28.8.2019, 20:30, BrickHouse, Hlubina Coal Mine

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Ostravská banda
Frederic Rzewski, Piano
Daan Vandewalle, Piano
Conrad Harris, Violin
Alvin Curran, Yemenite Kudu Horn

Frederic Rzewski: 6 Movements (2019) *world premiere
Petr Kotík: Spontano (for Frederic Rzewski; 1964)
Alvin Curran: Shofar Rags (2019) *world premiere
Frederic Rzewski: Satires (2015)

This concert is devoted to the music of Federic Rzewski, Alvin Curran and Petr Kotík, complemented by a composition by Petr Bakla. It could be noted that all four of these composers create music that is outside of the mainstream. Kotík and Rzewski met in the early 60s. Kotík composed Spontano for solo piano and 10 instruments around this time and dedicated it to Rzewski. This will be Rzewski’s first performance of the piece. Rzewski will also perform his piano composition 6 Movements, while his piece Satires will be performed by violinist Conrad Harris from New York, and pianist Daan Vadewalle from Gent. Curran and Rzewski met in Rome in the mid 60s in Rome as fellows of the American Academy in Rome. There, they formed the group Musica Elettronica Viva with mostly other fellows. Petr Bakla was added to the program as an example of a younger generation of musical outsider. The evening will conclude with a new work by Alvin Curran, who will perform on the Yemeni kudu horn with electronics.

Carnegie Hill Concerts presents music by Catherine Lamb feat. Carnegie Hill Concerts Chamber Players:

Conrad Harris, Violin

Joshua Modney, Violin

Eric Wubbels, Piano

PROGRAM:

in (tone) for Two Violins (2012)

Prisma Interius VII for Violin and Synthesizer (NY Premiere) (2018)

in (tone) (2012) was written during a phase of trying to comprehend, or discover, overlays or saturations of similar qualities in harmonic colorations. Searching for the moments where monochromatic points of brilliant intensities drift into after-images and resultant vibrations of the other by taking simplified and otherwise very activated and sympathetic resonances around multiples of 3 and unisons, displacing them towards their extremes by their close proximities sounding together, compressed.  All the possible saturations of yellow and white together in one space, perhaps, with a slight shift into orange.

Prisma Interius VII (2018), commissioned by Hellqvist/Amaral duo, comes from a series of nine pieces exploring the role of the secondary rainbow synthesizer, a keyboard instrument that is placing resonant band pass filters with high Qs on whatever the microphones just outside of the listening space are capturing. In each piece the role changes slightly. While mostly the pieces are exploring its bridging potential between the harmonic space made clear by the main voices and the surrounding environment (highlighting or basso continuo instrument), in VII it becomes an actual duo between violin and synthesizer, each phrase an unfurling form as one color shifting into another, and its smeared residue.

The intention is to narrow the (our own) filters and to approach a kind of thread that could have a feeling of an infinite space. from one inner point of listening, being very individual and personal—from that point one could listen with the others into the outer atmosphere and see the connectivity of everything. that’s ideal. that’s what i am trying to find, that space. what is the limit of connectivity from one point to the absolute, outside…