The closing event of Off The Page this coming Sunday promises a collaborative and performative lecture by Claudia Molitor, Sarah Nicholls and Jennfier Walshe that will “muse on radical (or irreverent) modes of music notation”. What form this event will actually take is as elusive and mysterious as all the projects initiated by these mercurial composer-performers, who between them incorporate elements of film, theatre and multimedia into aesthetic strategies that playfully subvert the furrowed-brow, testosterone-heavy atmospheres of the kind of 'New Music' scenes they all emerge from.
When I asked Claudia for some inside information on her role in the scheme of the thing, she sent me the following photographs.
They look a little like images of hennaed hands, but with Persian tracery replaced by notes on staves. The mail from Claudia that accompanied the photos referenced Heidegger's theory of zuhanden (which translates from the German as 'hands-on'), using it to emphasise her highly tactile approach to the actual material process of composition: “Zuhanden? is a series of images that engages with my ‘visceral’ relationship to notation... In Zuhanden? the focus is on the physical reality of the act of notating and its transmission onto paper by hand."
How will such a seemingly prosaic notion be combined with Jennifer Walshe's multiple personas (her Miller Corp website is a twilight zone of alt.realities and shifting identities) or Sarah Nicholls's 'inside out' pianos?
Who knows? But from where I'm sitting it has all the makings for a fascinating way to (sp)end a Sunday afternoon.