丁香园AV

鈥淧eople love to speculate about the big brown stone building with the clock tower at the corner of Main Street and 15^th Avenue.鈥� That鈥檚 the first thing you see on Heritage Hall鈥檚 website in a section titled 鈥淥ur Story.鈥� As a newcomer to Vancouver who, like many, has walked by this curious building many times and assumed, without cause or extended inspection, that it was a cathedral, I was immensely curious to know more about this old, gothic rock collection as soon as I stepped inside. There were no rows of wooden benches with cushioned pads to kneel on. There was no altar. The layout was not at all cross-like, the glass not stained. It seemed I had been fooled by my own lack of attention to detail. However, the most immediate answer to my question (it was a post office, now it鈥檚 mostly used for weddings) was decidedly less interesting than anything I had hoped for, and did nothing to explain exactly why the building has the particular style it does. Nor did their website.

However, my purpose in visiting the Mount Pleasant venue was not originally or primarily architectural and historical curiosity. Rather, I was there to attend the premiere of a new work by 鈥檚 2019-2021 Composer in Residence, . The work, Stircrazer I, was part of Music on Main鈥檚 latest concert featuring (Noam Bierstone, Ben Duinker, Alexander Haupt, and Alessandro Valiante), a quartet out of Montr茅al, who also performed 鈥檚 .

What I experienced was neither an architecture lesson nor a historical tour. Instead, it was a kind of noisy somatic indulgence in space itself.

Music on Main frequents the venue鈥攖he group鈥檚 name pinpoints the hall as a kind of home base. In both works, with their torrent of drum and rhythm, I felt a different kind of answer to my question about the old landmark, one replete with vibration and otherwise spatialities.

Schroeder鈥檚 work is often about 鈥渂ody-feel鈥� as a companion to or even center-point of audible sound. The heavy vibrations and wide diffusion of Stircrazer I invited as much listening as they did a kind of co-vibration with the various drums. And this music of the body was heightened, at least for me, by the presence of Collide Entertainment, who were filming both performances. Throughout both works, cameras orbited their own way within and around the circular arrangements of listeners, themselves dispersed around a pattern of four percussionists hammering and bowing and pedaling their way through almost 90 minutes of music. What these cameras experienced of the intensely haptic musicality I don鈥檛 know.

Characteristic of the most popular function of Heritage Hall, the performance unfolded a bit like a wedding. In the first part鈥擶olfe鈥檚 piece for four drumsets鈥攚e sat in essentially uniform arrangement, neatly organized as witnesses to a tense, if familiar, unfolding. Then a set change transformed the space, replacing rows of seating with open floorspace, cocktail tables, irregular chairs with their backs to the outer wall, and a general sense of spatial indecision. In four corners were the members of the ensemble, enclosed in unique arrays of oddly positioned drums, along with laptops and music stands. Four loudspeakers aimed inwards into an area that seemed on one hand the best place to listen from while on the other hand the red zone for the warning not to block the site-lines between the four drummers as they cued each other through Schroeder鈥檚 score. The mass of sound that unfolded over nearly an hour was dizzying, the hammering of drums sliding over us as low harmony, thunder, loudspeaker blur, and sheer vibration. Direction seemed lost. As with every wedding after party I鈥檝e ever been to, I was never quite sure where to put my body. The slowly transforming web of vibration and percussive articulation swelled in performance with the resonations of the large rectangular space. And as with every wedding after party I鈥檝e ever been to, I wasn鈥檛 sure if my awkwardness about physical space was an intended collaborator in the unfolding process or simply a byproduct of the various configurations.

In many of Schroeder鈥檚 previous works鈥攕uch as the YouTube publication of (2013) from its performance with Music on Main in 2019鈥攕he asks people to find 鈥渁 still and quiet space鈥� and to listen with headphones. This is a listening environment that has been all too familiar in recent times for those of us who have continued to attempt a connection to contemporary music in its various pandemic manifestations. For me, it鈥檚 also an often welcome and engaging way of listening. I find I can understand things better in this space if only for the consistent proximity of my headphone鈥檚 tiny transducers. My first experiences of many of Schroeder鈥檚 works鈥攍ike Bone Games (2016) and Exits + Defences (2005)鈥攚as in this form. But so much of her work (Stircrazer I included) is about transducers in contact with less-than-ordinary resonating bodies. For this piece, it was large drums, extra rattlers like tambourines, and the additional sound-warping of bowed bass-drums, complete with bridges borrowed from some or another member of the violin family.

What results is an experience of visceral imprint. While I may have entered the room thinking of history and architecture, Schroeder鈥檚 resonating assemblage prompted a very different kind of question and answer articulated with and through the blurriness of bodies in space. For me at least, the piece became a journey through and against those stones around me. I don鈥檛 know what they were made to be or why, but I can feel their impression in my kidneys.

Music on Main is planning to release video of Wolfe鈥檚 piece soon. On the other hand, Schroeder plans to remap Stircrazer I extensively using the gathered footage. I鈥檓 curious what fractions of this distinct experience of sound, space, and body will come through in that iteration.

Architek Percussion perform Julia Wolfe's Dark Full Ride | Music on Main

Architek Percussion perform Julia Wolfe's Dark Full Ride. Presented by . Filmed live Tuesday, March 29, 2021 | Heritage Hall, Vancouver BC.

Music on Main gratefully acknowledges that all of our events take place on the unceded territory of the Coast Salish peoples, including the territories of the x史m蓹胃kw蓹y虛 蓹m (Musqueam), Skwxw煤7mesh (Squamish), and S蓹l虛ilw蓹ta蓙涩 (Tsleil-Waututh) Nations.

Filmed by Collide Entertainment

Director: Mike Southworth

Producer: Joanna Dundas

Camera Operators: Adam PW Smith, Scot Proudfoot, Brandon Fletcher, and Mike Southworth

Gimbal Operator: Byron Kopman

Editor: Doug Fury

Audio Engineer: Andrew Smith

Biography

is a writer, composer, director, and sound artist. He is fascinated by drone music, dinner parties, sociophonetics, classical epic poetry, optics, polyphony, and bread, and combines these interests in performance and fixed media works that explore themes of nostalgia and preservation.