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A triple bill for clarinet, aulos and launeddas: single, double and triple pipes. All
three acts delve into depths of polyphony and timbral excursion through acoustic
drone, albeit through very different angles of entrance, all letting their respective
reeds ring out infinitely with circular breathing. Performances will also include
elements of ensemble overlap, yoking the uncanny energies of these three winds.
Madison Greenstone is a clarinetist and improviser based between Brooklyn and
Berlin. Their solo practice explores material and spatial expressivities of sustained
sound through richly noisy timbral actions. Recently their work explores dreamlike
acoustic mirages, spatial interferences of difference tones and beating, and draws
inspiration from fiction writer Yoko Tawada's proposition that there is no such
thing as a room with a fixed size.
About the solo practice: exstatic resonances are wild acoustic phenomena created
by indeterminacies within the clarinet’s timbre. Madison’s practice draws on a
deep study of the polyphonic qualities of the clarinet, a traditionally monophonic
instrument, and explores sonorities that sound outside of themselves, with highly
spatial, sculptural, and disorienting qualities. They embrace difference tones,
psychoacoustic phenomena, and all the unruly irreducibilities within the clarinet to
create an acoustic identity that fractures its own singularity. With sustained
circular breathing, they link a mysticism of repetition with the inherent variance
latent therein. https://madison-greenstone.com...
Jamie Green (@besompresse) is a musician or poet from Los Angeles, whose
work affectionately tussles with precisely those sorts of famously onerous
perennialisms which can only be rendered susceptible by the bubble and toil of
metaphysical humours and a healthy, hearty disdain for academic gentility, all the
while struggling toward a consummate transcension of comprehension. He
operates besom presse, a publisher especially concerned with *perceptually
activated* works. His musical focus is on breathed-into instruments, namely the
Sardinian launeddas which consist of three reed pipes played simultaneously,
snatched from the soil, working with them in both their crafting and sounding
phases.
Lukas De Clerck’s artistic practice is currently centered around the aulos. An
ancient double-reeded double pipe, that got extinct more than a millennium ago.
After several years of delving deep in the practice of aulos reed making and
playing replicas of ancient instruments, he opens up his inevitably auto-didact
artistic output in a more collaborative, multi-disciplinary way. Following the desire
to strip the instrument from its enigmatic past, De Clerck created a new,
contemporary Aulos: The Telescopic Aulos of Atlas. This self-designed instrument,
made in collaboration with Noir Metal, enables De Clerck to narrow down his
research on the sound qualities of the instrument in which micro-tonality, psycho-
acoustics and sound texture are central elements. De Clerck’s approach is driven
by playful curiosity with a strong interest in the process of transformation. Instead
of conserving what is found, he invents what is not. A process that aims to be as
radical, as it is careful. https://lukasdeclerck.com
