MESSAGIO GALORE take VIII
1 may 2o11, 2 PM
The Mayfair Theatre
1o74 Bank Street
as part of the
Ottawa International Writers Festival
curated, puzzled over & arranged by jwcurry & featuring the vocal agilities of
jwcurry
Alastair Larwill
Christine McNair
Grant Wilkins
& special guest Sandra Ridley
MESSAGIO GALORE is an organically thetic examination of the possibilities inherent in the wide range of activities that occur between literature & music (with interpenetrations to each) commonly called "sound poetry". it approaches the genre as "inclusive" & investigates issues of writing/composing/scoring, transcription, arrangement, reading, rehearsal, group dynamics, intermultiphrenia & &.
take VIII follows relatively directly after take VII (at City Hall Art Gallery, january 23), utilizing the same core quartet that has been working together for a year now. it continues to develop repertoire material while adding new works to the available pool. works in this take are repeated for one or more of 3 reasons: further development of a piece, amplification's offer of different levels of play, or we fucked it up the last time. if take VII's primary contrasts were of durations, take VIII can be said to be a tentative toying with varying kinds of amplitudes.
__________________________________________________
1. It Can't Happen Here, Frank Zappa (USA, 1964; transcribed & arranged for quartet by jwcurry, 2oo7); source: Mothers Of Invention, FREAK OUT! (USA, Verve Records, 1965). a somewhat remented barbershop routine that only seems to leave metre & tonality behind. part 2 of Help, I'm A Rock, featuring Christine McNair as Suzy Creamcheese. readers: full quartet
2. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, dom sylvester houédard (England, 1966); source: KROKLOK ⌗1 (edited by dom sylvester houédard, London, Writers Forum, 1971). "for the artists protest committee for their call from los angeles for a tower against the war" (dsh in KROKLOK), an anagrammatical poem in 3 vowels & 4 consonants. duo arrangement by curry (2o1o) fusing a pair of arrangements by Nicholas Power/Rob Read & Carmel Purkis/Sandra Ridley (both 2oo8). readers: curry, McNair
3. roses that, d.a.levy (USA, 1966); source: UKANHAVYRFUCKINCITI BAK, edited by Robert J.Sigmund (Cleveland, Ghost Press, 1968). "for gene" (presumably Fowler), a more linear – but no less sonic – response to the same war (& perhaps project) as houédard's above. reader: curry
4. please, bill bissett (Canada, 196-?); source: bill bissett, fires in th tempul OR TH JINX SHIP ND OTHR TRIPS (Vancouver, Very Stone House, 1966). arranged as a rondelay by curry (2oo9), in part to help dispel a formed notion that bissett's sound work defies rendition by others, despite their rhythmic relentlessness. readers: full quartet
5. SIZERZ, Steve McCaffery (Canada, 1976); source: THE CAPILANO REVIEW ⌗31 (edited by Steven Smith & Richard Truhlar, North Vancouver, 1984), with reference to Steve McCaffery, research on the nouth (Toronto, Underwhich Editions, 1979). severe elemental hocketing coupled with ordered layerings subjected to consistent randomizations. readers: full quartet
6. SIX-FOUR, Alastair Larwill (Canada, 2o1o); source: unpublished. accumulative disintegrational polysyllabicism formulated as audio illustration in a discussion of articulational deliberateness with its dedicatee, Rob Read. readers: full quartet
7. KNOTS, jwcurry (Canada, 1982?); source: The (Almost) Instant Anthology '88, edited by Beverley Daurio, Daniel Jones & bpNichol (Toronto, Meet The Presses, 1988). a "translation into concrete" of R.D.Laing's lineated neuroses trackings, subsequently unreknotted & restrungout as duologue. readers: curry, McNair
8. Pike-Fishing North Milne Lake, Gerry Shikatani (Canada, 1977?); source: INTERNATIONAL ANTHOLOGY OF CONCRETE POETRY VOL.1, edited by John Jessop (Toronto, Missing Link Press & Poetry Toronto Books, 1978). textured gridtext as aquatic (semi)pastorale. readers: full quartet
