Wandelweiser play Christian Wolff. Theoretically.

Thursday 10 November 2011

Yes, another week-old gig. Last Thursday at the ICA, watching the Wandelweiser collective perform Christian Wolff’s 1971 text composition Stones:

Make sounds with stones, draw sounds out of stones, using a number of sizes and kinds (and colours); for the most part discretely; sometimes in rapid sequences. For the most part striking stones with stones, but also stones on other surfaces (inside the open head of a drum, for instance) or other than struck (bowed, for instance, or amplified). Do not break anything.

Wandelweiser’s approach to this piece is to determine in advance that the performance will last an hour, and that each of their seven performers will devise 10 to 20 “events” of a type, duration and timing of their own choosing. This seemed like an intriguing idea. How did it manage to come across so wrong?

The room didn’t help. The performance was supposed to be very quiet, with long silences allowed to emerge between sounds. Unfortunately, in the ICA theatre everything sounded muffled and dull, with the silences drawing attention to the hum of the airconditioner. For some unexplained reason, a recording of some sort of faint rustling (pebbles? water?) played intermittently. This sound was curiously uninteresting, and its recurrence became something of a nuisance.

The performers played with a deliberation which drew attention away from the sounds they made, and the sounds produced were insufficiently rewarding to make the act of listening anything more than I chore. I really expected to like this more than I did. On the surface, the interpretation was very similar to John Cage’s Number Pieces, which I love.

A friend in the audience afterwards remarked that it had provided a good opportunity to observe the psychological profiles of the performers. He also made an important point. So much of Wolff’s musical career has been spent in the shadow of Cage; and when Wandelweiser devoted a concert to Wolff, all they did was shove him back under Cage’s shadow again. Wandelweiser’s interpretation could easily be mistaken for a realisation of Cage’s Four4 or Four6. Worse still, they emulated the wrong idea of John Cage – a conceptualist, a philosopher – and not John Cage the musician. Christian Wolff the musician was not present.