Brandon LaBelle - Music and its double
  Year :   2003
  Location :   USA
  Worktype :   Performance
  Materials:   -
  Info :   Diapason gallery, New York

  Work Details  
  Pierre Boulez’ “Structures” from 1952 was an attempt, as Boulez stated, “to eliminate from my vocabulary absolutely all trace of heritage.” Thus, musical parameters were determined by external procedures through developing two matrices (original and inverted) whereby notes, duration, and tempo were determined and assigned value. Functioning as a kind of ultimate textbook for the methods of total serialism, “Structures”, as it announces in its title, obsesses with method and its resulting order in such a way as to suggest composition as “architecture”: external procedures and musical production form an affair through which intellectual rigor aims for total design. To further eliminate all trace of heritage, I’ll introduce the drum kit into Boulez’s musical vocabulary—jamming with “Structures”, improvising against the architectural order, my own addition will function as a shadow, a doubling up of information, so as to tease out the musical affair by introducing a seemingly antithetical form of composing: improvisation on the drum kit as physical exertion, as meditative intuition, as emotional thrust. Total serialism meets total free form. The performance was organized around two parts: the first being nothing but drum-kit, and my playing while listening to Structures through headphones, improvising to Boulez; and the second, playing back my drumming (which was recorded) and Structures together, uniting drum and piano, the original and its shadow.