9. Monograms – Genealogy – Grammarology, bpNichol (Canada, 1988); source: bpNichol, gIFTS The Martyrology Book(s) 7 (&) (2nd edition, Toronto, Coach House Books, 2oo3). the columnar lineation of the simultaneous strands of this optophonetic text suggested this arrangement as quartet, some of the gifts comprising "book &". readers: full quartet
1o. breath is, bill bissett (Canada, 196-?); source: (as 4 above). concrete scattertext arranged by curry (2oo9, revised a coupla nights ago) as duo demonstration of the logic inherent in bissett's more radical field compositions. readers: curry, McNair
11. EAST WIND, bpNichol (Canada, 1979?); source: Four Horsemen, The Prose Tattoo (Milwaukee, Membrane Press, 1983). a gridtext of overlaid extended breathlines, our version continues to toy with a more literal approach to the score than did the Four Horsemen's freewheeling phonetic romp. readers: full quartet
12. Pieces Of Stop, bpNichol (Canada, 1978); source: (as 11 above). dedicated to Greta Monach. again, a more literal approach to the score that casts the reversedexpectations of its sound envelopes into starker relief. readers: full quartet
13. Hour 3 1:35 p.m. to 2:35 p.m., bpNichol (Canada, 1985); source: bpNichol, the martyrology book 6 books (Toronto, Coach House Press, 1987). a straightforward narrative poem built on homophonic hinges, this had been included in MESSAGIO GALORE take VI (Ottawa, City Hall Art Gallery, 2oo9) but suffered abandonment due to the loss of its final page. rectified for the record. reader: curry
14. TWO: Less Time, bpNichol (Canada, 1982?); source: (as 5 above). vowelless gridtext with varying degrees of reading path choice determined by the readers. tonight's version utilizes this device in addition to random parts assignation & but one previous rehearsal. readers: full quartet
15. OPIUM MARBLE, jwcurry (Canada, 198o); source: monograph (Ottawa, Above/ground Press, 1999). an optophonetic onomatophony derived from a Vancouver alley soundscape (between Main & Gore). readers: curry, Larwill, Wilkins as stunt double on the "ktktktktktktktktktktktktktktktktktktktktktktk"s
16. Artikulationen, Franz Mon (Germany, 198-?); source: riverrun voicings soundscapes, edited by Klaus Schöning (Mainz, Wergo, 1999), transcribed, scored & arranged by jwcurry (2oo8) from a quartet recording made at the Studio Akustiche Kunst in 199o. Mon's "environment of syllables and sounds searching for words" (Schöning/translated by Steven Lindberg, CD note) began in the 196os & includes a series of homages, this one for Velemir Khlebnikov. readers: curry, Larwill, McNair, Ridley
17. BALLADS OF THE RESTLESS ARE, bpNichol (Canada, 1967?); source: monograph (2nd edition, Ottawa, Curvd H&z, 2oo6). "two versions/common source" of elemental theme & variations, the 2 chants arranged here as comparative simultaneity. readers: curry, Larwill
18. auf dem land, ernst jandl (Austria, 1968?); source: konkrete poesie deutschsprechige autoren, edited by Eugen Gomringer (Stuttgart, Philipp Reclam, reprint?, 198o). an "utter zoo" octupletted & here arranged as simultaneous identifications & emissions. readers: curry, Wilkins
19. GLASS ON THE BEACH, Richard Truhlar (Canada, 1978?); source: Owen Sound, Beyond The Range (Toronto, Underwhich Editions, 198o). transcribed by jwcurry from a trio (Michael Dean, Steven Smith, Richard Truhlar) recording at the Music Gallery in Toronto, 18 august 1979, with additional parts adapted from 2 manuscript scores courtesy of Truhlar. extended vocal waveforms with buried shards. readers: full quintet
__________________________________________________
cover: Steve McCaffery (5 above)
__________________________________________________
filmed by Ben Walker
__________________________________________________
see also:
preview:
cartywheel.wordpress.com/2011/04/28/practice-when-theres-...
photos:
www.flickr.com/photos/pearlpirie/5680264282/
www.flickr.com/photos/pearlpirie/5679703087/
www.flickr.com/photos/pearlpirie/5680264876/
www.flickr.com/photos/johnwmacdonald/5678112786/
www.flickr.com/photos/johnwmacdonald/6150197146/
www.flickr.com/photos/jowangauthier/5687823980/
review:
robmclennan.blogspot.ca/2011/05/messagio-galore-take-viii...
