TIME IS A SENSUAL OBJECT

Space Arts Center
Saturday, April 5, 2014 at 8:00pm

We are so pleased to present our debut recital at this wonderful space and have been working closely with the composers on tonight’s program to put together a rewarding and diverse listening and performing experience. As Jules Gimbrone describes in our program’s concluding piece, time is a sensual object. The pieces you'll hear tonight experiment with time in fascinating ways, though each composition approaches time differently. Time is elapsed and expanded, measured and unmeasured, and almost always distorted. How will you hear tonight’s performance?

Gustavo Adolfo Uribe: String Quartet No. 1    
In a language incorporating Argentine tango and hip-hop, String Quartet No. 1 paints a Webern-esque tapestry in 5 miniature movements. The emotional anguishes and passions represented in this piece are the very same links that make up the fabric of human experience. The five movements of String Quartet No. 1 represent snapshots of different vignettes across human history. The emotional bonds fluctuate through restated motifs being permutated throughout the movements. —Gustavo Adolfo Uribe

 Morgan Lee Gerstmar: Cosimo’s Stars  
Cosimo's Stars is inspired by the inherent structure found within randomness. Each member of the quartet creates her own part by playing a board game prior to rehearsal. The piece is drawn together by a single thread of interconnectedness, weaving in and out of scattered fragments to moments of aligned unity. —Morgan Lee Gerstmar                                             

John Eagle: rhythm color #3 – /fiction/
The rhythm color pieces are part of a series of works that explore harmony as a function of time. While the first two pieces deal with the standard rhythmic metric, #3 deals with time as an irregular function of work (counting/calculation) and power dynamics (group). Dealing with the Pythagorean tuning relationships between the five pitch classes of the open strings of the quartet (C, G, D, A, E), the players are presented with a grid-like score of pitches/numbers; each cell with the instruction to be played, not played, or left to the player to decide. Although the gamut of pitches is relatively small, the relationships have an extremely wide range (with numbers as high as 885,735—all multiples of 2, 3, or, occasionally, 5—all defined in relation to a shifting drone). —John Eagle                                              

J.S. Bach (1685–1750): The Art of Fugue                                          
Contrapuctus I
Contrapunctus III
Contrapunctus VII
The Art of Fugue, BWV 80, is an exploration of contrapuntal possibilities written by Bach towards the end of his life. The work consists of 14 fugues and 4 canons for unspecified instrumentation, all using variations of the same theme. Contrapunctus I is the most simple of the fugues and provides the first statement of Bach’s theme in four voices. Contrapunctus III presents the same theme, also in four voices, using a driving dotted rhythm. Contrapunctus VII is a “stretto” fugue, in which different statements of the subject are overlapped. The subject is heard in 3 different forms (original, twice as fast, and twice as slow), all superimposed. The fugues can be compared to a conversation or debate in which one idea is presented and explored or argued in every possible logical way.

Jules Gimbrone: Time is a Sensual Object  
Time is a Sensual Object is an exploration of (in)organic listening and memory.  By utilizing the performance of a string quartet as generative material, this piece shows how these processes are stored in the body and in the unassuming objects that are implicated in the structuring of a performative space.  Chairs, contact mics, and tactile transducers are all utilized to collapse time and to extend the ears of all activated elements.  —Jules Gimbrone                                     

All four new works are world premieres