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This month, Reinterpretations continues with its examination of classical performance practice, focusing on Morton Feldman's graphic and indeterminate scores from the early 1950's and 60's, and including a presentation of new work for violin, tuba, and piano. Ramin Arjomand is joined by Andrew Niess and Sarah Segner.
Music is a performing art, full of spontaneity, and born of the moment. Musical notation has always implied and relied upon a rich performance practice around it to supply the critical quantity of musical instinct necessary to creating a true musical experience. In other words, notation has never been truly specific, nor is it able to give a complete indication of the musical conception it represents: this can only come into being in a specific moment in time by informed performers. As such, certain viable approaches to notation, developed by composers to elicit specific responses from performers and to achieve precise effects in the moment of performance, were abandoned because they never developed an adequate performance practice around them to draw from.
The afternoon will include a discussion of these ideas, tracing Feldman's musical syntax back to that of Webern, whose language was at once antique, in its embodiment of the spirit of contrapuntal discourse practiced by the Flemish School, and modern, being rooted in a harmonic environment in which tonal dissonance had been prolonged to such an extent that the notion of its resolution had been forgone, and forgotten even. The afternoon will feature performances of Feldman's 'Projection 4' for violin and piano, his Durations 3 for violin, tuba, and piano, and a new work by Ramin Arjomand for violin, tuba, and piano.
The Reinterpretations series at Spectrum, curated by composer/pianist Ramin Arjomand, works to redefine concert and classical performance practice, promising a unique experience that comes out of the trust, mutual understanding and transparent silent exchange between audience and performers vis à vis the artistic propositions offered in the works performed.
Monthly evenings showcase musical and multi-disciplinary work that celebrates intelligence before technique, structure over material, and possibility above finality.
Interspersed between evenings devoted solely to performance, the series offers discussion evenings dedicated to the experiential presentation of key ideas and concepts that concern composers, and the examination of their effect on classical performance practice. Audience members are invited to participate in a critical discourse around the issues, and to engage directly in a thought process that will tie in to their experiences on future evenings.
The series establishes the performance space as a place of even dialogue and communication, of possibility and growth.
Visit Ramin Arjomand's website.