密集音乐会 miji concert 18

为长方形空间而做的音乐 music for a rectangular space:闫玉龙 yan yulong

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记录 document:
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7月5日;5 pm / 8 pm(两场,各限定30名观众);每场 40 元
时差空间(北京市东城区美术馆后街77号77文创园)
为长方形空间而做的音乐:
作曲:闫玉龙;演奏:翰中(John Willton;澳大利亚;打击乐),李剑鸿(吉他),刘心宇(电子),盛洁(小提琴),颜峻(电子)


作曲家的话:
长方形空间曾经是音乐厅的经典形状。它为音乐家,观众,政府,也为声音服务。无疑,它是个物体,人造的。它属于服务行业,权利部门,等等。
但倘若完全相反过来:我们为它或至少是因它而演奏。这倒也正常,我们习惯于自己造神,那么音乐家和观众为什么不可以尊奉一个他们将把它作为音乐厅的长方形空间作为他们的“神庙”?
这儿有个现成的“神庙”。美术馆附近的“时差空间”里,有个半悬空的长方形空间,不大,仅可容纳30多人而不至倒塌。但是随着声音的进入,一切又都被放大了。空间的异化,产生时断时续的幻觉……
一个新的音乐厅。虽然它本来并不是。那就先为它演奏,也算是说服它答应这个请求吧。不过《为长方形空间所做的音乐》,它和宗教赞美诗可不是完全一样。我们的这个“神”,有问,必有答,从来是好心的不忍拒绝。为它所作的音乐,却要和它一起演奏才能完成。这在逻辑上都说得通,作为表演事件也就当然成立:它既是神,又是神庙,而我们只不过是在其中探索……
先有清醒,才有与之字面意义相反的词。又或者说,它们本是一体,于同一时刻产生,互相牵制,变化。
“I am Sitting in a Room”
这次是相当之隆重啊。
————闫玉龙

翰中:原名John Willton,来自澳大利亚的年轻打击乐手。他是澳大利亚新即兴音乐场景中的一分子,擅长概念性、实验性的表演。

李剑鸿:噪音/即兴音乐人。他是第二层皮乐队、D!O!D!O!D!乐队组建者,另参与了背信弃义的双鱼座人、迷走神经(VagusNerve)、Mind Fiber等组合。
早年主持独立厂牌第二层皮唱片(2pi Records)。自2003年-2007年,每年策划和主持先锋音乐节“第二层皮音乐节(2pi festival)”,开创以“家庭暴力”为名的家庭、作坊类系列演出活动。2011年,和VAVABOND共同创办以推广中国即兴音乐为主的新厂牌C.F.I Records。
李剑鸿的音乐以吉他即兴演奏为主,风格游走于即兴、噪音、迷幻音乐之间。2008年开始以“环境即兴”为名在环境与演奏的相互关系中开拓创作新方向。

刘心宇:生于1990年。北京最忙碌的即兴乐手之一(他还参与了一支摇滚乐队和一个新迷幻组合)。主要使用无输入调音台反馈和其他电子设备。

盛洁:又名GOGOJ。除了演奏小提琴和电子设备,她还是一位影像艺术家。曾创办“山”工作室。

颜峻:利用反馈噪音来演奏的即兴乐手。作品强调和环境和人的关系,致力于激活聆听。常在世界各地巡演和参加音乐节、展览。

密集音乐会
2011年开始的一个演出系列。在策划了167期“水陆观音”和一百多场其他演出后,撒把芥末致力于集中和清晰的能量:声音与聆听。在密集音乐会上,可以尝试更冷的即兴,更激进的表演,更彻底的噪音。

关于时差空间
位于北京市中心,时差空间融合创作与生活方式,包括咖啡、酒、饮品 & 轻食, 定期举办各类社交、创意、美食、文化活动,以及私人 派对、独立展览、定制创造力工作坊和课程(儿童及成人)。在时差空间里,不同文化所带来的创作、 生活、消费以创意形态结合在一起,成为那些有好玩、有趣,视野开阔人群的生活空间。

July 5th; 5 pm / 8 pm (two sets, 30 seats per set); rmb 40 for each set
Meridian Space (C&C Park, 77 Meishuguan Houjie, Dongcheng, Beijing)
music for a rectangular space: Composed by Yan Yulong. Performed by John Willton, Li Jianhong, Liu Xinyu, Sheng Jie, and Yan Jun.

COMPOSER’S STATEMENT
The rectangle is a classic shape for a concert hall. A space constructed in that way is convenient to the artist, the public, the government, but it’s also accoustically suitable. It is purely functional, man-made, and designed to be of some use to the service industry, the administration, and so forth.
What if we looked at it from another angle, and started considering space as the recipient of a performance — or at least, as the reason of that performance? After all, we humans are born idolisers, so why couldn’t musicians and their public make a place of worship out of that rectangular space in which their performance is about to occur?
We found such a “shrine” near the National Art Museum, at Meridian Space, where a certain rectangular room is suspended in mid-air. It isn’t very big, and can only contain about thirty people; but as sound enters the room, reverberation causes everything to be amplified unexpectedly. The experience of unfamiliar spaces may create this kind of fleeting illusions.
This is a new concert room — despite the fact that it wasn’t designed as one. So let’s perform for it, perhaps in the hope of convincing it to play this role! However, “Music for a Rectangular Space” is no ordinary religious hymn: the “spirit” we worship here always answers all questions we may ask; its walls cannot ignore our requests. Indeed, the music we play for it can only be played together with it. It makes sense from the point of view of logic, and can be justified as the starting point of a performance: for this space is a spirit as well as a shrine, and we performers are simply attempting to explore what it may yield…
Clear-mindedness preceeds all of its opposite states. In other words, spirit and shrine are one, come into being together, and contain — even transform — each other. “I Am Sitting in a Room.” What a solemn occasion this is!
Yan Yulong

John Wilton. A percussionist, Wilton is an active member of the new improvised music scene of Australia. He is particularly involved in the making of conceptual and experimental music.

Li Jianhong. Li Jianhong is a Chinese free improv guitarist and a leading figure in mainland China’s free improvisation music scene. Since 2008, he began to explore new directions under the name of “environment improvisation” in the co-relationships between environment and performing. He is also one of the best noisers in China, and has released more than thirty solo and group albums on labels such as PSF, Utech, Post-Concrete, Archive, Sub Rosa or 2pi.

Liu Xinyu. Born in 1990 in Beijing. He is one of the busiest musicians in town. Alongside of his no-input mixer feedback and other electronics improvisation, he’s also playing in a rock band and a neo-psychedelic duo.

Sheng Jie (aka GOGOJ). A violin player and dry electronics noise manipulator, she is also a video artist and the founder of Shan Studio for media art and related activities.

Yan Jun. An improvised music performer who makes extensive use of noise feedback. In his works, he pays special attention to the relation between man and his environment, to encourage active listening. He often tours in various countries of the world and participates in music festivals and exhibitions.

miji concert
The miji series started in 2011. After organizing more than 300 events, the Sub Jam label has been focusing its energies on a clearly-defined direction: that of sound and listening. At the Miji concerts, artists are welcome to engage in cold improvisation, radical performance, and absolute noise.

about meridian space
Located within the brand-new C&C arts and culture park, in the heart of Beijing, Meridian Space is a blend of creative spirit and lifestyle experience.
It includes a coffeehouse and a bar, as well as an events venue designed for a variety of activities—arts and culture events, professional networking, but also private parties, exhibitions, and customised language, culture and creativity workshops for children and adults.