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“#10” (2022)

[Interpretation/Performance concept for ">Music-19<" score #10]

In graphic score >Music-19< #10, Kreidler offers some fresh food for imagination and imagining the process of listening, through creating abstract, aurally implausible ear trumpets... yet when i look at them i cannot help but start thinking of them as maybe plausible, if one is to start thinking of different ways to hear and listen.

Through the performance, I try to share those thoughts in an active way by inviting the audience to join the exploration of ways of hearing and listening, and the idea that more perceptiveness and continuous adjusting to better hear, listen, understand is an eternal process where eternity becomes the "shortest possible" portion of time.

All the sound material played during the performance is derived from one chord of Beethoven's last string quartet, written shortly before his death. If sound and time would stop and one would be able to experience the inner vibrations with a sense of eternal lasting–what would this sound feel like? If one would be able to keep the intensity and energy and aura of the sixteenth-note length Beethoven wrote on that last sixteenth note of bar 29 from movement III of the String quartet no.16 op.135, how would that sound field feel like, when lasting indefinitely? How he might have felt it, beyond the memory of how it sounded? How one might feel and hear, beyond the memory of sounding?

Premiere performance: 01.03.2022. in Create Lab (Huddersfield, UK)


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