We Remember Not
Program
Andrew C. Smith
How To Get There From Here (2016)
Anna Sowa (1987)
Piece for saxophone and violin player (2020)
Credits
Alejandro Fenollosa Beltran & Helena Ruiz Sánchez
KASK & Conservatorium i.s.m. STAM
KASK & Conservatorium presenteert muziek, theater, performance en beeldende kunst van studenten in de binnentuin, in een voormalige electriciteitscabine, in een historische tapijtenzaal van STAM en op de bühnes van LOD en International Opera Academy.
Tijdens de drie Wonderlandweekends passeren op deze locaties een theatervoorstelling over verlangen, een slapstick-performance, een performance-opera met een tenor, pianist en danseres, een installatie in openlucht en eentje die een spel speelt met verstoppen, en tot slot hedendaagse interpretaties van muziekcomposities en kamermuziek.
"How To Get There From Here" contemplates the utilization of space as a venue for discussions and gatherings. This piece translates the phrase "we remember not the word, but the sound of the word" into a composition comprising three movements. The initial movement utilizes 1,600 speech segments, initially structured into a fixed-media electronic composition through stochastic principles, and later transcribed into International Phonetic Alphabet symbols for human performance. The second movement involves a metamorphosis of the written words themselves, transitioning from one word to another through simple edits: additions, deletions, or alterations of letters. Lastly, the concluding movement is entirely constructed from quotations sourced from English texts spanning from the 14th to the 20th centuries.
The second piece on the program, "Piece for Saxophone and Violin Player," reflects on the historical significance of music within spaces like the Baudelo space. Such rooms have long been dedicated to chamber music, with the violin standing as one of its most enduring symbols. Here, the focal point lies in the physical presence of both the musicians and their instruments, serving as the primary source material for the composition. This process of deconstruction imbues the music with fresh significance, reshaping its essence and narrative.