11/27/2023 0 Comments Hennix infinitory compositions musicIt doesn’t stop when we go to bed or when we eat or do something else, it’s always something that is ongoing. It’s an unbroken sound, it’s like a sound current that is always on-the universe is always on. Yeah, yeah-there’s a cosmic sound that is eternal. So there’s this idea that sound is God and you also said that Allah is the most beautiful-the only thing that isn’t perishing-does this mean you see sound as being something that is eternal? It’s the colonial translation, you could say. The music is focused on an Indian idea that is expressed as Nada Brahma which means-and this is a not-so-good translation-“sound is God.” If you look in any English dictionary you’ll never find that God means Brahma or Allah or anything like that nor that Brahma or Allah means “God” were you to look in a Sanskrit or Arabic dictionary, so that is a quite misleading translation. It’s part of my training as a musician by Pandit Pran Nath . It has an eternal existence and everything else is perishing, as you may notice if you look on TV. Well, it’s everything! It’s the only thing that truly exists. What facet about Allah is most alluring to you? I wanted to ask: What’s something in this world that you find profoundly beautiful that keeps you encouraged, that keeps you going?įor me Allah is the most beautiful, and everything else is maybe less beautiful. Which questions did you have in mind anyway? There are many such questions but none are coming to mind. Well, I’m not prepared to die for it ( laughter ). Is there something you’ve wanted someone to ask you during an interview? I wanted to start off this interview by asking if there was anything you were dying to talk about. I’m in Illinois, I was at a protest in Chicago. I’ve been watching TV from the United States all evening, so it’s hard to go to bed after seeing so many horrors. Audio restoration and mastering by Stephan Mathieu.Joshua Minsoo Kim : Hello, how are you doing? It’s pretty late over there, do you usually stay up this late?Ĭatherine Christer Hennix: Yeah, from time to time I do. Tape transfer and mastercut by Andreas Lubich. Now accessible for the first time, these recordings only begin to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century. Using the same approach and just intonation keyboard featured on Hennix’s The Electric Harpsichord, but with marimba in place of harpsichord stops, the piece is an undulating marvel of lysergic drone, equally deserving of its companion’s status as “THE obscure masterpiece of the days of the early American minimalism”. Hennix is joined by Hans Isgren for the collection’s centerpiece, “The Well-Tuned Marimba,” for well-tuned Yamaha, sheng, sine wave, and live electronics. “Equal Temperament Fender Mix,” performed on the same Rhodes but in twelve-tone equal temperament tuning, employs a tape delay system not unlike that used famously by Terry Riley, here towards more sombre, hallucinatory means. “Mode nouvelle des modalités,” for well-tuned just intonation Fender Rhodes and sine wave drone, is a consummate expression of Hennix’s formative years, a probing meditation giving the mercurial quality of early electronic music an instrumental life replete with the dexterity of Cecil Taylor and shades of Paul Bley’s synthesized reveries. Culled from rehearsal tapes recorded during the 10-day Dream Music Festival, Selected Early Keyboard Works features three pieces of minimal music, performed by Hennix on tunable electric keyboards. In 1976 Catherine Christer Hennix’s just intonation live-electronic ensemble The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. The record also marks the first time Hennix’s own music has been given a full-length vinyl issue. It comes hot on the heels of Traversée Du Fantasme at the Stedelijk in Amsterdam, Hennix’s first solo museum exhibition in over 40 years, and coincides with both Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of her writing, and the closing of Thresholds of Perception, a retrospective archival show of Hennix’s visual work at The Empty Gallery in Hong Kong. Selected Early Keyboard Works is the first in a series of planned archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions.
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