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Breylin, Aaron Foster / Luke Martin: Recursive Retent (Edition Wandelweiser Records)

Excerpting part of an eight-hour performance recorded over an amplified live environment of a text score for two pianists using one piano, each positioned at the opposite registers of the piano, one player creating a block of note phrases using intervals of a 2nd or 3rd with each note allowed to decay before the next, repeated by the other player following a set of rules.
 

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product information:


UPC: 4011778039402

Label: Edition Wandelweiser Records
Catalog ID: EWR 2102
Squidco Product Code: 30677

Format: CD
Condition: New
Released: 2021
Country: Germany
Packaging: Cardboard Gatefold 3 Panels
Recorded in Seattle Washington, on August 28, 2018.


Personnel:

Aaron Foster Breilyn-piano

Luke Martin-piano

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Artist Biographies:

Aaron Foster Breilyn is a New York pianist and performer, known for his work with Koen Nutters, and a duo with Luke Martin. He has performed at the Yellow Fish Festival in Seattle, WA.

-Soundcloud (https://soundcloud.com/aaronfosterbreilyn)
8/10/2022

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Luke Martin is an experimental composer, musician, and poet currently living in Allston, MA (Boston). His work focuses on the concepts of silence, blandness, and community and is primarily interested in exploring the limits of perception. More specifically, he is interested in the combined use of poetry notation and graphic notation, silence and sound, and listening and active sound-making, as equally considered elements in the compositional practice; for instance, the composer's task is not only to consider the parameters of determined sound making, but also - particularly - the parameters of how we listen, and how we may interact with and frame silence. The composer, then, seeks to create situations of possible events which the audience, performer(s), and composer may experience concurrently. Further, it is essential to critically consider the hierarchical roles and power relations at work between composer, performer(s), and audience; or in other words, the nature of the political/social significance of that situation. In short, the composer is not simply someone who composes a musical performance, but rather someone who composes a social situation in which there is, regardless of their desire or intent, sound. Recently inspired by David Dunn's notations for listening and Lasse Thoresen's spectromorphological analysis of electronic music and sound, Luke is developing a notation for the performance and analysis of silence (i.e., incidental sounds, contingency).

Among his many influences, Luke is inspired by the work of Samuel Beckett, John Cage, Morton Feldman, Peter Ablinger, Deleuze and Guattari, Joseph Beuys, the Wandelweiser Collective, and Christian Bok. Luke performs (and has performed) with various groups on no-input mixer, guitar, objects, and other various odds-and-ends including sinecure (Andy Young, Ben Levinson, Isaac Aronson), Variant State (Michael Rosenstein, Howard Martin, Jesse Collins, Chris Johnson), DogStar Orchestra (large ensemble of experimental musicians led by Michael Pisaro), Ordinary Affects (ensemble of experimental musicians, led by Morgan Evans-Weiler), ample parking (trio with John Pax and James Bean), The Readers Chorus LA (a reading group led by Sara Roberts and Jordan Biren), and others. He has an M.F.A. in music composition from California Institute of the Arts, studying with Michael Pisaro, and a B.A. in English and Music from Colby College (magna cum laude, honors in music composition/theory).

Having recently relocated from Los Angeles to Boston, Luke spends his time composing, performing, writing, and working as the grant writer for Monday Evening Concerts (Los Angeles, CA) and The Center for Advanced Musical Studies at Chosen Vale (Hanover, NH), in addition to being the operational assistant for Boston-based experimental music organization Non-Event (Boston, MA) and an associate producer at the Ojai Music Festival (Ojai, CA). Of particular note is his new experimental music residency: co-incidence, an experimental music residency. Developed with Aaron Foster Bresley, this program will have its first season in January 2017, hosted by Non-Event and Washington St. Gallery, in Somerville (Boston), MA. This project is based on an expanded view of what constitutes art, music, and the traditional concert. Following the example of the revolutionary arts community Black Mountain College, it will bring together a group of radical artists operating in the boundary-zones of their practice(s) to take part in a residency curated as 'social scultpure.' Attending will be Co-Directors Luke Martin and Aaron Foster Bresley, Resident Artist Michael Pisaro, and six Guest Artists chosen from a domestic and international pool of applicants (it is also fully open to the public).

