I'm also excited because of the strong thematics of the program connecting contemporary compositional practice to historical practices and so in turn to the historicity of of all acts of musicking. Further, these lines-of-flight connects this historicity of work-objects to the archeologies of the self, especially as expressed in the works of Kyle Bartlett, Louis Karchin, and myself.
As I write in my program notes for the Piano Quartet #1,
“This work is for me a return to the rhetorics and formal structures of my “misspent” youth playing in punk-rock bands on the New Jersey shore in the late 80’s. The music we wrote was music with much ornamentation and embellishment, but little improvisation as the term is generally used— there was little time for expansive guitar solos in songs clocking in at under two minutes. In this temporally compressed grammar (or perhaps “syllabary” is a better term) distinctions between phrase and riff and verse were unclear, yet relevant, for this was music with a flair for form, form that could be felt in the body, not merely heard in the mind’s ear. Juxtaposition was privileged over transition, and repetition over development. Our ears brimmed with The Germs and The Minutemen, but also the more aggressive side of the British progressive rock scene. First among these groups was always King Crimson and its leader Robert Fripp. The particular harmonic and formal approaches of that group have had substantial impact on my compositional approach, and my approach to functioning and persisting as a musician in the late modern."
Thoughts like this have been in the front of my mind of late, as you can see from this series of postings I wrote a little while ago over on Bigmouths. (Here is the place to start the series).
It is, as ever, a delight to hear such subtleties expressed through the tremendous musicianship of the musicians of counter)induction. Not a show to miss!
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