Sax and Percussion

Italian composer Pierluigi Billone “...belongs to one of those rare magicians, who can suspend linear time. One assumes with his music as if to enter a ritual space" (Heinz Rögl). In 2 Alberi, he references Emily Dickinson’s poem Four Trees — upon a solitary Acre, in which the poet describes the special relationship between four trees standing in a desolate landscape. The composition is part of a cycle of works in which individual instruments enter into new relationships with each other. They do not merge to produce a single sound, nor do they enter into dialogue in the traditional sense. Their only uniting feature is their environment. They are similar, but rather than communicating directly, they do so through a shared context: the same wind, the same sun, the same surroundings. Pierluigi also introduces a third type of relationship, one oscillating between connection and total separation.  

The music of Lithuanian composer Justina Repečkaitė is described by critics as “drawn with the sharpest pencil” (Šarūnas Nakas). In Ciclo Continuo, in search of a new, hybrid timbre, the instruments conjoin in an novel way. The snare drum becomes a resonant body of various objects, while the vibrations of its wires enrich and saturate the metal instruments. The duo plays the cycle that is on loop, an endless repetition devoid of narration, a basso continuo of an unsung aria.

Mauricio Pauly, a composer, improviser, and producer from Costa Rica, creates hybrid music blending electronics, traditional instruments, and various amplifiers. In The Threshing Floor, two performers stand opposite each other. Their almost choreographed movements, instruments and amplifiers intimately intertwine around and in between them. The rough, undulating centre throws offshoots into a ring of sustained tones which the speakers project against the outer walls. These tones gradually recede into slow swarms of controlled feedback, extending the boundaries of all bodies involved in the performance.

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Experimental duo scapegoat consists of Australian saxophonist Joshua Hyde and Canadian percussionist Noam Bierstone. Their programs are designed to broaden and challenge past musical experiences and audience expectations through original works featuring electronics, performer-controlled sonic and visual amplification, video and lighting design, and improvisation.

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scapegoat:
Joshua Hyde, saxophone
Noam Bierstone, percussion

Pierluigi Billone:  2 Alberi , for alto saxophone and percussion
Justina Repečkaitė:  Ciclo Continuo , for soprano saxophone and percussion
Mauricio Pauly:  The Threshing  Floor, for tenor saxophone, percuss ion and electronics