unbreakable line. hinged waist


One of the ideas I was interested in exploring in this piece involves how conventional techniques of performance can be modified so that new types of sounds emerge. The performer plays material which is traditionally notated (or is in itself traditional in musical terms) but this material does not filter through sonically. This can occur in several ways - one parameter of a given sound can be altered, for example when the string players play an extended Romantic-style melodic line, using scratch tones as they would vibrato, or the pianist plays a piece on the piano, but with the lid closed. I was also interested in using sounds which might not traditionally have function or meaning in a musical context - the amplified sign-language gestures the percussionist makes were chosen for their sound rather than their meaning. The performers are split into three groups, which are dispersed through the space. The strings and piano are situated on-stage, the percussionist outside the space. The flute, clarinet and oboe sit within the audience and work independently of the other instruments throughout. Their material is loosely based on recordings I made of the heating system in my apartment in Chicago.

Jennifer Walshe IE

Jennifer Walshe (Dublin, Ireland, 1974) studied composition with John Maxwell Geddes and Kevin Volans. She graduated from Chicago’s Northwestern University in 2002 where her teachers were Amnon Wolman and Michael Pisaro. In 2003-04 she was a fellow of the Akademie Schloss Solitude, Stuttgart. She currently lives in Berlin as a guest of the DAAD Berliner Künstlerprogramm.

Her works have been performed throughout Europe and North America by groups including ensemble récherche, Ensemble Resonanz, Apartment House, ensemble Intégrales, Neue Vocalisten Stuttgart, the Crash Ensemble, Champ d’Action, the Rilke Ensemble, the Irish Chamber Orchestra, the Bozzini Quartet, Concorde, Ensemble Musica Nova, ensemble chronophonie, the Scottish Chamber Orchestra Wind Quintet, the Hebrides Ensemble, Psappha, and Q-02. She has received commissions from RTÉ, Westdeutscher Rundfunk (WDR), Sudwest Rundfunk (SWR), Internationale Ferienkurse für Neue Musik Darmstadt, Musik der Jahrhundert, the Huddersfield Festival, Dresdener Tage der zeitgenössischen Musik, Wien Modern, the Irish Chamber Orchestra, Crash Ensemble, the Project Arts Centre and the National Concert Hall, Ireland.

In 2003-04 she was composer-in-residence at the National Sculpture Factory, Cork. In 2000 she won the Kranichsteiner Musikpreis at Darmstadt, where she returned to lecture in 2002. She received first prize in the SCI/ASCAP 2002 Commission Competition and was shortlisted for both the 2002 and 2003 Gaudeamus Foundation composition prize.   Jennifer Walshe also performs frequently as a vocalist and improviser at festivals in the USA and Europe.