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San Diego, CA (streaming)—Strange And Sacred Noise
February 19 @ 5:00 pm - 6:00 pmFree
red fish blue fish performs “Strange and Sacred Noise (1997)” by John Luther Adams live in the Experimental Theater at Conrad Prebys Music Center!
The first broadcast will be on Friday, February 19th at 5:00 p.m. PST on the UC San Diego Music YouTube channel. The performance will feature percussionists Steven Schick, Rebecca Lloyd-Jones, Michael Jones, and Mitchell Carlstrom.
Follow UC San Diego Music on YouTube or go directly here to stream the event.
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“Strange and Sacred Noise (1997)” Program Notes from Wise Music Classical:
Noise – complex, aperiodic sound – touches and moves us in profound and mysterious ways. Strange and Sacred Noise is a celebration of noise as a metaphor for turbulent phenomena in the world around us, and a gateway to ecstatic experience.
Grounded in the elemental violence of nature and the self-similar forms of linear fractals, this music is a convergence of sonic geography and sonic geometry. Each piece in the cycle is conceived as its own distinct and separate sound world, evoking the immediacy and presence of a place.
These soundscapes are inspired by and dedicated to composers who have explored strange new worlds of sound.
“…dust into dust…” is a sonic equivalent of the Cantor dust – a fractal model of the behavior of electrical noise – articulated by 2 snare drums and 2 fields drums.
“solitary and time-breaking waves” (after James Tenney) is scored for 4 tam-tams. Waves of intensity with varied periods gradually drift together cresting in a massive tsunami of sound.
“velocities crossing in phase space” (after Conlon Nancarrow and Peter Garland) – for 6 tom-toms and 4 bass drums – is a canon in continuous waves of acceleration and ritardando, modeled after Nancarrow’s Canon X and Garland’s Meditation on Thunder.
“triadic iteration lattices” (to Edgard Varése and Alvin Lucier) – for four sirens – traverses an expanding field of rising and falling glissandi. The piece is modeled on the Seripenski gasket: an Eiffel-tower of reiterated, telescoping pyramids.
“clusters on a quadrilateral grid” (to Morton Feldman) is scored for four marimbas, four vibraphones, and four sets of orchestra bells. It is a sounding of the Menger Sponge: an enigmatic quadrilateral with an infinite surface area, and a volume of zero.
“…and dust rising…” is scored for 2 snare drums and 2 field drums. Out of silence, points of dust emerge to become relentless, reiterated noise.
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