The lasting curiosity of composers in the exploration of new sounds continues the legacy of creating music that is fresh, “new” and challenging not only for listening and perception, but also to artistry and understanding of music, and technique. Subsequently, performers continue to be challenged by these pieces demanding unconventional approaches. “Temporality of the Impossible”, focuses on these challenges, and pieces often described as “impossible to play” (Pritchett, 1994 for J. Cage’s “Freeman Etudes”), and addresses firstly from the perspective of the violinist, and than shared with audience, two important and inseparable parts of music and performance: the tangible and the abstract. The former investigates challenges of the extended violin techniques, that beside physical occasionally challenge psychological abilities of performers, and the notation. The latter investigates the shaping of sensibility for understanding the music. The aim of this project is questioning how do we overcome the “impossible”, while simultaneously seeking out whether and how do we grow into understanding and appreciating the unconventional.
Session #2 (30.04.2017.):
John Cage: Freeman Etudes (selection), for solo violin
Helmut Lachenmann: Toccatina, for solo violin
Yûta Bandoh:Untitled [fantastic], for solo violin*
Aaron Cassidy: The Green is Where, for solo violin*
Salvatore Sciarrino: Sei Capricci, for solo violin
*“Temporality of the Impossible” Performance+Talk Sessions are part of Dejana’s research project “Temporality of the Impossible: contemporary violin music, technique, notation and performance”. If you are interested to be part, contribute and help by attending all three sessions, which would benefit the research, you can book a set for all three performances for 28€.
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