Posts Tagged ‘Annie Hui-Hsin Hsieh’

Autoduplicity at WasteLAnd

Rachel Beetz and Jennifer Bewerse, also known as Autoduplicity, curated the wasteLAnd concert at Art Share L.A. on Friday, December 1, 2017. The duo presented six pieces by women composers, ranging from an electronic work by Pauline Oliveros to a premiere by Celeste Oram.

Bye Bye Butterfly by Pauline Oliveros was first. The lights faded to total darkness and the high whine of an electronic oscillator came from speakers hanging from the ceiling. The sound was reminiscent of an old heterodyne radio tuning in a far-away station. The pitches varied a bit, creating a somewhat alien feel. The oscillator was soon joined by a chorus of faint voices, and this served to add a human element to the mix of sounds. The piece proceeded with the voices overlapping the electronic tones so that it was hard to tell where one left off and the other began. The context shifted back and forth between alien and human, while the sounds themselves mixed together, blurring the distinction. Bye Bye Butterfly is classic Oliveros, inviting the listener to experience familiar emotions through unexpected combinations of sounds.

DiGiT #2, by Mayke Nas followed. Ms. Beetz and Ms. Bewerse both seated themselves at a piano and the piece began in dramatic fashion with a great forearm crash to the keyboard. The massive sound rang into the hall, slowly dissipating into silence. After a few seconds, a second powerful crash hit in a somewhat higher register. This continued, alternating between the ominously low and the anxiously high portions of the keyboard. The length of the intervening silences decreased as the crashes shortened, and this built up a definite feeling of tension. At about the midway point, the two performers began clapping hands just before they struck the keyboard. This happened briefly at first, but as the piece progressed the clapping sequences became longer and more intricate. By the finish, the clapping predominated, creating a playful feel that dispelled the previously menacing atmosphere. DiGiT #2 artfully illustrates how even the most sinister musical foreshadowing can be overcome by a simple expression of optimism.

2.5 Nightmares, for Jessie, by Natacha Diels, was next. Ms. Bewerse, with her cello, occupied a low riser in the center of the stage. Ms. Beetz and Dustin Donahue took their places on either side, sitting at tables with a ukulele, a sand paper block and other assorted percussion. The cello began by playing short, scratchy strokes while the wood blocks were drawn across the sandpaper. Silence followed, and a mallet striking a pie tin combined with bowed ukuleles to create a sequence of wonderfully strange sounds. The players also choreographed their movements and vocalized as the piece proceeded. Weaving together found sounds, cello, ukulele and choreography, 2.5 Nightmares, for Jessie nicely expresses that precise blend of the formal and the surreal that populates our dreams.

a…i…u…e…o…, a video piece by Michiko Saiki, followed. The opening scene simply showed a beautiful young woman alone in a room with red chairs lining an interior corner formed by two white walls. The soundtrack started with some vocal sounds which evolved into singing, often with lovely harmonies. The images portrayed a strong sense of loneliness mixed with a search for identity. There was also an element of the surreal to this – at one point the young woman was shown with several sets of arms, and again with something like sprouts of clover growing out of her skin. The technical effort was of a very high order, and none of the effects seemed contrived or forced. The powerful images and appealing vocals of a…i…u…e…o… made a strong impression on the audience.

The thin air between skins, by Annie Hui-Hsin Hsieh, was next. Ms. Beetz and Ms. Bewerse seated themselves back-to-back on the stage. A low trill from the flute began the piece and the cello entered with soft tones, creating an air of quiet mystery. Skittering flute sounds mixed with the cello to create a remote feel, as if hearing a breeze sweeping through a lonely forest. The flute occasionally became more agitated, but The thin air between skins remained consistently understated and sensitively played. A short, overblown blast from the flute ended this peaceful and reserved work.

The premiere of Machut: sanz cuer / Amis, dolens / Dame, par vous (Ballade #17), by Celeste Oram concluded the concert. Autoduplicity, clad completely in black, returned to the stage. The piece began with strong passages from the cello and a stately counterpoint in the alto flute. The feeling was very formal, a bit like early baroque music. The rich tones in the flute and cello made for an elegant combination, especially in the lower registers. Part way through, Ms. Beetz rose from her chair and walked behind a black screen at the rear of the stage. As she did so, an image of her – now dressed in a white top – appeared on the screen. The players traded off, walking back and forth from their music stands, an image of them appearing at the moment they walked behind the screen. At times there were scratchy or breathy sounds heard from the screen, at other times musical sounds, and sometimes silence.

The illusion of seamless, live action was very convincing and all the more remarkable as the images on the screen were prerecorded videos. The music was smoothly continuous and the comings and goings on the stage seemed to connect the players to another dimension. The complex choreography of movement by the players and the split-second timing of the images was remarkable. This flawless premiere of Machut: sanz cuer / Amis, dolens / Dame, par vous is even more impressive given the potential for a technical catastrophe. The skill of Autoduplicity and the ingenuity of the music and video combined for an engaging and entertaining performance.

The next wasteLAnd concert will be on February 10, 2018 at Art ShareLA and will feature new works by Ulrich Krieger and Sarah Belle Reid.