MESSAGIO GALORE take VIII
1 may 2o11, 2 PM
The Mayfair Theatre
1o74 Bank Street
as part of the
Ottawa International Writers Festival
curated, puzzled over & arranged by jwcurry & featuring the vocal agilities of
jwcurry
Alastair Larwill
Christine McNair
Grant Wilkins
& special guest Sandra Ridley
MESSAGIO GALORE is an organically thetic examination of the possibilities inherent in the wide range of activities that occur between literature & music (with interpenetrations to each) commonly called "sound poetry". it approaches the genre as "inclusive" & investigates issues of writing/composing/scoring, transcription, arrangement, reading, rehearsal, group dynamics, intermultiphrenia & &.
take VIII follows relatively directly after take VII (at City Hall Art Gallery, january 23), utilizing the same core quartet that has been working together for a year now. it continues to develop repertoire material while adding new works to the available pool. works in this take are repeated for one or more of 3 reasons: further development of a piece, amplification's offer of different levels of play, or we fucked it up the last time. if take VII's primary contrasts were of durations, take VIII can be said to be a tentative toying with varying kinds of amplitudes.
__________________________________________________
1. It Can't Happen Here, Frank Zappa (USA, 1964; transcribed & arranged for quartet by jwcurry, 2oo7); source: Mothers Of Invention, FREAK OUT! (USA, Verve Records, 1965). a somewhat remented barbershop routine that only seems to leave metre & tonality behind. part 2 of Help, I'm A Rock, featuring Christine McNair as Suzy Creamcheese. readers: full quartet
2. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, dom sylvester houédard (England, 1966); source: KROKLOK ⌗1 (edited by dom sylvester houédard, London, Writers Forum, 1971). "for the artists protest committee for their call from los angeles for a tower against the war" (dsh in KROKLOK), an anagrammatical poem in 3 vowels & 4 consonants. duo arrangement by curry (2o1o) fusing a pair of arrangements by Nicholas Power/Rob Read & Carmel Purkis/Sandra Ridley (both 2oo8). readers: curry, McNair
3. roses that, d.a.levy (USA, 1966); source: UKANHAVYRFUCKINCITI BAK, edited by Robert J.Sigmund (Cleveland, Ghost Press, 1968). "for gene" (presumably Fowler), a more linear – but no less sonic – response to the same war (& perhaps project) as houédard's above. reader: curry
4. please, bill bissett (Canada, 196-?); source: bill bissett, fires in th tempul OR TH JINX SHIP ND OTHR TRIPS (Vancouver, Very Stone House, 1966). arranged as a rondelay by curry (2oo9), in part to help dispel a formed notion that bissett's sound work defies rendition by others, despite their rhythmic relentlessness. readers: full quartet
5. SIZERZ, Steve McCaffery (Canada, 1976); source: THE CAPILANO REVIEW ⌗31 (edited by Steven Smith & Richard Truhlar, North Vancouver, 1984), with reference to Steve McCaffery, research on the nouth (Toronto, Underwhich Editions, 1979). severe elemental hocketing coupled with ordered layerings subjected to consistent randomizations. readers: full quartet
6. SIX-FOUR, Alastair Larwill (Canada, 2o1o); source: unpublished. accumulative disintegrational polysyllabicism formulated as audio illustration in a discussion of articulational deliberateness with its dedicatee, Rob Read. readers: full quartet
7. KNOTS, jwcurry (Canada, 1982?); source: The (Almost) Instant Anthology '88, edited by Beverley Daurio, Daniel Jones & bpNichol (Toronto, Meet The Presses, 1988). a "translation into concrete" of R.D.Laing's lineated neuroses trackings, subsequently unreknotted & restrungout as duologue. readers: curry, McNair
8. Pike-Fishing North Milne Lake, Gerry Shikatani (Canada, 1977?); source: INTERNATIONAL ANTHOLOGY OF CONCRETE POETRY VOL.1, edited by John Jessop (Toronto, Missing Link Press & Poetry Toronto Books, 1978). textured gridtext as aquatic (semi)pastorale. readers: full quartet
