I’ve seen him play twice before. The last time was an improvised duet with Jennifer Walshe which turned out to be a bit of a mess, like they were trying out lots of ideas without ever getting settled. The first time was him just sawing away on his violin over a tape, or a drone, I forget. It was that kind of capital-M Musicianship that I can admire without really getting into, sort of like Terry Riley at the keyboard. It’s great that they know how to spiel like that, but I wish I knew in advance which bits were going to be worth paying attention to.
This time, however, it all came together. Playing violin in his typical harsh, strident tone over looped samples of himself that he could cue in an out as needed, or a low drone created by striking a monochord with a piano hammer, he traversed the set of harmonies that resonated above the drone’s bass frequency. Occasionally, he would cut away the drone and break the comfortable sense of continuity. The tone changed and a new structural point in the piece would emerged – this was aided by his ability to select passages of his own playing to be looped as a base on which to build a new section. As he progressed he moved towards the smaller, more discordant intervals in the upper reaches of the harmonic series and the music’s tension built accordingly.
After another shift in attitude, bowing pedal tones on loose strings hanging off his instrument’s bridge, he returned to bowing in a different intonation. His tuning became more esoteric, playing unfamiliar scales further away from conventional harmony. By the end of his piece he had moved us away into a strange, bittersweet territory of tones that required us to readjust our hearing to a new order of harmonic relationships above the recurring drone. This is what I want to hear when I hear someone who can spiel: not just an unerring sense of what sounds good, but a sense of structure, of a meaning that goes beyond its own craft.