Chaotic Pathways: Dirt and Copper featuring Julie Herndon - Sept. 21 - 8:00 PM - SF Center for New Music
Chaotic Pathways is a program and album of six original compositions by members of Dirt and Copper. Originally premiered at the SF Center for New Music on September 21, the compositions were subsequently recorded for Dirt and Copper’s debut album at Littlefield Concert Hall at Mills College in October and November 2018.
An evening of original compositions exploring the boundaries between composer and performer, structure and decomposition, agency and performance practice.
press:Dirt and Copper, the latest new-music collective to emerge on the scene, had its grand coming out on Friday. The group played its first full-length show at the Center for New Music, and it was a hit.
Rota Fortunae (2015/2018) is an interactive score that explores the boundaries of fate and individual agency, and the ritual of chance within predetermined confines. Performers navigate a unique personal score of their natal chart, generated by the coordinates of the planets at their time of birth, superimposed by the circle of fifths. The geometry of these astronomical/astrological placements dictates form and pitch content: an exercise in fortuitous/ceremonious mutability.
Wind, Unwind (2018) unravels and rethinks the traditional relationship between soloist and ensemble. As the ensemble moves intricately through prompts, graphics, notation and cues at their own pace, the soloist is challenged to respond, interact or ignore the generated figures. Through a convergence of notational pathways a tenuous relationship is ultimately formed between soloist and group.
Emerging from silence, the cadence of embodied breath is mirrored in individual and ensemble density. Air (starved and allowed) to the motor of an electric chord organ signals movement through a graphic map, using volume as its primary signifier. Each sequence settles in a new tonal center, gradually blending each emergent swell.
In Limoo for prepared violin, bass clarinet and flute, I aimed for an elastic time-frame that obsessively carves out the sonic surfaces in order to give a closer picture of the layers beneath.