Saturday, 20 August 2016

Sejong plays Murmurs in the Mist of Memory

Sejong plays
 Murmurs in the Mist of Memory

Augusta Read Thomas is a widely acclaimed and prolific composer in whose music I find a wealth of lyrical colours and a palette of textures. It was a stroke of genius by Hyo and Kung Kang, Directors of the Sejong Soloists*, to invite me to create and perform kinetic paintings to Gusty's Murmurs in the Mist of Memory, commissioned for this brilliant young string ensemble, based in New York. In 2007 we took it to the Great Mountains Music Festival in South Korea and our performance was very well received. The media were all fascinated that I possessed brush skills that were apparently distant relatives of their own calligraphic traditions. 

It's with some trepidation that one ventures to give visual form and colour to the work of a living composer, but so far the contemporary composers that I had contact with about their work: George Benjamin, Toshio Hosokawa, Tristan Murail, Rautavaara, Huang Ruo and Augusta Read Thomas - have all been enthusiastic. This is what Gusty (to her friends) wrote about my treatment of her Murmurs:
“Norman, I love your work so dearly!!! I was in shock.  When I got your DVD in my Chicago mail, I opened it right away and was totally thrilled. It is truly amazing. I was in tears too! Your work is the most beautiful thing anyone has ever done with my work, for sure”.  
I had sent her a DVD for feedback, but I only got this message after the concert, so that was a relief! And the start of a creative friendship.
This week I have been working with Amsterdam video producer Bob Aardewerk to record and edit a new performance of Murmurs with the Sejong Soloists in October, for the new Lotte Hall in Seoul. This time, to avoid the long flight, jet-lag and freighting of my gear to Seoul, I have provided Sejong with a HD video recording. If I performed on stage, I would follow their cues. But now our roles are reversed. The ensemble will follow the projection of my kinetic images as they play, confident that my paintings are synchronized to their own sound-track (it's been my practice material for weeks). With four cameras on me and my projectors, almost as in live-streaming, the audience will watch me painting to the music, as though I am in the hall.

This work for eleven players has four movements: Ceremonial, Lullaby, Ritual and Incantation. Flowing memories of tenderness, spice, tears, determination, beautiful songs and miniature dances, full of irregular rhythms and colours and quite tricky to paint to. Here's the video link to Incantation, the haunting fourth movement. (View it full-screen).
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* named after the 15th century Korean Emperor Sejong the Great, known for his contribution to the arts.  










Friday, 12 August 2016

Black Rain



Black Rain

August 6th has passed again, the awful day when in 1945 the atomic bomb was dropped on Hiroshima, creating unprecedented destruction and a horrible death for many thousands. And a dramatic warning that mankind could now easily annihilate itself. The radioactive fallout from that bomb - the "black rain" - became the title of a Japanese film, for which Toru Takemitsu composed his beautifully tragic music.

On that same date in 2007, when I was performing live kinetic paintings to Takemitsu's Black Rain in the South Korean Great Mountains Music Festival, that disaster felt very close indeed. Only just across the Sea of Japan in fact. Thousands of Korean forced labourers in Hiroshima also died from that bomb and some of their descendants were watching our performance on television.

The brilliant young string-players Sejong Soloists and I joined in paying tribute to all those victims and our audience was deeply moved. I felt a deep identification with Takemitsu's music and grateful for the opportunity to make a statement in my own visual language - the language of the brush, that my Korean audience understood very well. 

That terrible event of August 6th 1945 was a news-flash that made all other news pale, although its significance was not yet fully understood. Even though today's power-wielding maniacs may be unable to "see the light", we artists need, more than ever, to continue to speak, play, paint this message - an annual reminder of the fragility of human life. Words fail me, so here's the five-minute video of my studio painting rehearsal for Takemitsu's Black Rain, (with acknowledgements to Marin Alsop's recording of his Three Film Scores) with the Bournemouth Symphony). Turn the sound up and play it full screen.


(Below) Two images from Black Rain, by Toru Takemitsu. Total devastation. In the final image, the red sun has turned white.



More next time on another upcoming project with Sejong. 















Sunday, 17 July 2016

Kaddish

Kaddish

It was so inspiring to perform again with Daniel Hope and Sebastian Knauer on July 8th, this time in the Schleswig-Holstein Music Festival, as part of Daniel's concert series "Familienstücke" in Lübeck. We did Walton's thirty-minute Sonata for Violin and Piano and it went like a charm, with a lovely togetherness and synergy. I found that the music was thoroughly coursing through my veins and this confidence provided space for the occasional improvisation.

Then we did Maurice Ravel's Kaddish, one of his Deux mélodies hébraïques, a Jewish prayer of mourning and praise. Daniel introduced this work with a poignant story about his dear friend and mentor the late Yehudi Menuhin. After performing in Düsseldorf together on March 7th 1999, Yehudi encouraged Daniel to play an encore and he spontaneously chose the Kaddish. Yehudi listened sitting in the orchestra. It turned out to be their last concert. Five days later Yehudi passed away. 


I had long wanted to create and perform a piece in honour of Yehudi, in memory of a dear friend, the first great musician to invite me to perform together. Daniel gave me the perfect opportunity in Lübeck and as I painted this mournful and agonizingly beautiful work, I found it difficult not to be overcome with emotion, as my kinetic colours flowed gently away, for ever. Then a very slow fade out, to a hall in total silence. We had created a worthy tribute.
Here is the five minute video of my studio rehearsal, using Daniel's passionate recording with Jacques Ammon.   

Friday, 24 June 2016

Breathless


Breathless


Eighty-three years ago today I came into the world blue in the face. (No, not because of the political situation in Europe in 1933). The midwife had to untangle the umbilical cord from around my neck before I could gasp for my first breath. It was a home-delivery and she then gave me sips of brandy from a spoon! Ah, there you are then, my family likes to joke - with the characteristic Perryman sense of humour - that explains the brain-damage. That first struggle to make myself heard and seen was to be one of many over the years and I haven't finished yet! That's an artist's lot.

So I'm still breathless, racing against time, to give creative form to so many more ideas before my time runs out, yet I'm also pleasantly surprised that I'm still going strong. Happy to have found my form in time-based art: in live kinetic painting, cradled in music. It's quite a challenge, but I love it. But why do you make life so difficult for yourself, they say. Um, I was born that way, ha, ha. Actually, kinetic painting is probably the ideal therapy for me. Not only does it boost my dopamine levels. As any Asian calligrapher will tell you, it's your breathing that gives every stroke of your brush beauty and power.

My own performing art-form is, by its very nature, continuously moving on, passing by, short-lived. Afterwards, there's nothing left, just like music. What a pity? Not at all. Life is like that. Those audio-visual sensations will live on in the hearts and memories of thousands who have watched my ephemeral art form. Yes, I do love it when a viewer (usually a woman) comes up to me after the concert and says: "you just took my breath away!"

Here's the link to some fragments (perhaps not the best) from the exciting Berlin Konzerthaus performance on April 25th, the first with Daniel Hope and Sebastian Knauer, introduced here in Sarah Willis' reportage on Deutsche Welle TV . You can catch me at 3.09 mins into the video and again at 9.49. 

Our next performance is at the Schleswig-Holstein Festival in Lübeck on July 8th.