Yarn/Wire

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“Feedback Studies for Percussion” by Canadian-born, Los Angeles-based Sarah Davachi is concerned with the kind of timbral and harmonic spaces that may be achieved through overlapping systems of overtone reinforcement and acoustic feedback. Although the pitch and pacing elements of the piece have been specifically designed to accentuate these phenomena, it is equally important for the performers to practice an engaged mode of listening so as to respond to and control the sonic environment in real time. The pitch material of this piece has been deliberately limited in order to shift focus toward gradual changes in texture and dynamics, and by extension the rich acoustic processes that are unique to percussive instruments.

“In Memory” by Beirut-based sound artist and improviser Jad Atoui explores recollection and its impact on our inspiration, emotions and reasoning. His composition is built on repurposed hard drives, transforming the mechanics of memory into music. Motors and needles become instruments, creating tones and rhythms, and the addition of cymbals offer a repository of the hard drives’ sounds. In a cyclical process of recording and playback, members of the ensemble morph and manipulate the sounds they emit using various techniques, in an act of reshaping memory as the past and present interact.

“glass and stone” by Roman-born, Berlin-based composer Clara Iannotta is a multimedia work that explores the textures of sound and memory. Inspired by her relationship with her late mother, who died in 2023, the piece reflects on the complexity of love and absence. Combining sonic elements, family memories, old footage and fragments of text, Iannotta creates a raw and evocative portrait of grief. “glass and stone” is a tribute to a relationship defined as much by silence as by connection, transforming personal loss into a shared, resonant experience.

“Curvo Totalitas” by Catherine Lamb – born in Olympia, Washington, and now based in Berlin – is a subtractive synthesis of one large metal square and one circle, allowing melodic contours to unfold slowly, branching into shifting harmonic arrays. A tam-tam and a steel sheet are overlaid, and two synthesisers allowing new shapes to continually emerge from the elemental interactions of tone. This technique stems from Lamb’s work in the realm of just intonation by exploring harmonic partial theory (extended just intonation) and variations in presence of materiality within unfolding forms and structures. A successful attempt to square the circle – by means of sound.