Christoph Schiller & Morgan Evans-Weiler: spinet and violin

Thursday 20 July 2017

It describes itself as “an extended improvisation” but I don’t believe it. A few years back Another Timbre put out a solo album by Christoph Schiller titled Variations – a strange hybrid of improvisation and composition. Schiller worked inside an amplified spinet and piano with various objects to compose a canon out of improvisations of predetermined length. His working methods were inspired, producing evocative sounds that only occasionally betrayed their origins.

Someone could carelessly say that improvisation is about spontaneity, but that only goes some way towards a satisfying musical experience. When away from the club, the theatre, the sense of community, the bravado, the booze and only the sound remains. As Schiller said, “A recorded improvisation is as fixed (or even more fixed) as a written piece.” Improvisation is about heightened senses of judgement, knowing when and how to act, even if only on a subconscious level.

This new duet by Schiller and violinist Morgan Evans-Weiler, titled simply spinet and violin, exercises such a fine judgement over such a long time that it’s difficult to believe that, as Evans-Weiler confirms in the accompanying interview that the music was completely improvised, or that they haven’t been playing together for years:

It was clear from the second that we started playing what direction it was going to go. I think we have both become increasingly interested in pitch and so the focus was very much on permutations of pitch sets and working through these sets over time.

The focus on pitch yields a fascinating study in timbre and texture. Carefully choosing when to deploy each new note creates a beautifully paced slow arc of sound that builds up ominously before dying away to almost complete silence halfway through. Strangely, this stillness and subsequent stirring into activity again feels like a natural progression than a break or a structural argument. The shifts in dynamics throughout the piece are all the more striking and effective for being confined to a relatively narrow range.

Both musicians hover in a state halfway between definite pitch of ‘proper’ playing and the indeterminate sound of ‘extended’ techniques. The piece begins with Schiller plucking muted spinet strings against Evans-Weiler’s frail violin drones. Any tendency to pursue a particular gesture or sound gets reined in by an emphasis on pitch, yet the pitch itself remains a nebulous ideal which may be approached but never possessed. This ambiguous haze persists throughout, like a familiar image that preys on memory but never quite resolves into recognisable focus. Sustained double-stops float microtonally, the strings from both instruments rasp and buzz, a rare plucked note dropped like a pebble into a pond. The spinet rattles and echoes – at times it seems like there are electronics involved, with lower pitched sounds welling up in the background. It’s all hard to tell. I haven’t heard many pieces this year composed as well as this improvisation.