More free improvisation fun from our friends at Fizzle, Birmingham:
A Centrifuge-Fizzle co-promotion
Centrifuge nos # 26
Tuesday 6th May at The Lamp Tavern, 157 Barford St, Birmingham B5 6AH.
Centrifuge brings an exciting collection improvising musicians based in North and Midlands together in Birmingham. The musicians, with a range of different musical practices, will combine in various small groupings to deliver a program of free improvisations in music.
Featuring the following and more or less:
Phil Morton notes: A tasty line up, good instrumentation, and excellent to see the “Phil’s” are well respresented.
Instruments may include
Accidents & Treatments, Double Bass, Bass Clarinet, Electronics,Flute, Flugelhorn, Guitar, Keyboard, percussion, Sax, Trumpets, Voice,
On Friday, as part of the Frontiers Festival of New Music, Simon Peacock, his Surge Orchestra, plus students of Birmingham Conservatoire (as the Thallein Ensemble) played Terry Riley’s In C (1964). This performance was held in the absolutely gorgeous setting of the rotunda of the new Library of Birmingham. The place is worth visiting just for the view: blue-lit escalators and a high-level people mover, black metal framework. Add to that a whole lot of books and exhibits and a pretty good cappuccino at the in-house café, and it’s a lovely place to visit. But we were here for Terry Riley.
Chris Hobbs, who had directed the first British performance of In C in London in 1970, introduced this performance. His introduction (the first part of which was cut off) appears here:
Hobbs had been advertised as performing with the group and had rehearsed with them once rather late in the schedule. But he decided that they had already fixed their performance and that it would be better for him to let them perform it themselves. The ensemble of students was especially excellent and enthusiastic. They would have played a classic version of In C very well indeed. Such a version would have consisted of the score: 53 little motives that are repeated ad libitum by each player, who moves through the material at her/his own pace. The resulting counterpoint of voices has made In C stand out as the first ever piece using repetitive process minimalism. Almost all performances are