CNV50 | 24.07.2008
01 . Timelines_NY
ALL FILES (Download)
“Timelines_NY” is a graphical score for five musicians composed for a concert in New York. Like the first version of this work, simply entitled “Timelines” (released in 2005 on Cut as CD), “Timelines_NY” was composed with this group of musicians in mind. These graphical works of mine are therefore not interchangeable: they are conceived within the context of the particular instrumentation and, even more importantly, for the personalities of the original participating musicians. In this sense, I see these works as more than just groupings of instruments but social situations, bringing together a particular group dynamic within the parameters of a graphical score.
The musicians are free to interpret the score as they wish. I only ask them to adhere to the dynamic ranges indicated and the timing of when to start and stop playing.
The duration of “Timelines_NY” serves to move these works towards more the idea of an environment than a performance. I would like both the performers and audience alike to enter a place where the idea of time passing recedes into the background; where the focus lies with the sound, on a continuum without beginning or end.
[ liner notes by Jason Kahn ]
Jason Kahn // composition, live mix
Tomas Korber // guitar, electronics
Norbert Möslang // cracked everyday electronics
Günter Müller // ipod's, electronics
Christian Weber // contrabass
Tim Barnes // percussion
Recorded May 15, 2007 at Issue Project Room, Brooklyn, New York.
Hmmm... didn't we already review a work by Jason Kahn called 'Timelines'? Yes, we did, in Vital Weekly 464, when we wrote: "Also on the subject of graphical scores is Kahn himself, in his 'Timelines' piece, for six players with whom Kahn worked before. These are Thomas Korber (guitar, electronics), Norbert Möslang (cracked everyday electronics), Günter Müller (mini disc, ipod, electronics), Steinbrüchel (laptop), Christian Weber (contrabass); the sixth one being Jason Kahn himself on analogue synthesizer. Kahn says that '"Timelines" approaches the idea of a "social music", in that this composition can only work with these particular people in this particular context'. 'Timelines' is a lengthy piece, around seventy minutes, and that is a bit too much. This mainly has to do with the dynamics of the piece, or maybe rather the lack thereof. Things go by in a seemingly endless stream, in which each player gets his solo role (the cracked everyday electronics of Möslang burst out at one
point), but at the same time, in the background things continue to sizzle, crack and hum. Some of the passages take too much time. What I miss in this piece is the tension between the players, maybe some dramatic built up or something like that. Maybe the piece should have been forty minutes, with a little bit more dramatic tension among the players. Plus it would have been nice to maybe see in the booklet how such a graphical score looks like." That last thing is corrected here with a PDF version of the score, which looks indeed very much like a nice graphical score. This New York version lasts no less then two hours, so pretty much of what I wrote about the CD release applies here again. Its all a bit long
[ Frans de Waard ]
CON-V EDITION | 2015