This project reflects on 2 aspects:
1. Adaptivity of spaces with music and audience
One of the biggest drawbacks of traditional concert halls is the fixed structure of the space. We all get used to traditional ‘shoebox’ halls, opera theatres that is carried further on to television. However different music pieces, musical intentions and ideas may need not only different musical formations, but adaptive spaces too.
What if we provide adaptive spaces for musicians and the concert listeners?
What if music ensembles can vary their seating to reach a more impactful experience?
What if the audience do not necessarily sit but lay, stand (or dance)?
2. The intimate music experience
The impact of music is radically stronger if we feel, we’re somehow a part of it. We are not beside the music, separated with an invisible wall from the musician(s) but we are ‘inside’ the music. It is not happening somewhere in distance front of us, but it surrounds us. The music is played not for a faceless audience but it is played personally for us. This obviously is not possible
is we are a part of a large audience, we attend a concert in a large space.
What if we bring music to very intimate spaces that serves the proximity to the source of music?
The ‘Villa’ Experiment
These two aspects were considered when we created our first experimental music project together with Accord String Quartet and their musician friends, when we organised a 4 hour long concert in a countryside villa, where every music piece was performed in a different space of the house for a very limited number of audience, who were not only spectators, but really a part of the experience.
We adapted every space to the particular piece that was performed.
The concert programme included:
Arvo Pärt: Summa, Fratres
Terry Riley: In C
Bartók: String Quartet No.3 (1927)
Tamás Matkó: Melody
Mike Raznick: SPAT – Quintet (The Sky bridge )
Claude Debussy: String Quartet
István Regős: …. (interactive music for 10 musicians and 1 iPad)
G:F: Haendel: Sinfonia e aria – Rinaldo