Further, by insisting on live performance with electronics—in the tradition of works such as Imaginary Landscape No. 1 (1939) and Cartridge Music (1960) by John Cage—they stood in stark contrast to the “tape” based idioms of electronic music that were common at the time.
In the following years the ideas embodied in these works took on diverse and surprising directions through re-encountering traditional acoustic instruments—such as piano, trombone, voice and percussion. This concert highlights some of those moments through performances of Reich’s Clapping Music (1972) for two performers and Lucier’s Wind Shadows (1994) for trombone and oscillators and Nothing is Real (1990) for piano, small recorder and amplified teapot. The program closes with the latest reverberations of these concepts voiced through student-initiated projects coached by Keith Moore and Sebastian Schottke.
18 Miaouli str., Monastiraki
Friday, May 11 - 20.30
Concert With Live Electronics, Piano & More
This concert features three classic works in American live electronics: Alvin Lucier’s Bird and Person Dyning (1975) for performer, electronic birdcall and feedback system; Steve Reich’s Pendulum Music (1968) for microphones, amplifiers, speakers and performers; and David Tudor’s Forrest Speech (1976) for any number of performers with original recordings and sound altering objects. These incisive and groundbreaking works explored new perspectives in the use of acoustic feedback, resonance, radiation and phase for musical composition and performance.
Tuesday, May 8, 2012
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