密集音乐会 miji concert 17

两个作曲 two compositions:闫玉龙 yan yulong;martijn tellinga

poster

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记录 document:
闫玉龙 yan yulong: audio (track 16 & 17)
martijn tellinger: audio cd (kwanyin 052)
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2014年3月27日晚9时;XP Club(地安门西南角,“秋栗香”背后);票价:40rmb
1:闫玉龙:相同乐器的多重奏:极限
2:马尔泰·特林格:真理,给一个聆听者的练习

闫玉龙:相同乐器的多重奏:极限
乐手:闫玉龙(小提琴),梁启鸣(阿鸣,小提琴),巫若兰(小提琴),盛洁(小提琴)

作品介绍:
每一个空间都有其独特的魅力。
墙壁内外,或是墙壁之间每个角落里隐藏着的事物。
无论是空间的暂时拥有者,闯入者,还是被困于此者,再算上空间内外的窥探者们,此刻他们都在这个空间内外静止着。无论他们走的有多快,有多远。
声音可以给出一个范围,一个空间向内或是向外延伸,没有极致。这即取决于听力,亦取决于巫术和幻觉,亦取决于演奏者们冷酷无情、演练的索然无味和超脱的极限。
上述这些都大可不必去看。总体上,这(作品)仍是东方人的一门古老手艺。
此曲是为四或者四以上的相同乐器所做的多重奏,电声或是原声皆可,但这两者不应同时出现。举例,倘若是在一个大的场地,那恐怕没有比电子弦乐更好的选择;或者演奏者的手头刚好能凑够四把二胡,或是六只黑管,或是八个基于同样声响能力的调音台电路的声音反馈。无论是何种情况下,都要求演奏者能够清楚的辨别他们自己的声音,声响方位,保持冷静,他们自身之间可能会太过相似在演奏中演奏者反而会先于听众迷失了。
演奏者应处于静态的位置,原声乐器的声响位置来自于演奏者;在全部使用扩音设备的状况下,亦应将它们至于一种平衡的声响位置:不可在某一方向集中摆放。请合理规划演出场地,演奏者,听众,音箱(如果有的话),灯光(如果有的话)。

马尔泰·特林格:真理,给一个聆听者的练习
乐手:闫玉龙(小提琴),阿鸣(低音大提琴),朱文博(黑管);录音:颜峻

马尔泰·特林格是一位荷兰艺术家和前卫作曲家。他常年周游世界,曾在北京居住和创作。近来常驻厦门。他的作品常与空间有关,由多位乐手共同演奏,探索人的感知。他的作品曾在世界各地公开表演,包括北京的站台中国。最近他刚刚完成在海南一个废弃剧场内的七天连续表演。
www.martijntellinga.nl

作品介绍:
为(音乐)表演者准备的可选性清单。共有4个部分,各自聚焦于我们听力的一个方面,它为表演者提供了开放的素材:发声行动、沉默行动、静止行动、移动行动、变化的行动、阐释的行动。全都可以随意选择、组合、忽略或者进行发展。不同的练习,也可以同步发生。宽泛地说,这个作品试图创造一种表演情景,以激活我们所在的声音空间内的变化。相应地,它要突出聆听作为感知变化的过程,并使这变化与全体聆听者相关。
在第一个部分里,表演者要主动地(有条不紊地)做到试探和判断,并利用表演场地不同空间的声响特性和环境声。第二个部分规定了表演者怎样与另一表演者协调。第三部分,“内向聆听”, 表演者要遵循一个天然程序,来行动和发展,并且把它记住。第四部分,可以看作是一个谐调练习,它指示多个表演者,从任意演奏发展到最终的齐奏。

盛洁
1975年生人,北京,中国。
从事声音与影像的艺术创作。关注由高科技所引发的的低科技反思。作品形式包括:录像,VJ,噪音,装置,行为。2010年创办shan试听实验室,一个以教学为平台的新媒体艺术交流私人工作室。

巫若兰
小提琴爱好者。

梁启鸣(阿鸣)
1989年出生,广西柳州人,目前生活在北京。自由即兴乐手,擅长弦乐。 探索自身与发声物体以及所在空间之共同声响状态,并试图在多种可能性中发展极致体验。

