ihatemusic

In May 2007 the sextet of Lucio Capece, Julia Eckhardt, Christian Kesten, Radu Malfatti, Toshimaru Nakamura and Taku Sugimoto convened in Belgium to work together and play two concerts, one in Gent and one in Brussels.

During their time together the group played a mixture of improvisation and their own compositions. A number of exciting tensions were present. The contrast between loud and quiet, activity and inactivity and indeed improvisation and composition.

Wedding Ceremony ties together many of these elements into one CD release. Alongside a twenty minute improvisation sits one scored piece each by Kesten, Malfatti, Sugimoto and Capece. You are cordially invited to listen. RSVP.

Full length standard CD release. Available from the Cathnor link below and soon from good distributors.

looking forward to hearing this one when I get back from Estonia !

Congrats on another release, Richard, happy you have committed time and energy to do so.

Looking forward to getting this one, Richard! Thanks so much!

Highly recommended !
Only one listen so far but thoroughly enjoyed it.

I'm on my third listen now & yes, this is excellent. Highly recommended.

Though I should add that from now on I shall programme my cd player to just play the first 3 tracks. At 55 minutes this is plenty of gorgeous music. Sugimoto's Doremiology piece, and the text-based piece based on 'the society of the spectacle' reach nowhere near the same level of interest or satisfaction for me.

yes, this one looks fantastic, really looking forward to it.

Very nice release. A few listens in and I think I agree with Mr. Reynell's comments about the track balance, but those first three are very good indeed.

Which one of them is interested in Guy Debord, Kesten or Capece?

Capece, it seems. You can download his score from the Cathnor website.

I see, thanks for the tip.

I have copies of this in stock as of today, and can take orders through Friday, after which ErstDist will be closed for a couple of weeks while Yuko and I are in Tokyo.

Dan Warburton wrote:Capece, it seems. You can download his score from the Cathnor website.

Has anybody red the score?

What does the sentence "The musician do not play attention to each other" mean?
I mean, I practice that a lot of it in the music I do (with my colleagues), but I don't know what does it mean, because what I do when I improvise is to pay full attention to the others, the ones that are playing and the ones that aren't; when I play or when I'm silent, I'm always paying attention.

(I do know if it's the language getting in the way of comunication (quoting ffaster) or not, in the way I'm posing this)

And other thing: what's the (shall be say) genealogy of this score?

What do you mean genealogy? As in, which pieces could be regarded as precursors?
I have more to say on this, but y'all will have to wait for the Wire review

what I'd like to know is the actual running sequence of the two nights. can you post that if you know it, richard?

Dan Warburton wrote:What do you mean genealogy? As in, which pieces could be regarded as precursors?

Yes, but not only strictly musical examples.
Fearandpanic, come to my help!

Dan Warburton wrote:I have more to say on this, but y'all will have to wait for the Wire review

yonhosago wrote:What does the sentence "The musician do not play attention to each other" mean?

They close their earlids.

Helllo. I ll try to answer to the aspects that are mentioned.

Jon: what I'd like to know is the actual running sequence of the two nights.

First night: Improvisation/ Radu´s piece/ Society piece
Second Night: Christian´s piece/ Taku´s piece/ Improvisation/ Radu´s piece.

Yonhosago: What does the sentence "The musician do not play attention to each other" mean?

The intention was to pay attention to your sound and the silence that that sound may produce as a consequence. I made the experience to play a sound and then a silence, many times. According to the sound that I played and all it´s characteristics I felt that the length of the immediate silence , for some reason, where going to be different. When I tried to play the same sound with silences of other lengths I experienced that sometimes, these silences musically did not work that well. In the musical aspect I find this interesting. Maybe it was a total subjective experience. I do not know. I suggested the musicians to pay attention only to the sound and it´s consequent silence. But this was somehow an strategy to try to avoid listening to each other. I think that there is the installed idea that musicians, and specially improvisers have to listen to each other all the time. I think that this is important, but sometimes brings similar results, when to concentrate in your own sounds sometimes brings the music to another possible results.
I´m not the first to say or try this, at all. I remember to have played ( with Julia actually) a text piece by Pauline Oliveros where she suggests to do this, and I enjoyed the results very much. Keith Rowe told me once something like: "My friend John Tilbuty says that music is mainly about listening each other, but I think that is about not listening to each other”. I hope not to write the quote in a wrong way, I think that this was the idea. Is the kind of phrases that Keith mentions in conversations and that can stay in your mind like an earworm forever. If you take them textually or not is another subject, but it was for me mind opening when he mentioned it the first time I met him in 2003. I think that this is the idea that was worked in the CD “Sight” by Mimeo, but in studio work. The Cd was not out, I think when we did this piece, but Im pretty sure that Keith mentioned to me to idea, and that, very probably ( im not really sure about dates), influenced me. Other influences: Moholy Nagy´s “Licht Raum Modulator”, a mobile sculpture with many elements that move for two minutes and relate always in a different way because each other do it in different velocities. The visual aspect of it was inspiring to think on it musically. This also worked a lot in music that works with loops or in techno music.There is also the B-Boim CD " Thre Bacrounds" where , if I´m not wrong, Radu, Michael Pisaro and Jürg Frey play each of them a different piece at the same time .I thought that it had a lot to do with the isolation that Debord´s mentions in his book. It happens to me when I´m in places where people speaks a language that I cannot follow at some point that my mind goes somewhere else, and my ears listen but not anymore. This was somehow the idea to work on stage.

Yonhosago: what's the (shall be say) genealogy of this score?

There are other pieces that I know that worked similar aspects:
- I´m sitting in a room ( Alvin Lucier)
- Empty Words (John Cage)
- Antoine Beuger's “Calme étendue (spinoza)”. That works with Spinoza texts.
- Gordon Mumma: Cybersonic Cantilevers ( with public participation)

These are masterpieces in my opinion. I´honestly sorry to compare this piece with those ones, but I try to answer.
I think that also to have played with my friend Mattin influenced me to suggest the piece. He does it in another way I think, but it happened to me several times to be playing with Mattin, and suddenly notice that he was not anymore on stage but in the middle of the audience, doing something. I think that the idea became somehow natural to me. Christian Kesten has done several works involving the audience with the group Maulwerker, even walking on them, or at least on their chairs and crossing the whole audience section till the end of the room. Is probably similar also to what rockers do when they “dive” on the audience.
I hope this answers some aspects. Thanks for the interest and honest sorry for taking attention to the other members of the project. Best.l

thanks, Lucio!

Lucio Capece wrote:Jon: what I'd like to know is the actual running sequence of the two nights.

First night: Improvisation/ Radu´s piece/ Society piece
Second Night: Christian´s piece/ Taku´s piece/ Improvisation/ Radu´s piece.

OK, that's helpful, but which of the two improvs and Radu's pieces were included on the CD?

Hi Jon. There is only one track recorded at Vooruit, and is the last one. All the previous tracks where recorded in Brussels. best! l