Yarn/Wire: Catherine Lamb, “curvo totalitas”
After the four musicians connected by eye contact to exactly synchronize their ‘phones, the piece began; sound emanated entirely slowly – it seemed like almost a minute before a steady something audible materialized from the steel sheet. The extent to which it might be considered ‘music’ remained unclear until the sound was joined, initially almost equally imperceptibly, by definitively musical synthesizer notes. Within the context of steady sound, passages of shifting intensity -- ranging from pianissimo to mezzo forte, never louder – rose and fell in discrete, discernible rhythms. Over the course of the piece, the musicians at each corner took turns playing music; only occasionally did two musicians play at once, producing instrument overlaps of embrace, enhancement, mutual revelation and then separation. Mostly, however, the musicians floated their musical energies in each other’s directions like invisible shimmers through the audience’s fairly settled quiet. [more]