to be quiet in a nonquiet situation
ROMAN PFEIFER / KAMMERELEKTRONIK
Concert performance for piano, toy piano, typewriter, dance, electronics and light
„With the ego pressure off, any issue seems unstressful, whether the audio is turned up
louder than some can bear, or whether the sounds seem less interesting than the ideas,
or the limits of attention are ignored as if they don’t matter.“
„That music can dehierarchize, insofar as nothing, any aspect of sound, silence, sound-
source, performer, audience, composer, is subsidiary, and everything makes a difference,
has its own particular existence, is equally respected: democracy.“
A theatre that appeals equally to the eye and the ear (“I try to make definitions that won’t exclude.” – John Cage) and in which music is first and foremost an activity, a mode of action. A coming together of sounds and people that wants nothing more and nothing less than to try to put the listener in the moment they are in. A music that moves effortlessly between categories: from duration to noise and colour, to something not normally considered musical (a movement with the foot, a radio transmission), from a specific high B to an indeterminate sound to the absence of fixed sounds (“all the sounds we don’t intend” – John Cage) – from noise to silence.
Kammerelektronik takes John Cage’s indeterminate works and performances of the 1960s (Disciplined Actions, Walks, Theatre Pieces, Solos, Variations) as the occasion for a pastiche (something that openly imitates another artist’s work). A concert performance in which processes are more important than results and which attempts to rethink this experimental art and its aftermath and reach.
The sounds and the noise (“When we ignore it, it disturbs us. When we listen to it, we find it fascinating.” – John Cage) that characterise these situations release energies, are an encouragement for the new and create space for the invisible and the overheard, promoting reciprocity, permeability and thinking differently.
Duration: approx. 60 minutes