for prepared piano and shamisen.
Lefteris Papadimitriou: Piano
Ryoko Akama: Shamisen
Meta Hyper is an improvisational piece that draws on various sources such as Lachenmann’s ”music concrète instrumental”, Dennis Smalley’s spectromorphological thought, acousmatic music in general and Eisenstein’s theory of montage. Both instruments are approached as sounding objects excited by gestural activity and not as musical machines defined by a particular instrumental tradition. The instrument then provides an ”openness” of sounding possibilities that may be compared to the ”openness” of the sampler or the computer in electroacoustic music. The morphology of different gestures and shapes, as well as the multiple sound colours produced by the variety of materials used for exciting the bodies of the instruments, are the basic structural elements. A montage approach to the structuring of the multiple sound layers, inspired to a large extent by the electronic music studio, is in concordance with the general intention to blur the boundaries between the perception of instrumental sound, gestural shape and sign.
The Greek words Meta and Hyper, refer mainly to the aesthetic and practice of free improvisation but also to the idea of contact between west and east. Although improvisation is defined by specific instrumental possibilities and montage structuring processes, a certain perceptional ”openness”, an ”objective” or ”blank”, without strong predeterminations approach to the sound material, permits the unpredictable to become part of the improvisation and the composition. I would say that this is also what enables the performers to move fast and easily between the roles of performer and composer.
Lefteris Papadimitriou, January 2013