闫玉龙
1989年出生,现居北京。Chui Wan乐队成员,年轻一代摇滚和实验、即兴乐手里的活跃分子,与各种不同风格的音乐家以及舞蹈工作者、剧场合作,作曲。个人演奏计划通常是电提琴或原声提琴的即兴,最初沾染于长音、极简、迷幻及声响,不限于此。

朱文博
青岛人,1981年生。2013年开始自学演奏单簧管。

PM 9, March 27th, 2014; XP Club (Southwest corner of Di’anmen, behind the chestnut store); Ticket: 40rmb
1: Yan Yulong: The same multi-instrument ensemble: Extreme
2: Martijn Tellinga: Truth, Exercise For a Listener

Yan Yulong: The same multi-instrument ensemble: Extreme
Player: Yan Yulong (violin), Liang Qiming aka Aming (violin), Wu Ruolan(violin), Sheng Jie (violin)

Each space has its own unique charm.
Between the inner and outer walls, or walls every corner hidden things.
Whether it is a temporary space for the owne, the intruder, who was trapped here, then count the space outside the snoopers wh, at the moment they are in the rest of the space inside and outside. No matter how fast they go, how far.
Sound can be given a range, a space extending inwards or outwards , there is no limit. That depends on hearing this, but also on witchcraft and hallucinations, but also on players who ruthlessly boring drills and ultimate detachment.
These have no need to see. Overall, this (work) is still an ancient oriental craft.
The song is the same instrument made of four or four or more multi-trio, electro-acoustic or acoustic can be, but not both simultaneously. For example, if in a large venue, then I am afraid there is no better choice than the electronic string; player’s hand or just be able to round up four erhu, clarinet, or six, or eight based on the same sound capabilities sound mixer circuit feedback. Whether and under what circumstances, players are required to be able to clearly distinguish their own voices, sound position, remain calm, it may be too similar players playing in it will be lost on the audience between themselves.
Players should be in a static position, the position of acoustic instrument sounds from the player; using amplifying equipment in all conditions, they should be as for a balanced sound position: Do not focus on display in a certain direction. Please rational planning venues, performers, audience, speakers (if any) , lighting (if any).

Martijn Tellinga: Truth, Exercise For a Listener
Player: Yan Yulong (violin), Liang Qiming aka Aming (double bass), Zhu Wenbo(clarinette);recording: Yan Jun

This work is a catalogue of options for a (musical) performer. In four parts each focusing on a different facet of our faculty to listen, it offers open ended material for the performer to deal with; sounding actions, silent actions, still actions, moving actions, changing actions, interpretative actions. All can be selected, combined, omitted or extended at will. Multiple exercises can happen simultaneously.
In a broad sense the piece is an attempt to create a performance situation that instigates shifts within the sound space we inhabit. Accordingly, it aims to highlight listening as a process of (shifting) perspective and forces such shifts with all listeners involved. For one part, performers are instructed to actively engage with and –somehow methodically- excite, measure and take cues from the acoustics and ambience of the different sections of a performance site. A second part of the catalogue prescribes ways of coordinating one’s own playing with the actions of a possible second performer. A third to listen inwards, memorise the course of one’s own actions and develop following a set of crude algorithms. Part four part could be considered a tuning exercise where multiple performers are instructed to gradually move towards a unison coming from arbitrary points.
www.martijntellinga.nl

Sheng Jie: 1975, Beijing. She has focused on the arena of technology looking at its impact on society. Combining video, sound, installation and performance, her work aims to investigating the associations and reflections between high and low technologies. Founder of Shan audio video lab.

Wu Ruolan: Violin Lover.

Liang Qiming AKA Aming: 1989, come from Liuzhou, GuangXi province, currently live in Beijing.
Free improvisation, good at strings. Explore the possibility of the sound among oneself, object and the space . Attempt to developing those possibility into extreme experience.

Yan Yulong: 1989, Beijing. Frontman of neo-psycho rock band Chui Wan, Activists of the younger generation rock ,experimental, improvisation musicians in China. He collaborate with a variety of different styles of musicians and butoh dancer, documentary theater, avant-garde composer. Individual plans are usually playing electric/acoustic violin improvisation. Initially playing by drone, minimalist ,modern composition… is not limited thereto now.

Zhu Wenbo: 1981, Qingdao. He is a self-taught clarinetist,started using this instrument for improvisation performance from 2013.