Eliane Radigue Featured in Two Houston Shows

Source: Nameless Sound.

presents Vice Versa, etc…, Kyema, & Occam Ocean

Vice-Versa, etc… + Kyema from Trilogie de la Mort
at Live Oak Friends Meeting House
1318 West 26th Street
Doors will open at 7PM.
Seating is limited and will be on a first-come, first-serve basis.
If you’re coming from out of town for this event, please contact us at administration@namelesssound.org.

Occam Ocean
for bassoon, cello, harp, and tuba
Performed by:
Dafne Vicente-Sandoval, Charles Curtis, Rhodri Davies, and Robin Hayward
in Sanders Hall at Christ Church Cathedral
1117 Texas Avenue

Between 1969 and 1970, Éliane Radigue created a series of works made with three tape recorders, a mixing board, an amplifier, two loudspeakers, and a microphone. These works (Ursal, Omnht, Σ = a = b = a + b, and Vice-Versa, etc…) consisted of microphone and tape recorder feedback, reworked through studio techniques such as slowing down and reversal of direction. Vice-Versa, etc… is comprised of a single magnetic stereo tape with hand-written instructions for diffusion suggesting that any combination of channels-right channel alone, left channel alone, or both channels together-can be overlapped, on several recorders, at any playback speed, forward or backward, ad libitum.

Created between 1985 and 1993, Trilogie de la Mort is considered by many to be Éliane Radigue’s masterpiece. An extended sonic meditation on death informed by Radigue’s dedicated engagement with Tibetan Buddhism, the piece is made up of three hour-long ARP 2500 synthesizer compositions: Kyema, Kailasha, and Koumé. Kyema, the first piece of the trilogy, was inspired by the Bardo Thodol, or Tibetan Book of the Dead, with six sections reflecting the six bardos, or intermediate states of life and death which constitute the existential continuity of a being.

Vice-Versa, etc… and Kyema will be diffused using newly produced reel-to-reel tape editions of the original masters, part of a series produced by Blank Forms in New York in collaboration with Radigue for the high quality presentation of her work.

Occam Ocean is an ongoing series of solo and ensemble pieces composed by Radigue for individual instrumentalists in which a performer’s personal performance technique and particular relationship to their instrument function as the compositional material of the piece. Citing the ocean as a calming antidote to the overwhelming nature of our vibratory wave-filled surroundings, Radigue has named the tributary components of her Occam series with the image of fluid water in mind. Solo pieces are Occams, duo pieces Rivers, and larger ensemble pieces Deltas. The process of combining or over-laying the solos as small ensemble pieces, with only minor adjustments in the solos themselves, recalls Radigue’s procedure in the early feedback works made as sound installations, in which individual feedback loops are to combined freely in slight non-synchronization such that combinations of loops rarely or never repeat. With the extreme simplicity of Occam’s razor, continuous pieces that are iridescent on their own achieve a new radiance of interacting pulsation in their River and Delta configurations.

Vice-Versa, etc…, Kyema, and Occam Ocean are part of Éliane Radigue: Intermediate States, a retrospective curated by Lawrence Kumpf and Charles Curtis and developed in collaboration with Éliane Radigue for Blank Forms in New York. The retrospective seeks to present Radigue’s practice in a richly contextualized, holistic manner to draw out important connections between her early and late periods of work, examining the breadth of her practice and juxtaposing her compositions with new interpretations and experimental re-stagings by contemporary composers. The retrospective will continue in New York with more programs into 2020.