Quiver ‘Small Worlds’ album launch tour
Melbourne: 7th July- With Support from Evelyn Ida Morris. Church of All Nations
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The score for Werner Dafeldecker’s 2004 sextet composition ‘Small Worlds’ creates a set of simple conditions for the performers which concern their relationship to other members of ensemble. Musicians, divided into two trios, are periodically shifting both their dynamic and their listening focus, articulating a kind of glacial and subtle pulse or breath through the piece as players attend and listen to one-another in different ways. Notably, pauses in each part are always shared: two or more players may become linked for a moment in the act of together becoming listeners rather than performers. Dafeldecker’s graphic score, controlling the pace and form of these shifts and pauses, creates an architecture of relationships, the sonority of which is otherwise left open to be filled in by the ensemble themselves. – Josten Myburgh
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Quiver is a new music collective that formed in 2009 to pursue the exploration of sound through performance, improvisation and installation. Described by The Age as a ‘talent-rich new body’, the collective is dedicated to presenting refined interpretations of new and obscure scores, and creating programs that draw meaningful parallels between chamber music, improvisation and hybrid art. Now based between Melbourne & Berlin this recording, boasts the talents of Matthias Schack-Arnott- percussion, Aviva Endean- clarinets, Jonathan Heilbron- double bass & Rebecca Lane- flutes, joined by Chris Heenan- contrabass clarinet and Alexander Garsden- guitar.
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For the Melbourne Launch, Quiver have assembled a very special ensemble to play Small Worlds, with Matthias Schack-Arnott- Percussion, Aviva Endean- Clarinets, Alex Garsden- Guitar, Chloe Smith- Violone/Double Bass, Ryan Williams- Recorders and Andy Butler- Keyboards
Josten Myburgh (Tone List) on the release…
Quiver’s performance of Small Worlds is subdued, yet rich and intense. The palette of sounds often draws from the familiar—subtle arpeggiations and melodic figures from Garsden & Heilbron’s guitar & bass harmonics, or Schack-Arnott’s vibraphone & bells. But its strangeness comes to the forefront with Heenan’s snarling contrabass clarinet, or the whistling multiphonics of Endean and Lane. Occasionally timbres overlap and intersect, and their source becomes unclear. Among the most striking moments are at the extremes of range: particularly Lane’s still, low flute tones, gently resting under the ensemble & barely noticeable, or the digital-sounding, crackling high tones from bowed percussion. But the group’s sensitivity ensures that, despite such a diverse range of sounds, the interesting forms & symmetries in Dafeldecker’s score can be clearly heard by the attentive listener.
– Josten Myburgh (Tone List)
Evelyn Ida Morris has been performing as Pikelet for over ten years. In the last few years, Evelyn has extended their practice into piano compositions that hold a frenetic emotional space while also attempting to remain beautiful.
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