This second performance night relates to the thin line that separates reality from fiction (myth,mythos). In our current world manipulated by mass media and information technologies, it can be almost impossible to discern the fake from the facts, the real from the mythos or the lies from the truth. Such confusion is now indeed a threat not only to mankind but to the entire planet. It seems to be of utmost necessity to find a position in the unbelievable turmoil we have allowed to unfold, to choose between what one can believe and what one cannot. All of the following pieces relate in one way or another to this issue.

Dieter Mack’s “Snells Beach” for solo metal percussion focuses on one rhythmic line which keeps appearing throughout the entire piece in different temporal forms, evoking the endless permutation of the patterns produced by the waves of the sea.

Liza Lim’s “Inguz” (fertility) is an intimate study of cello and clarinet sonorities. The title refers to the Viking rune symbolising fertility, which is associated with “the moon, intuition and the desire for harmonisation in personal relationships“. Lim conceives of the work as being like the alap of an Indian raga, in which the music functions to tune the instruments and to establish a mood.

Gérard Grisey’s “Duo” for Trombone and Clarinet explores the variable resonances of overtones in acoustic space; and of the conflict between objective, chronometric time and psychological time. Grisey’s music often reveal the world contained within the hidden dimensions of sound.

David Lang’s “Stealing, Lying, Cheating,” follows a set of laws which results in the music inventing itself, establishing its own reality somehow recalling the mechanical automation
of our post-industrial times.

Shinuh Lee’s “Chorale Fantasy No. 1” deals with the biblical messages of Isaiah and the Romans through the execution of various experimental techniques and styles. Tonight only 1 of the 10 movements will be performed: ’Sin: A brimful living chalice of despair and horror
and astonishment’

Jiradej Setabundhu’s mixed media piece “The Valley is Uncanny” combines a fascination with the myth of Echo with the more esoteric musical philosophies of Alvin Lucier, tracing the history of Echo both in the physical world and the mythological one.

In Morton Feldman’s “Crippled Symmetry”, the players are in an almost uncontrolled ocean of sound lasting over 90 minutes. That sound is real, but how it works together is in a way a myth. The reality of the score triggers a sonic tapestry that is in fact completely to what one conceives, the sounds become their own reality.

PERFORMERS
STUDIO MUSIKFABRIK’S MUSICIANS
Peter Veale, Artistic Director
Daniele Zamboni,Clarinet
Louisa Kaltenbach, Cello
Ann-Catherina Strehmel, Trombone
Arturo Ernesto Uribe Portugal, Percussion

PGVIS PERFORMER
Kawirat Saimek, Piano
Khatsara Kit Khongnonkok, Bass clarinet
Pulish Likhitwatanasad, Cello
Arayachart Arayasiri, Percussion
Pawit Jindakitprasert, Percussion
Tanasit Siripanichwattana, Percussion
Hyojong Huh, Piano
Koranit Dhanachoksiri, Piano
Nichanan Valanaraya, Piano
Phataporn Preechanon, Melodica
Dhorn Taksinwarajan, Melodica
Khetsin Chuchan, Melodica
Selina Jones, Melodica
Phataporn Preechanon, Flute
Kornvit Anoontakaroon, Percussion