Work

Marlowe S. (2009)

Jennifer Walshe

string quartet, compact disc, and fixed medium

Commission: Bozzini Quartet with support from the Ernst von Siemens Musikstiftung (Germany)

Premiere

  • 28 Jan 2010 8:00 pm
    Montréal
    Brand | Kagel | Walshe

Performances

  • 29 Jan 2010 8:00 pm
    Montréal
    Brand | Kagel | Walshe
  • 30 Jan 2010 8:00 pm
    Montréal
    Brand | Kagel | Walshe
  • 19 Nov 2010 10:30 pm
    Huddersfield
    hcmf// 2010
    Kagel | Walshe
  • 13 May 2017 8:00 pm
    Victoria
    Cheung | Walshe

Program Notes

Sound does not exist in a sensory vacuum, independent of sight, smell and touch. As listeners we can hear the intensity in a sound before it begins by watching the performers prepare to play; our ears will tune in to sounds on the edge of hearing as we notice the physical movements of the players. Even when there is little or no sound, we witness the movements of the performers and feel the rhythms, begin to supply textures, timbres, and tones in our inner hearing. We are active listeners, engaging sound with all senses.

The sounds I am interested in often include instrumental sounds which are normally considered flawed or redundant — the bow hitting the wood of the viola, the breath of the performer pushing through the sound-hole of the violin, for example. In working with sounds for a piece, I often find them to be affiliated with some sort of emotional, social or physical situation. The sound of people who want to shout forcing their argument into a whisper so as not to wake the children or the neighbors. The jogging leg of the irritable trombonist. My job is to remove as much information as possible about these situations, in the same way that a person in a picture can be isolated by cutting off parts of the picture or painting over the other figures in it. I don’t want the situation to be readily apparent — the listener will supply their own.