On January 8, 2016, Luke released "residues," a CD of graphic score string quartets on FWD: rcrds; on December 7, 2016 he will be releasing a 72-minute piece on Edition Wandelweiser Records; and he has two more projects in the mixing stages, a 3-disc collection of noise and poetry/spoken works, to be released in Spring 2017, and a 72 min piece for solo trumpet to be released in Fall 2017.

Luke is from Massachusetts, has spent and continues to spend time in Maine with family and friends, has lived in L.A. studying and making music for the past couple years, and is currently residing in Boston, MA. He loves playing cribbage and is a sucker for superhero movies and mint chocolate chip ice cream. At one point in his life, he was a top-ranked junior tennis player and a head tennis professional on Cape Cod."

-Luke Martin Website (http://www.lukecmartin.com/about.html)
8/10/2022

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


1. 09:27:37 15:02

2. 10:04:16 5:02

3. 10:19:44 22:51

4. 11:08:00 8:02

5. 14:28:56 9:17

6. 14:49:52 11:39

7. 16:19:59 6:00
sample the album:








descriptions, reviews, &c.

"This recording consists of excerpts from an eight-hour performance of this piece. When playing we encountered a moment in which the score's instructions proved inadequate to an unforeseen situation. It is hard to pinpoint exactly when or why this happened. Nonetheless, we had to decide (to invent) how in that moment to at once remain abstractly faithful to the score, concretely diverge from it, and also take care of one another in the process. In this moment we were incorporated into the actualization of a score and a music that was inseparable from our relationship to one another."



recursive retent (score, 2016; AFB & LM)

for two pianists, with one piano, for a long time

dedicated to michael pisaro
(because he watched-and liked-star wars)

retent: something that is retained especially in the mind
recursive: a possibly infinite procedure that is determined according to a rule or formula

definitions
block >> phrase >> note
a block consists of a phrase from each of the players; phrases are of any number of notes.

instructions
players should position themselves in opposite registers of the piano (one high, one low). the dynamic is soft overall, allowing each note to decay fully before the next (the pedal can be held down by something for the duration). each phrase consists of intervals of a 2nd (m/M) or 3rd (m/M) and is followed by a silence approximately equal to its full duration.

around 2 minutes of silence follows each block. blocks begin with a phrase from player 1 in their register, followed by its repetition by player 2 in their register. these roles should reverse at least once during the performance (for instance, after a break or during a silence).

rules
if player 2 deviates from player 1's phrase, player 1 must begin the phrase again immediately. player 2 should still try to complete their repetition of the first phrase before re-initiating their corrected repetition of the original phrase. if they make another error, player 1 again repeats the correct version of the phrase, and so on.

should player 1 also fail to replicate their first phrase, they should stop immediately. player 2 then may begin a new phrase (with the roles reversed).

//

"the project involves the impossible establishment of a group whose Telos would be to perpetually destroy itself as a group, that is to say, in Nietzschean terms: to enable the group (the Living-Together) to leap beyond ressentiment"
- Roland Barthes, from the zine 'Friendship as a Way of Life'



this recording consists of excerpts from an eight-hour performance of this piece. when playing the version on this recording we encountered a moment in which the score's instructions proved inadequate to an unforeseen situation. it is hard to pinpoint exactly when or why this happened. nonetheless, we had to decide (to invent) how in that moment to at once remain abstractly faithful to the score, concretely diverge from it, and also take care of one another in the process. without speaking, this was done. in this moment we were incorporated into the actualization of a score and a music that was inseparable from our relationship to one another.



This album has been reviewed on our magazine:

The Squid
The Squid's Ear!
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