[number of performers-date-abbreviated venue name]

[number of performers-date-abbreviated venue name]
site-/instrumentation-specific concert intervention

2021

Before, during, and after a concert, the typically non-musical moments—such as speeches, setup, tuning, intervals between pieces, and applause—are accentuated through the performance of impersonal and "pseudo-"musical material drawn from the concert's specific context.

The musicians perform a computer-generated transcription of a recording of the concert hall’s room tone. While it is crucial that the transcription is based on a recording of the specific hall in which the performance takes place, its musical result doesn’t replicate the original sound. The way in which the recording is transcribed depends on the circumstances of the concert. The number of playing techniques used by each instrument corresponds to the number of pieces performed during the concert. Rather than being played from beginning to end, the score functions as a “map”, allowing the ensemble to start and end at any point, provided this changes each time the score is played within the concert.

The title of the work changes for each concert in which it is actualised, following this format:

[number of performers]-[number of pieces]-[date (DDMMYY)]-[any un-/official abbreviation of the concert hall’s name]

The score can also serve as a piece or installation, where performers base themselves on the same concert program as in the original occurrence, staying silent during the moments in which the other pieces were played. In this case, new starting points should be established.

first performance:
[4-3-082221-TIP]
22.08.2021 / Theater im Palais (KUG), Graz

performers:

PPCM Ensemble

Filip Novavkovic (accordion)
Gregory Chalier (flute)
Jennifer Seubel (flute)
Elena Arbonies Jauregui (clarinet)

production: IMPULS Festival, Graz

score

upcoming : March 2026 / new piece for percussion with Zacarias Maia / Basel, Geneva, Krakow