the week as soloists and develop into surely a duet by times.
Lucio Capece :: sax
Lucio Capece is a musician born in Argentina and based in Berlin. He plays bass clarinet, soprano saxophone and a mixer in feedback controlled by an inside amplified saxophone.
His research and studies have been focused in a music considered as time itself, as a portion of living time. With no end, no start, no developing. As well as an intense work into the characteristics of sound, and the perception experience.
He considers that in his person this work obtains its stronger experiences in real time composed music, so called improvised. Where the composer deals with the performing time at the performance itself, allowing the instruments to play together with the performer, suggesting and modifying the creative situation.
In terms of instrumental playing he prepares his instruments with plastic bottles, ping pong balls, water, different kind of paper, particular analogue electronic set-ups , etc., using also personal extended techniques. His playing is strongly affected by everyday electronic and mechanical sounds.
Soprano saxophone acoustic solo set.
The soprano saxophone acoustic solo set is based in the characteristics of the curved soprano saxophone that allows to put objects in the bell. Using an special technique that keeps one of the hands free and permanent air production Capece builds a sort of noises/ notes / silence simple polyphonic music. Different kind of objects are used as preparations.
Other possible Tools:
- Mixer feedback Modified by saxophone. The mixer is settled in feedback connecting inputs to outputs. This feedback is modified by another feedback produced by two small microphones introduced into the bell of the saxophone. The microphones feedback is modified changing the fingering in the saxophone, but not blowing, modifying parameters in the mixer, and by the sound waves in the space going inside the instruments through all it’s openings.
The sound waves modify the feedback produced by the microphone, this one the feedback produced by the mixer generating new sounds that once in the air continue the feedback cycle. Two additional volume pedals, one self made mini speaker and a small violin bow are additional parts of the set.
The result is a raw texture of noise mixed with pitches created in the saxophone. All the sounds and the modifications are played in real time, there are no recordings or effects.
19 05 2006