Wandelwatching
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The Goings On About Town section in The New Yorker, not surprisingly under the circumstances, is suspended indefinitely in its conventional format. But people still need wonderful things to occupy their time, perhaps especially right now, and some bright soul came upon the notion of publishing album reviews instead of concert picks, at least for
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Seth Parker Woods. Photograph: Michael Yu Four years ago, I started a weekly series on this blog titled Wandelwatching, devoted to news and essays about composers of the Wandelweiser Group, a loosely knit global collective inspired by post-Cagean ideas concerning sound, space, silence, place, contemplativeness, and collaboration, among other things. If you're just catching up
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Originally published by National Sawdust Log on May 26, 2017 Jürg Frey ephemeral constructions Erik Carlson, violin; Jürg Frey, clarinet; Greg Stuart, percussion; University of South Carolina Experimental Music Workshop Edition Wandelweiser; CD (U.S. distribution: ErstDist) The less I say this time, the better – partly because I have so very, very little information available
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I start where I am and do what I can, practicing in my inner hearing and on the trombone what I can do, refining it and hearing it as clearly as I can in the time that I have available to me. I show up on Saturday where I am, giving the best that I
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I find the implication that there are “ears” everywhere, at every point in a world, a fascinating concept, even if it is rather hard to imagine. It implies that position might be more important than time in hearing; and that the sounding configuration of a world can be understood (differently) from an infinite number of
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The New Silence aims to further specify and articulate the site of an event by manually adjusting the background noise during a performance situation, redefining the threshold of silence, thus revealing the new silence. Sounds from everyday life in the urban surroundings as well as from the building itself are examined and re-contextualized; one hears
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We had already agreed in principle that the entire structure of the piece would be derived from Mozart’s 40th Symphony, and that obviously, “White Metal” should carry a variation of the concept “Black Metal” and the term “white noise”.—Miguel Prado Having declared last week in my initial Wandelwatching post that this series of essays is
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Eva-Maria Houben Silence in music was not the cessation of sound, or even a gesture: it was a different sound, one with more density than those sounds made by instruments.—Michael Pisaro If my social-media communities are any indication, Wandelweiser is finally arriving here in New York City. Formed in 1992 by composers Antoine Beuger and Burkhard
Night After Night 