Marco Momi Quattro Nudi for electric guitar and electronics (2014-2018)
(*1978)
The series Nudi is a brief exploration of the solitude of an instrument with its player. A small collection regarding the evanescence of a dialogue that becomes a monologue. The Nudi probe the overexposure of identity. A perceptual space made up of stories that don’t need to be told because there is no audience: their life expires in the passing of a thought. A dimension in which the exposed body rids itself of social characters, sniffs itself, hugs itself. Quattro Nudi for electric guitar and electronics are four pictures on the act of discovering the instruments, testing the song attitudes, the metal's virtuoso technique and the object itself (that inspires interferences with other objects). The electric guitar becomes the toy to play with and the electronics is the mental room in which the first tests are done.
Joan Arnau Pàmies [Vltbn]^4 (o quatre panells per a trombó sol) (2013)
(*1988)
Humans perceive noise as an indiscernible entity. Noise is problematic due to its intrinsically chaotic information, yet paradoxically fascinating because it presents great levels of richness and complexity. We view it pejoratively when it interferes with our logic and predictions, but at the same time we recognize its ability to avoid simple patterns and to embrace unpredictability. From a human perspective, reality is an extremely intricate network of relationships that we acknowledge, disregard, presage, judge ... the list could go on. Yet noise acts upon this reality as a chance operator: it transcends control, hierarchy, and imposed power.
recorded live at Werkstatt für Improvisierte Musik, Zürich, 22 September 2018
all photos courtesy of Sandra Cueva Vasquez
Chikako Morishita One Arm 1 (2014/2017)
(*1981)
In my composition, “silence” is generally as significant as other “performing spaces.”
For me, this piece is entirely about the creation of “strangeness” brought about by the gap between looping materials/dynamisms, awkward proportions between patterns, use of surrealistic text, unison between two performers.
Sometimes the performers become something like marionettes/dolls into which a fictional world is projected…
Winston/Goepfert Song Two Derivative:
after Morishita One Arm
"I can let you have one of my arms for the night," said the girl.
She took off her right arm at the shoulder and, with her left hand, laid it on my knee.
"Thank you." I looked at my knee. The warmth of the arm came through.
Yasunari Kawabata
