Hedvig and I will analyze a performance we did with Alex Gunia at 300 acting spaces.
We want to be more aware of how we interact with another musician.
We will state our thoughts and feelings regarding the recording and the preparations for the performance.
The 9th of may we were asked to play at 300 acting spaces, an artistic research project initiated by Alex Gunia. Gunia were to join us, so this would be our first performance not as a duo.
We did not discuss any structure before we started.
We had been experiencing some problems with the sensors, they were breaking due to their placement on the wrist/hand. We only had one working sensor left for this performance. More on that later.
- Gyroscope on wrist whose function is controlled by Jonas.
- Both: 00:00 – 01:14 Clear minimalistic start. And an obvious link between sound and movement.
- Jonas: 00:00 – 01:14 I think the usage of the sensors might be too extreme, I would like to see something more subtle and slow evolving when we know we are to do such a long performance? Maybe. But it was a nice intro.
- Both: 01:15 Great transition to the next part.
- Both: 02:43 – 02:48 Cool contrast from Hedvig.
- Both: 01:15 – 03:53 Nice and elegant part, not too much, not too little.
- Jonas: 03:53 Back to the intro, great!
- Both: Cool video effect, us “dancing” together.
- Both: 05:20 – 07:00 We feel that this part has no obvious sense of direction.
- Hedvig: When new impulses/patterns appear, we should not be scared to stay in them and we should avoid falling back into old habits in situations like these.
- Jonas: 07:00 – 10:02 nice build up to a new part at 10:02.
- Jonas: 10:02 This is a nice example of rehearsed parts easily being integrated into improvisational pieces.
- Hedvig: 11:52 This is starting to get quite flat and uninspiring.
- Jonas: Agree
- Both: 12:42 Nice, sudden transition and a nice relief from the previous hectic part. The transition wouldn’t have been as relieving as this if the previous part hadn’t been “too long”, so was it too long?
- Both: 12:42 – 14:36 Fresh start, but it might not be obvious enough that Hedvig is controlling the sound, if that is important.
- Both: 14:36 – 18:11 Nice and balanced part, clam and easy.
- Hedvig: It’s obvious that we stand for what we do and that we are on the same page.
- Jonas: I feel that we are calm and just create art together, it’s not pretentious, just playing and having fun.
- Hedvig: 18:11 – 20:30 I think this part was strange and choppy, but I liked it.
- Jonas: The part might be a little undefined, but I like it.
- Jonas: 19:49-19:54 I like that I use this sound just for 5 seconds, and not again.
- Jonas: 19:54 – 22:40 – I like that it is minimalistic, but it could and should have been clearer landscapes musically.
- Hedvig: Nice focus, I like my approach.
- Jonas: 22:57 Nice new musical element. And cool tension to the previous slow evolving part.
- Jonas: 23:29 Cool, I like the lead-approach Alex steps into.
- Both: 23:52 Hedvig gives room, nice.
- Both: 24:30 Hedvig gives even more room, even nicer.
- Both: 25:03 Hedvig articulates her contrasts with nice small gestures. Cool!
- Jonas: 25:18 Obvious change when Hedvig decides to hit the floor. Here Hedvig is really controlling the structure in the music.
- Hedvig: 25:18 I like the feel of a “rewind in movements” from what happened before I sat down.
- Jonas: I feel that this part well represents the shockwaves from the previous part. A well connected piece.
- Both: 25:52 – 26:00 Awesome!
- Hedvig: 26:52 This action summarizes my idea of my “rewinding”.
- Jonas: 26:27 Nice trivial romantic sound.
- Jonas: I like that Hedvig is siting down and dancing with just her hands.
- Both: 28:15 We think that Hedvig easily could have sat down longer, since it was such a clear statement.
- Both: 26:52 – 34:10 A nice part, not too much ambition, but as stated, is is rather trivial and easy to enjoy.
- Jonas: 34:14 I like Hedvig’s contrasts to the slow evolving music.
- Both: Nice calm ending, good recap.
Summary and overall thoughts:
The most interesting aspect with this performance was for us the trio format. It made us relax more and give more room as we knew that we could rely on Gunia to put new life into the piece if it were to “die out”. It also made us act more as one instrument since Hedvig’s movements was only controlling the output of the drums. We could think as one instrument and utilize some of the techniques we had rehearsed and enter some of the musical rooms we were accustomed to in interplay with Gunia. The trio format also made us go to places we had never been before and we were challenged to get out of our comfort zone. This is definitely something we will do again.