Performance + Talk Session #7

  • Session #7: 15.04.2018. Facebook Event
  • @ ArtBase (29 rue des Sables Zandstraat, 1000 Brussels)
  • Perfromance begins at 4.30pm
  • For reservations & more info:

Performance+Talk Sessions are part of ”Temporality of the Impossible: contemporary violin music, aesthetics, technique and performance”, an artistic research that started as a personal curiosity but grew into a PhD research, now taking place at the CeReNeM and HuCPeR, at the University of Huddersfield (UK).

"These are intentionally as difficult as I can make them, because I think we’re now surrounded by very serious problems in society, and we tend to think that the situation is hopeless and that it’s just impossible to do something that will make everything turn out properly. So I think that this music, which is almost impossible, gives an instance of the practicality of the impossible." - John Cage, about "Freeman Etudes"

In the season 2017/2018 “Temporality of the Impossible: Performance+Talk Sessions” will primarily explore aesthetics of sound, from bare audibility to various overpressure and everything in between, music of various "complexities" as well as music for prepared violin/bow.

Session#7 will be featuring pieces by John Cage, Aaron Cassidy, James Dillon, Brian Ferneyhough, Clara Iannotta and Salvatore Sciarrino.

The violin courtesy of Thomas Meuwissen.

**How impossible is the “impossible”? The lasting curiosity of composers in exploring expression through music continues the legacy of creating pieces that are fresh, “new” and challenging not only for listening, but also to artistry of playing. Subsequently, performers continue to be challenged by these pieces demanding unconventional approaches. “Temporality of the Impossible” focuses on these challenges, and addresses two important and inseparable parts of music and performance: the tangible and the abstract. While the former investigates challenges of the extended violin techniques and the notation, the latter investigates the shaping of sensibility for understanding the music. While questioning what is this “impossible” and how do we overcome it by finding remedies for technical “unplayability”, the aim of this research is to simultaneously seek out ways for reshaping the understanding for the “new” aesthetics and expressivity, and whether and how we grow into appreciating this “unconventional”.**

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