WEISSLICH 4 – Composer/Artist Interviews

Tomorrow at 8pm, WEISSLICH returns to Hundred Years Gallery to present the first concert of our 2015-16 season. Beforehand we asked each of the six featured participants to respond to a few prompts about their contributions. Read on for responses to the following:

[1] What’s one thing you would like the audience to know about your piece / thing?

[2] Tell us an anecdote that relates to your piece / thing.

[3] It’s Halloween and you’ve turned into a werewolf! Who would you have replace your slot at WEISSLICH?

Robert Blatt – All Together Now
[1] Sitting still is optional.

[2] Florida is a region known for sinkholes, which are mostly naturally occurring collapses of surface sediment into often large underground cavities formed by the dissolution of limestone. They can emerge suddenly, and some people have been swallowed alive by these geological events. I moved to Miami a little over a year ago, and not long after arriving, I started to feel tremors shaking my house. I became concerned. Was the earth about to eat me?

I soon found out that Miami is a region with a very low probability of sinkhole formation of any substantial size; however, living in the outskirts of the city, I happen to reside not far from a quarry. Periodically the miners find it necessary to blow up the bedrock. Their blast schedule is even posted online. It turns out the sinkhole I was worried about my house collapsing into was fiction. I was merely feeling the formation of a different type of hole in the limestone, but in this case caused by the use of dynamite.

[3] Guillaume de Machaut

Eleanor Cully – new work
[1] This is my first solo performance of my own music.

[2] ppppppp

[3] My friend and flautist Marta Buzow, whom I am staying with at the weekend. We used to play together every week in the brilliant New Noise ensemble at Brunel University and she taught me in my final year there.

Beavan Flanagan – No sweeter sound than my own name
[1] It’s about a person, it’s about an object, it’s about a person being an object.

[2] It was pointed out to me that the piece had certain scatological undertones. I personally think this was a reflection of the people who thought this more than of the piece itself :-)

[3] Gary Numan (on one condition: he wouldn’t be permitted to perform any of his music from the mid 90s onwards)

David Pocknee – Cipher For The Lighthouse Twins
[1] It was premiered last month in Miami by Inlets Ensemble.

[2] I swear the printer was laughing over the phone when they confirmed my order for this piece was ready.

[3] Trond Reinholdtsen or Parkinson Saunders. 

Leo Svirsky – singer-songlewieser medley
[1] I’ll be doing a “singer-songleweiser medley” with songs and miniatures from Michael Pisaro, Christian Wolff, and Antoine Beuger, with some liberties taken in the Wolff songs.

[2] When he came to the Hague, Christian Wolff told me that Cardew’s only political song that really made it into the working class repertory was the “Bethanienlied”, a protest song against a free clinic being turned into a center for contemporary art by the city of Berlin. Cardew organized a concert with Christian Wolff, and Frederic Rzewski which the working class audience was pretty bored with, except for one point where Cardew performed his variations on the Bethanienlied. The audience sang along with the theme, and booed when the first variation came (instead of the second verse).

[3] Jeromos Kamphuis, even though he’s a vampire.

[1] Skateboarding is a supremely beautiful art which makes cities more interesting, more liveable and tells us things about space we couldn’t know otherwise. Skaters are urban dowsers of texture, angle and energy flows; to be able to witness what they do is a privilege and we should support them. Long Live South Bank.

[2] Anton Lukoszevieze had a birthday coming up, and it was a number which ends in “0”. He joked he would like a piece as a gift, something “which will make me feel I’m not getting old, like about skateboarding.” I was reading a book about skateboarders and their use of urban space at the time, and had already been thinking of doing something about skating.

[3] Tony Hawk

We look forward to having you along tomorrow!


Better Know A Weisslich: Leo Svirsky

Leo’s probably one of the smartest people I know. His work as a pianist betrays an omnivorous taste that borders on the encyclopaedic. As at home thundering through Stockhausen’s Kontakte as the most delicate Beuger or the most bombastic Beethoven. He is a relentless promoter of new pieces, both as a performer, and as the host of an intimate and uncompromisingly long and quiet concert series held in his front room, which attracts a calibre of performer that belies its humble setting.

His compositions lie within the wandelweiser tradition. Often a single page holds a set of carefully chosen pitches and a small set of instructions. Take for example, his exquisite Trauergondel (https://soundcloud.com/leo-svirsky/trauergondel), in which tiny fragments of Liszt gently float against each other inside the ghostly and transparent exoskeleton of the original piece, or For John McAlpine (https://www.youtube.com/watch?v=IKzC_kgiL0Q) for small ensemble.

Two of his largest works set texts by Paul Celan, Atemwende (https://www.youtube.com/watch?v=R852iUgalTA) and the more recent Tenebrae (https://www.youtube.com/watch?v=KkWgGPppynQ), which was premiered in Dusseldorf this summer; an “opera” in which harmonies unfold with a meticulous slowness.

As an improviser on accordion or piano he is active in the Dutch free improvisation scene and has released records with the violinist Katt Hernandez (https://soundcloud.com/leo-svirsky/sets/leo-svirsky-katt-hernandez) and his more jazzy group Trialectics (https://soundcloud.com/trialectics).

His roles of pianist, composer and improviser reach a nexus with the album Songs In The Key Of Survival (http://ehserecords.com/ehse024/). Sparkling and morphing piano improvisations sandwich a set of what I am ill-advisedly calling “singer-songelweiser” voice-and-piano compositions which resolutely refuse to play ball. Simple patterns and lost-connection cellphone silences leave songs on pause before another relentlessly pessimistic lyric reminds us that “the glass is half piss” or “critique itself becomes impossible”.

Here’s a fantastically restrained recording of some of the tracks from Songs In The Key Of Survival dovetailed with free impov:

-David Pocknee