Exhibition & Concert at Glazenhuis, Amstelpark, Amsterdam Zuid | www.zetfoundation.nl

Exhibition & Open Podium Wedneday 27 APRIL < Sunday 1 MAY 2011, 12:00<17:00
Theresa Sauer, John Kannenberg, Collin McRae, Janneke van der Putten, Aliona Yurtsevich, as well as a selection of scores from Theresa Sauer’s Notations 21 [www.notations21.net].

Register for the open podium: info@kulter.nl. Please read the instructions carefully to perform Theresa Sauer’s Circle Series [see description*]

OPENING  & CONCERT 27th APRIL 17:00<20:00

17:15 Aliona Yurtsevich “Tree Study III” [electric guitar: Alfredo Genovesi]
17:30 Collin McRae [tuned down violin: Collin McRae | percussions: Nate Tucker]
18:0 Janneke van der Putten & Gabriëlle Barros Martins “Body positions as scores”
18:15 John Kannenberg & Collin McRae “Transfer” [drone-based improvisation for amplified drawing, electronics & violin].
18:45 Oorbeek Christian Marclays’ "Shuffle" o.a.

19:15 Theresa Sauer “The Circle series” [Chloi Kateridou, Nate Tucker, John Kannenberg & Collin McRae]
19:30 John Kannenberg “Landscape” [Alfredo Genovesi, Nate Tucker, John Kannenberg & Collin McRae]

.* The Circle Series [2011] by Theresa Sauer [author Notations 21] | OPEN PODIUM

These four works entitled “The Circle Series” (2011) are inspired by Tychonian maps published by Tycho Brahe in the late 16th century. At its most basic foundation, the Earth is the center of the universe and the sun rotates around the Earth once a day. Tychonian beliefs are still held by at least 18% of Americans today. Extant geocentrism otherwise known as the Tychonic System rejects observations of modern astronomy and cosmology.

The four compositions in “The Circle Series” are based on shape, color and texture and symbol to guide the performer(s) in performance.  Instruments, duration and performer number is open to choice. Please consider the concept of the work in all choices.

Suggested order for performance: “Red Circle” “Blue Circles” “Gold Circles” “Black Circle”

The colors of the circles suggest the intensity of the composition to be interpreted by the performer.

The shape of the large circle is to suggest improvisational circular motives. Begin somewhere, travel around and then return home again but never exactly the same…as we do in life.

The small spheres suggest episodes of differing intensity and events along the path of the journey. The duration may be suggested by the size of the sphere or ignored.

If there is an interest in texture as each sphere is highly textured, there may be moments of musical reaction to particular places in the sphere. This may be discussed between two or more players and a collaboration may begin.

The symbols are incorporated in the compositions to suggest a language unknown. Performers may choose to see the unknown or reject it and interpret it only if they wish.

The tychonian theory helps us to see the development of thought. It influenced many other astronomers to continue the process of discovery. This composition series is written as an homage to the process of musical discovery.

.Transfer | John Kannenberg & Collin McRae [2011]

Drone-based meditative improvisation with John Kannenberg (amplified drawing and electronics) and Collin McRae (violin, visuals).

.Ushta | Collin McRae [2011]

Ushta is based on interviews from friends and colleagues who learned English as a second language, asking about specific words that don't translate. McRae has a formula for unfolding the interviews into sound~  extracting the pitch from their voices, and laying out the parts of the interview so the listener has the experience of learning; confusion and not knowing the meaning at first, and revelation and understanding by the end. McRae uses a tuned-down violin (strings loosened to be more like a cello) to be as close as possible to the human voice.

.tuned-down violin: Collin McRae

.percussions: Nate Tucker

.Landscape: Vanishing Point | John Kannenberg [2004]

The score is based on a drawing and field recording I made of the shore of Lake Michigan in October of 2003. It consists of four individual "staves” or parts, that rotate around a central, common vanishing point. The score can be can be performed by four or more musicians. While the score is meant to help guide the musicians through a decision-making process, the music performed is meant to be improvisational in nature.

Using two pencil markings from the drawing and two waveforms from the field recording as foundations, I overlaid a grid onto these images and determined the positions of the different colored squares you see in the score where the original images intersected the grid. The colors of the squares represent types of musical decisions: white = volume, grey = timbre, and black = complexity. Each vertical column of squares indicates one minute of time; the hash marks (I-III) beneath each column correspond to an audible cue which the performers use to gauge their position in the score -­ for example, during the piece's premiere performance in March of 2004 at Deadtech Art + Technology Center in Chicago, I kept time by lightly tapping a cymbal one, two or three times to indicate to the group of performers the start of each new minute.

The four parts intersect at a central circle with a white square in the middle; this indicates that the players are to slowly fade their sound to a second of silence in the very middle of the piece, then fade their sound back up after the momentary pause. The process then repeats in reverse, with the piece ending after a 19 minute duration. Complete instructions as well as an mp3 of the field recording necessary for its performance can be found online at www.johnkannenberg.com/sound/vanishing_point.html. [from Notations 21]

.TREE/ study - III | Aliona Yurtsevich

TREE/ study – III is a part of a project “TREE/studies. Sonification of visual data”, that deals with representation of data through sound. Ones believed, everything on our planet has a vibration, therefore it must have the sound and maybe even its own music. The project was inspired by bare trees and its complex “visually-polyphonic” information. The concept was born out of curiosity to hear the actual sound of the tree(s), inspired by the idea to illustrate or translate visual data through sound using its image as a map to reveal “music” of the given tree – the music that exists in nature, which the human ear is not able to perceive – a natural harmonic balance encoded in the nature and in the divine order of seemed randomness that exist in 3-dimensional space.

. read more at: http://www.alionayurtsevich.com/tree.html

Live performance: 

Alfredo Genovesi - electric guitar   / http://www.myspace.com/alfredogenovesi

. Oorbeek plays Christian Marclay’s “Shufle” [2007]

Christian Marclays’ "Shuffle" is a musical score comprised of photographs printed onto a deck of cards.

Shuffle takes on the form of a deck of oversized playing cards that allows for a hands-on interactive experience between the viewer, the cards, and the images. Each of these images is presented on an individual card, and the entire deck is enclosed in a distinctive package. Part Fluxus box, part John Cage–ian “chance operation” or Eames House of Cards, the deck offers a compelling, serendipity-driven visual experience, but is also intended to be used as a spontaneous musical score. Shuffle includes an explanation and instructions by Marclay.

.Body Positions as Score (working title) [2011]

How are our vocal sounds determined by the way we hold our body? In this project we explore how different positions in space influence our singing.

We are inspired by sound meditations where the use of the body is the starting point: standing, laying and sitting.

Gabriëlle Barros Martins (1981, Schiedam) follows the education 'Adem, Stem en Boventonen' (transl. 'Breath, Voice and Upper-tones') from Borg Groenenveld. Janneke van der Putten (1985, Amsterdam) studies Indian classical Dhrupad singing with Marianne Svašek. Janneke and Gabriëlle are visual artists living & working in Rotterdam.

.Live Painting to Sound [2011]

Harrie Starreveld [Zen shakuhachi] | Janneke van der Putten [Painting]

During this performance graphic images are produced in relation to the live music. Artist Janneke van der Putten reacts on the Japanese traditional music, played by flutist Harrie Starreveld. A long roll of rice paper is being painted in a spontaneous way. This process is filmed and projected.