░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░

Dnuos ni Rorrim (2024)

for solo violin (prepared with thread, wire, and second violin)

 

"Dnuos ni Rorrim" (2024) is a piece for thinking through practice, on the thought: if sound would exist in the mirror, along the instrument and the body of the performer, what would it sound like? With the sound in performance being created by a gesture of a performer, in the mirror, this gesture can be perceived as inverted. But, while an inverted gesture can, it does not necessarily mean a mirrored (reversed/inverted) sound. If a specific sound sets the "order," an "opposite" gesture, skilfully executed, can produce an exact same sound to its original counter gesture. So in performance, both sound and gesture can have the role of an "order." Would then the sound living in the mirror be "just" a reversed sound, accompanying the gesture's order, or would its properties be so different that it would be an "other" sound? Further inspired by the poet Don Mee Choi's concept of "mirror words" as ways to compel resistance to "order words", this piece, through exploration and use of string/thread frictions, becomes an exercise in thinking of meanings and consequences. It is an ongoing process that opens each aspect of relation of movement and sound for reflection and refraction. Search for the "mirror sound" is a search for that that, in the applied broader understanding of Don Mee Choi's words, defies the "orders", and look for whatever might lie beyond.

⊶ Performance
Premiere: Unerhörte Musik (Berlin, Germanny) on December 3rd, 2024

⊶ Photo (documentation) © Unerhörte Musik Berlin

 

░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░

 

links
⊶ Unerhörte Musik Berlin

 

░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░ ░░