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- Personal Listening and Insight

About Review Schedule Guide Essay Instagram

Met Opera Carnegie Hall Contemporary Classical Music Period

The house of contemporary, Yarn/Wire’s Bushwick studio.

Kentaro Ogasawara September 9, 2025

On the way there, Mäkelä’s Berlioz is playing in my head. Yarn/Wire’s studio in Bushwick, Brooklyn, where they've been for fifteen years. The program began with Igor Santos’s living to fall [music and rain]. As fragments of video unfolded alongside live sound, the consciousness of the four performers made the images—rain, shattering glass—appear vividly. It was as if they were drawing out fleeting images from the human mind and turning them into sound and vision. When the video showed someone smashing a car window with a crowbar or something similar, the live sounds were layered over it. I wondered intensely how the players could get so close to the real sound of it. Were they trying to recreate what they heard in recordings? With two pianos and two percussion setups, the result was almost too raw. Their skill and imagination might well transform those unpleasant noises of everyday life that we can never quite hide, and perhaps even offer relief to those troubled by them.

The second work, by Sarah Davachi, came with the invitation from Greenberg to “listen from wherever you like,” and I was able to experience it among the pianos and percussion instruments. The air conditioning shut off, the lights dimmed. It began with tiny dot-like sounds. The red light of an extension cord on the floor grew sharper and sharper to my eyes. Sculptures of sound appeared and disappeared. You could sense the performers’ awareness of where to place each sound. Within patterns of sonic lines, movements, metallic timbres, and keyboard colors, I found myself inside. There was no space for reflection; the sounds simply passed through me—not vaguely, but with clarity. If I followed my gaze in their direction, I could see the players bowing or striking with astonishing precision; the sound-image and the act of producing it were one and the same, like watching the strokes of a calligrapher’s brush. No fantasies appeared within me. No memories or experiences rose to the mind.

Yarn/Wire has walked alongside composers for twenty years. I am deeply grateful, and I hope they continue to lead the way in music for many years to come.

“Mozart is boring,” “I don’t listen to recordings,” someone said in there. It is from listeners like these that Yarn/Wire has earned unwavering support as they reach their twentieth year. An atelier of musicians leading the course of music from New York to the world. On a September evening, I spent time in the very place where the cutting edge is born. I realize that the contemporary music is right here in the city I live.

LIVE FROM TROUTMAN

Yarn/Wire studio, Ridgewood, Queens, September 9, 7:00 PM

Igor Santos - living to fall [music and rain]

Sarah Davachi - feedback studies for percussion

with very kind hosting.

Guide

向かう途中、頭の中ではマケラのベルリオーズが鳴っている。

ブルックリンのブッシュウィックにあるヤーン・ワイヤーのスタジオ。15年目だそうだ。初めにサントスのliving to fall [music and rain]。映像の断片とライブの音が進むにつれて境目を感じなくなってくる。音を鳴らす4人の意識が、雨音やガラスをたたき割る映像を鮮明にみせる。人間の頭の中に浮かんで消えていくイメージを取り出して音と映像にしてみせている。車の窓をバールか何かでたたき割っている様子にライブの音。彼らが実際の音色にどう近づけるのかすごく気になった。彼らは録音で聴いた音を再現しているのだろうか。ピアノ2台とパーカッションのセット2であまりにも生々しい。彼らの技術と創造性は現代生活の隠しても隠せない不愉快な音を随分変えてくれるかもしれないし、そういったことで悩む人たちの助けになるだろう。

2曲目のダヴァチは、グリーンバーグから好きなところで聴いていいといわれ、ピアノと打楽器の中で体験できた。エアコンの音が消え、明かりが落ちる。はじめは小さなドットの様な音から始まった。床に張り付けてある延長コードの赤いランプがどんどんはっきり見えてくる。浮かんでは消えていく音の彫刻。どこに音を置いていくか意識が見える。音の線や動き、金属音や鍵盤楽器の音色がまざった模様の中にいる。考える余地が無いためただ心を通り過ぎていくが、ぼんやりとではなくはっきりと。視線をその方向に持っていくと、とてつもない精度で擦ったり叩いたり、音のイメージがそれを鳴らす姿その物で、まるで書家の筆の軌跡を眺めているようだ。自分の中に空想が現れなかった。心に記憶や経験が浮かばなかった。

このユニットは20年の歳月を音楽の作り手を共に歩んでこられた。心から感謝したいし、これからも末永く現代音楽の第一線を走り続けてほしい。

モーツアルトは退屈だ。集まった聴衆の一人が言っていた。おれは録音を聴かない。この間のタイムスパンで知り合った方が帰りの電車の中でつぶやいていた。ヤーンワイヤーはそう言った方々から絶大な支持を得て20年目。ニューヨークから世界の音楽をリードするミュージシャンのアトリエ。ここから現代音楽の最先端が発信されるその場所で過ごした9月の夕方。世界の現代音楽のスタジオが自分が住む街にあると実感できてうれしかった。

In Review Tags Contemporary Classical Music
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