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11-11-2017 @ 11:00 PM
*A purchase of a special add-on ticket is needed to attend this show.
With very subtle rhythms of microtonal beating between electronic and acoustic sound sources, Lea Bertucci’s music ambulates in and out of tune with specific pitches played by instrumentalists. This conflation between electric and acoustic sound is one of the major imperatives of the work, with a microtonal harmony as consequence. Bertucci specifies certain pitches, timbral variations and extended techniques to each player. Scores are often hand drawn and very visually oriented: a mixture of graphic and traditional staff notation.
The work of New York-based noise and improv composer and performer Lea Bertucci describes relationships between acoustic phenomena and biological resonance. In addition to her instrumental practice, (alto saxophone and bass clarinet), she often incorporates multi-channel speaker arrays, electroacoustic feedback, extended instrumental technique and tape collage. Working interdisciplinary with photography, video, installation and sound, the emphasis of her oeuvre lies in the description of space, whether through light, movement, or sonic excavations. Engaging with the No Manifesto by Yvonne Rainer, Bertucci translates the choreographic standpoint into multimedia performances, where the role as female artist is put to the test by the vibratory experience of lost control. For Bertucci, noise was a natural extension of the free jazz impulse for freedom. Embodying this emancipation, a sense of communality is produced: the common space of listening.
Bertucci’s discography includes a number of solo and collaborative releases on independent labels in the US and Europe, including I Dischi Del Barone, Obsolete Units, Telegraph Harp and Clandestine Compositions. In 2017, she will release All That is Solid Melts Into Air: Works for Strings, on NNA Tapes
Lea Bertucci has performed extensively across the US and Europe at venues such as The Kitchen, PS1 MoMA, The Drawing Center, Anthology Film Archives, Abrons Arts, The Walker Museum, Madison Square Park, ISSUE Project Room, Pioneer Works, The Queens Museum, Artists’ Space, Caramoor, The High Zero Festival, and Experimental Intermedia, among many others. She is a 2016 MacDowell Fellow in composition and a 2015 ISSUE Project Room Artist-in-Residence.
For the last night of Sound of Stockholm, Lea Bertucci will perform the EU premier of the 8-channel electroacoustic piece Spatial Sweep, in the abandoned site of Reaktorhallen. Earlier the same day, she will lecture on the recent piece ORACLE – a large-scale work combining children’s voices with dynamic and subtle voice processing to create an artificial acoustic environment in the outdoor performance space. Drawing from noise aesthetics and borrowing some extended techniques from the avant-garde tradition, ORACLE approaches the possibilities of the human voice using dissonance, resonance and texture. Instead of lyrics, onomatopoeic words and glottal consonants form the content of the work, emphasizing the fragile and transitory timbres of the children’s voices. Through an extensive rehearsal process, the work will foster an environment of learning, offering the choristers an expanded idea of what music can be and emphasizing the value of exploration in creating unique sounds.