Éliane Radigue: OCCAM OCÉAN

Programm:
Enrico Malatesta solo: OCCAM XXVI
Thomas Lehn solo: OCCAM VI
Silvia Tarozzi solo: OCCAM II
Silvia Tarozzi & Enrico Malatesta: OCCAM RIVER XXIII

OCCAM OCÉAN

This piece was inspired by a large mural diagram like an emakimono, discovered by chance in 1973 at the Museum of Natural History in Los Angeles. It showed the „spectrum of electromagnetic waves“ moving from the largest measurable to the smallest of known wavelengths, one vertiginously beyond 1011 the distance of the earth to the sun, and one below 108 THz of a Gamma ray. Out of this large spectrum, there exists a miniscule zone from slightly less than 100 Hz to slightly more than 10 KHz that the ears of certain species populating the planet earth, have transformed into „sounds“. Beyond this, are wavelengths perceived as „light“ and others, adapted into numerous highly useful applications integrated into our daily life. It was copied on site onto several pieces of paper, perhaps with mistakes, and later graciously transcribed by Marie-Agnes Blond and Stephane Roux’s skilled hands for an article that appeared in the Leonardo Music Journal, giving me the opportunity to bring it up-to-date and mould it into the „spirit“ of this new work.

Next, came an interesting resonance with several of my current reflections, somewhat dissociated from their theological basis, on William of Ockham and his famous analysis called „Ockham’s Razor“. Expressed most succinctly in his own words: „The simplest, the best“, it has been adapted and used by numerous artist-creators.

Finally, was the distant recollection of a science fiction story I read ages ago concerning the existence of a mythical ocean. Only the title remains etched in my memory, „Occam’s Razor“, thus explaining the origin of the spelling adopted in the end. It seems in fact that the Ocean with its multiple waves can allow us to get, symbolically, closer to a rather large spectrum of vibrating undulations, reaching from the great deep swells to the wavelets of beautiful summer days. This explains the „structure“ of the overall project.

As many solos as there are volunteers to participate in this exchange, will make up the „sources“. Only OCCAM I for harpist Rhodri Davies has been completed, and brilliantly premiered in London on June 14, 2011.
OCCAM II is being prepared with the violinist Sylvia Tarozzi.
OCCAM III will soon be brought to life by the breath of Carol Robinson and her birbyne.
OCCAM IV involves the violist Julia Eckhart. Others are yet to come.

Later the duets, trios, etc will arrive…all the way to the ocean…

Our personal work mode is also based on an individual „image“ illustrated and evoked within each solo. This provides the essential, projecting an „image“ that allows us through words and what they evoke, to establish a system of communication as the work is being elaborated and to direct its meaning through an intuitive-instinctive mode touched with reason, to the very nature of music, there where no system of musical notation can be applied.
(Éliane Radigue, 2012)

Enrico Malatesta is an Italian percussionist and sound researcher active in the fields of experimental music, sound intervention, and performance; his practice explores the relations between sound, space, and body, and the vitality of materials and the morphology of surfaces, with particular attention to percussive acts and modes of listening. Since 2007, Enrico Malatesta has presented his works on tours across Europe, Canada, Brazil, South Korea, Japan, the UK, USA and Russia, participating in festivals and special events in venues such as Pirelli HangarBicocca in Milan, Berghain in Berlin, the Museum of Modern Art in Rio de Janeiro, Blank Forms in New York.
www.enricomalatesta.com

Thomas Lehn zählt seit Jahren zu den innovativsten und erfolgreichsten musikalischen Persönlichkeiten auf dem Gebiet der elektroakustischen Musik im Spannungsfeld zwischen Improvisation und Komposition. Nach der akademischen Ausbildung an den Musikhochschulen in Detmold und Köln zum Tonmeister und Pianisten verlagerte sich seine frühe Klavierpraxis in Kammer- und Jazzmusik zunehmend auf die Interpretation und Improvisation zeitgenössischer Musik. Mit seinen Performances und Produktionen (live-)elektronischer Musik mit dem EMS Synthi A, einem semi-modularen analogen Synthesizer, der eine große Spontaneität im musikalischen Prozess ermöglicht, erschloß er sich ein internationales Publikum, gastierte auf großen Festivals für zeitgenössische Musik und war an Projekten beteiligt, die von den Goethe-Instituten in der ganzen Welt gefördert und/oder unterstützt wurden.
Langjährige Kooperationen sind Ensembles wie Konk Pack, Toot, Thermal, MIMEO, speak easy, und Duos mit Marcus Schmickler, Tiziana Bertoncini und Gerry Hemingway; jüngere u.a. zwei Trios mit John Butcher und den Pianisten John Tilbury and Matthew Shipp, defuse mit Xavier Charles und Roger Turner, LDL mit Urs Leimgruber und Jacques Demierre, sowie Companion Species im Duo mit Jennifer Walshe.
Als Synthesizerinterpret realisierte er elektronische Werke von Éliane Radigue, Roman Haubenstock-Ramati, Bogusław Schaeffer und Zbigniew Karkowski und war Solist bei der Uraufführung von Peter Jakober’s dort mit dem Klangforum Wien beim musikprotiokoll sowie bei der CD Einspielung von Christogher Fox‘ Topophony  mit dem WDR Synmphonieorchester unter Ilan Volkov.
Thomas Lehn ist Gründungsmitglied des ensemble]h[iatus für Interpretation und Improvisation, mit dem er Auftragswerke u.a. von Peter Jakober, Vinko Globokar, Anthony Pateras, Jennifer Walshe, Jürg Frey uraufgeführt hat. In seinem neuen Solo Projekt SYNKLAVIA vereint er seine langlährigen Wegbegleiter – das Klavier und den Analogsynthesizer – in wechselwirksamer Fusion zu einem Instrument. Das künstlerisches Schaffen des heute in Wien lebenden Musikers ist auf ca. 100 Tonträgern dokumentiert. www.thomaslehn.com