{"id":7598,"date":"2020-09-15T13:59:02","date_gmt":"2020-09-15T11:59:02","guid":{"rendered":"https:\/\/www.musikfabrik.eu\/?p=7598"},"modified":"2022-03-02T14:07:12","modified_gmt":"2022-03-02T13:07:12","slug":"lockdown-tape-57","status":"publish","type":"post","link":"https:\/\/www.musikfabrik.eu\/de\/blog\/lockdown-tape-57\/","title":{"rendered":"Lockdown Tape #57"},"content":{"rendered":"
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Sie sehen gerade einen Platzhalterinhalt von YouTube<\/strong>. Um auf den eigentlichen Inhalt zuzugreifen, klicken Sie auf die Schaltfl\u00e4che unten. Bitte beachten Sie, dass dabei Daten an Drittanbieter weitergegeben werden.<\/p>\n

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Evan Johnson<\/strong> – ‚indolentiae ars‘, a medium to be kept<\/em> (2015) f\u00fcr Bassettklarinette mit 9 Tasten in A<\/p>\n

Carl Rosman, Bassettklarinette<\/p>\n

Janet Sinica, Video
\nHendrik Manook, Sounddesign<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n

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Carl Rosman about Evan Johnson’s\u00a0\u201cindolentiae ars\u201d, a medium to be kept<\/em>:<\/p>\n

There has already been plenty of writing about this piece. Its gestation was documented in detail by Emily Payne<\/a> for her article Repurposing the Past? The Historical Basset Clarinet in Creative Collaboration<\/a>, including copious interview material with both Evan and me collected while the piece was in progress; Evan\u2019s typically eloquent programme note is here<\/a>; there\u2019s a fair bit on it in my own PhD research (still in progress); I\u2019ve even already written a little snippet for an Ensemble Musikfabrik blog entry, back in early 2016 on the occasion of the premiere. So I hope you\u2019ll excuse me if I keep this anecdotal.<\/p>\n

This is not in any way a showpiece. As Evan\u2019s performance notes point out: \u201c[t]he space of \u201cindolentiae ars\u201d, a medium to be kept<\/em> is the air directly in front of the performer\u2019s body: it is not<\/em> a space shared with the audience\u2026 Whatever reaches the audience should be as if overheard\u201d. (Perhaps that\u2019s worth emphasising here, since recording such a piece necessarily involves a more intimate kind of eavesdropping than a concert audience has a chance to indulge in.)<\/p>\n

The instrument isn\u2019t exactly a standard model, at least not in the orchestral sense: it\u2019s a best-guess historical replica, by Peter van der Poel<\/a>, of the (lost) instrument on which Anton Stadler performed Mozart\u2019s concerto and quintet. So, neither a standard-issue instrument nor a one-off, but a model with both individual, interesting characteristics and particular historical importance, all of which played a part in Evan\u2019s compositional process. (For historical-clarinet nerds: the low written B is a pitch of particular importance, and Evan being Evan there are multiphonic trills involving the low B hole, which, as this hole does not possess a key, require the shaking of the entire instrument.)<\/p>\n

This isn\u2019t an obvious choice for a youtube clip: at 23 minutes it\u2019s anything but bite-sized. On top of that, it requires careful attention\u2014but I think it rewards it as well, and just possibly an advantage of this medium is that gives you a chance to enjoy the piece\u2019s very individual rhetoric (and lack of it) at close quarters, at the time and in the surroundings of your choosing, free from the fidgeting of fellow audience members. In any case, there\u2019s plenty of bite-sized material out there already.<\/p>\n

Carl Rosman, September 2020<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n","protected":false},"excerpt":{"rendered":"

Carl Rosman spielt Evan Johnsons „indolentiae ars, a medium to be kept“ f\u00fcr historische Klarinette live auf Band<\/p>\n","protected":false},"author":7,"featured_media":7599,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[89,1,90],"tags":[99],"class_list":["post-7598","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artikel","category-video","category-werktext","tag-lockdown-tapes"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.musikfabrik.eu\/de\/wp-json\/wp\/v2\/posts\/7598","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musikfabrik.eu\/de\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musikfabrik.eu\/de\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/de\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/de\/wp-json\/wp\/v2\/comments?post=7598"}],"version-history":[{"count":2,"href":"https:\/\/www.musikfabrik.eu\/de\/wp-json\/wp\/v2\/posts\/7598\/revisions"}],"predecessor-version":[{"id":7602,"href":"https:\/\/www.musikfabrik.eu\/de\/wp-json\/wp\/v2\/posts\/7598\/revisions\/7602"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/de\/wp-json\/wp\/v2\/media\/7599"}],"wp:attachment":[{"href":"https:\/\/www.musikfabrik.eu\/de\/wp-json\/wp\/v2\/media?parent=7598"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/de\/wp-json\/wp\/v2\/categories?post=7598"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/de\/wp-json\/wp\/v2\/tags?post=7598"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}