9. Monograms – Genealogy – Grammarology, bpNichol (Canada, 1988); source: bpNichol, gIFTS The Martyrology Book(s) 7 (&) (2nd edition, Toronto, Coach House Books, 2oo3). the columnar lineation of the simultaneous strands of this optophonetic text suggested this arrangement as quartet, some of the gifts comprising "book &". readers: full quartet
1o. breath is, bill bissett (Canada, 196-?); source: (as 4 above). concrete scattertext arranged by curry (2oo9, revised a coupla nights ago) as duo demonstration of the logic inherent in bissett's more radical field compositions. readers: curry, McNair
11. EAST WIND, bpNichol (Canada, 1979?); source: Four Horsemen, The Prose Tattoo (Milwaukee, Membrane Press, 1983). a gridtext of overlaid extended breathlines, our version continues to toy with a more literal approach to the score than did the Four Horsemen's freewheeling phonetic romp. readers: full quartet
12. Pieces Of Stop, bpNichol (Canada, 1978); source: (as 11 above). dedicated to Greta Monach. again, a more literal approach to the score that casts the reversedexpectations of its sound envelopes into starker relief. readers: full quartet
13. Hour 3 1:35 p.m. to 2:35 p.m., bpNichol (Canada, 1985); source: bpNichol, the martyrology book 6 books (Toronto, Coach House Press, 1987). a straightforward narrative poem built on homophonic hinges, this had been included in MESSAGIO GALORE take VI (Ottawa, City Hall Art Gallery, 2oo9) but suffered abandonment due to the loss of its final page. rectified for the record. reader: curry
14. TWO: Less Time, bpNichol (Canada, 1982?); source: (as 5 above). vowelless gridtext with varying degrees of reading path choice determined by the readers. tonight's version utilizes this device in addition to random parts assignation & but one previous rehearsal. readers: full quartet
15. OPIUM MARBLE, jwcurry (Canada, 198o); source: monograph (Ottawa, Above/ground Press, 1999). an optophonetic onomatophony derived from a Vancouver alley soundscape (between Main & Gore). readers: curry, Larwill, Wilkins as stunt double on the "ktktktktktktktktktktktktktktktktktktktktktktk"s
16. Artikulationen, Franz Mon (Germany, 198-?); source: riverrun voicings soundscapes, edited by Klaus Schöning (Mainz, Wergo, 1999), transcribed, scored & arranged by jwcurry (2oo8) from a quartet recording made at the Studio Akustiche Kunst in 199o. Mon's "environment of syllables and sounds searching for words" (Schöning/translated by Steven Lindberg, CD note) began in the 196os & includes a series of homages, this one for Velemir Khlebnikov. readers: curry, Larwill, McNair, Ridley
17. BALLADS OF THE RESTLESS ARE, bpNichol (Canada, 1967?); source: monograph (2nd edition, Ottawa, Curvd H&z, 2oo6). "two versions/common source" of elemental theme & variations, the 2 chants arranged here as comparative simultaneity. readers: curry, Larwill
18. auf dem land, ernst jandl (Austria, 1968?); source: konkrete poesie deutschsprechige autoren, edited by Eugen Gomringer (Stuttgart, Philipp Reclam, reprint?, 198o). an "utter zoo" octupletted & here arranged as simultaneous identifications & emissions. readers: curry, Wilkins
19. GLASS ON THE BEACH, Richard Truhlar (Canada, 1978?); source: Owen Sound, Beyond The Range (Toronto, Underwhich Editions, 198o). transcribed by jwcurry from a trio (Michael Dean, Steven Smith, Richard Truhlar) recording at the Music Gallery in Toronto, 18 august 1979, with additional parts adapted from 2 manuscript scores courtesy of Truhlar. extended vocal waveforms with buried shards. readers: full quintet
__________________________________________________
cover: Steve McCaffery (5 above)
__________________________________________________
filmed by Ben Walker
__________________________________________________
see also:
preview:
cartywheel.wordpress.com/2011/04/28/practice-when-theres-...
photos:
www.flickr.com/photos/pearlpirie/5680264282/
www.flickr.com/photos/pearlpirie/5679703087/
www.flickr.com/photos/pearlpirie/5680264876/
www.flickr.com/photos/johnwmacdonald/5678112786/
www.flickr.com/photos/johnwmacdonald/6150197146/
www.flickr.com/photos/jowangauthier/5687823980/
review:
robmclennan.blogspot.ca/2011/05/messagio-galore-take-viii...