wood | metal | glass | skin | water | clay
Everything we hear is sound. And percussionists are the musical conveyors of these sounds. They have no instruments, but use their bodies to enable us to experience various objects audibly. Whether music can emerge from this primordial context is part of a complex artistic and sensory process.
Since his early childhood the percussionist and composer Johannes Fischer has sharpened senses in order to explore the whole spectrum of sounds and different qualities of material. In his programme wood | metal | glass | skin | water | clay he focuses on these individual materials and the characteristic sounds they can produce, by complementing and contrasting them with percussion works for a wide range of objects and instruments. The ‘soloists’ in these pieces include five blocks of wood, three clay flower pots, the skin of a drum, the metal of a triangle.
Perceiving the materiality of the instruments as a sensory process is something quite essential, and has a great influence on how they are played and received. As with looking at the monochrome surfaces of Yves Klein or Mark Rothko, concentrated listening to a piece of metal, wood or skin leads to a sensation that there is great richness in reduction, the touching poetry and beauty inherent in simple things. In a sound parcours on several stages we hear compositions by Steve Reich, Alvin Lucier, Claude Vivier, Erik Griswold, Iannis Xenakis and Fischer himself.