On the 4th of February 2017, for the first time we’ve organised a “Glissando” launch event in Berlin. At the great Errant Sound we’ve gathered to present and discuss the #29 issue devoted to conceptual tendencies in contemporary music. Along with managing editor Paweł Szroniak, we’ve prepared an intense programme for the evening:
- Introduction to the #29 issue of Glissando – „Conceptualism” (Paweł Szroniak)
- Lecture: „Impossible music” and Polish conceptual art of the 60’s and 70’s (Antoni Michnik)
- Label presentation of Altanova Press (Paweł Szroniak, Zorka Wollny)
- Panel Discussion: Musical Conceptualisms (Sebastian Berweck, Heather Frasch, Joseph Kudirka, Hanne Lippard – moderation: Monika Żyła, Paweł Szroniak)
- Preview of the issues #30 & #31 (Daniel Brożek, Antoni Michnik)
- Concert: Lucio Capece, Heather Frasch, Joseph Kudirka, Koen Nutters (pieces by Ryoko Akama, Allison Knowles, Mark So) 1
Another element of the event was the exhibition of posters by Kama Sokolnicka, that were created for the series of concerts “Yka: Tendencje konceptualne w muzyce współczesnej” (“Yka: conceptual tendencies in contemporary music”) curated by Paweł Szroniak and accompanying the issue.
Here’s what the musicians wrote about the concert:
Post-music (Lucio Capece, Heather Frasch, Joseph Kudirka & Koen Nutters) explores the (im)possibilities of its own title.
Post-music searches for where the borders of music might lie. It wants to know what that something is, when/if it’s no longer music. Post-music is interested in emphasizing the non sonic elements of music, sitting comfortably in asking questions whose answers are seemingly ambiguous to create new experiences.
Post-music is interested in working with like-minded composers and artists, who further their investigations. At Errant Bodies, they performed “a proposal_five (jimi no assemblage)” by Ryoko Akama and “for George Brecht” by Mark So.
We’d like to thank the Errant Bodies collective for helping us to organise the event, especially Golo Föllmer. We’d like also to announce that during next few days we’ll be publishing on our website essays by Heather Frasch, Joseph Kudirka and Ryoko Akama, written for the #29 issue. (In the issue You can find polish translations of those essays.)
Alison Knowles’ Chair Piece for George Brecht, was not performed during the concert, as it’s a piece which rather occurs as an arranged situation. The possibility of such situation was arranged for the whole event. ↩