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July 9, 2012

IMPROVISED MUSIC AT HOMEWOOD STUDIOS

Milo Fine (drum set [bowed cymbals], orchestra chimes, B flat/E flat clarinets) / Davu Seru (cello) / Charles Gillett (guitar) / Viv Corringham (voice) / Elaine Evans (violin) / Daniel Furuta (cello)

Daniel Furuta joins the IMatHS family for the first time. His introduction to our audience begins at 7p. Suggested donation $5-$10.

¶¶¶ how does the animated spirit settle? how, among the cacaphonic & frenzied proceedings, does the spirit find repose? what is repose? from the latin, pausa, meaning rest.

what make us crave it, this hiatus, this interstice? what opens a space inside us that yearns for, leans toward...what? a sense of order? a sense of belonging? a feeling of understanding or of being complete?

these six musicians have agreed on something. these thirteen audience members have arrived with expectations. probably vastly differing and inconsistent expectations. yet we all, players and listeners, are looking for something. even if we name it differently, is it the same thing? and what is that?

the simple - and for the moment only - sound, a bowed temple bell. sonorous. evanescent. insistent in its disappearing. other sound joining in. building in intensity, in variety, in volume. all reaching toward...what? some theoretical convergence of sound? or toward a moment of perfect listening? ...or something altogether other?

can i speculate for six other people? can anything i think, say or write make a difference to them as they play? any more than their each music makes a difference to me? but I am sitting here having these thoughts, responding in ways i would not be doing were i elsewhere. and whatever energy i send out into the room, into the universe, has its effect on the musicians. so this is all a lesson in being present.

¶¶¶ cormack mccarthy write dialogue like no one else i have read. essential, natural, composed, honest, true... these six musicians are reaching for exactly the same thing - to say what is necessary and no m ore; to say it truthfully and inventively and originally. what is my truth right now will not be my truth after five minutes of listening, of being her in this moment. which is exactly why the music constantly changes and is never the same twice.

One hair (horsehair?) from daniel's cello bow breaks. he removes it from the bow and begins to "floss" the strings of his instrument. has he done this before? perhaps / perhaps not. exploring. not visiting a place he has been before. he does not want to visit the past. he wants, i surmise, to visit the present, which so few of us ever do.

what do we want to know by looking toward the unknown? toward the darkness? toward the question we do not know how to ask? perhaps we wish to know others are equally lost, equally searching, equally without a clue. perhaps each of us perceives we cannot name what we search for but we will know it when we find it. why is that? it is always easy to see what we have been lead to is not the thing how is that possible? why is it easy to say, no, this is not it," to be dissatisfied? there are ten (or a hundred or a thousand) wrong answers for every right one. why is it so difficult? why do we continue?

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