It’s that time of year again. You know, when computers take center stage with performers and composers, Dr. Matt mans the mother of all mixing boards, and Camp Concert Hall gets lit. Yes, it’s the annual Third Practice Electroacoustic Music Festival.
This year highlights trumpeter Sam Wells as the featured guest artist (along with us, as usual), many other repeat performers and composers, and a “transdisciplinary” laptop orchestra called L20rk. While they were setting up, I tried many different pronunciations of L20rk out loud on Michael (not annoying at all, I’m sure). He quickly looked at the program and informed me (as I was suggesting Le-twerk?) that the “2” is silent (it’s pronounced “lohrk”). So now you know.
Every time I attend this festival, I see and hear something new. Yes, there’s the usual electronic sounds that I’ve now grown accustomed to, but this year there were pieces for glass harmonica, pipa, and motion sensors. The glass harmonica is not new, but I’ve never seen one in person. It kinda looks like a stretched out pillbug, but clear and tapered at one end. I desperately wanted to try it, but was too shy to ask. The pipa player had some computer issues at first, but then her piece unfolded magically, the processing transforming the very traditional pipa sound into something strange and mesmerizing. Now, had I not seen Pamela Z this summer at the lab, I would have been completely floored by Eli Fieldsteel’s motion sensor performance. But because I’ve seen Pamela Z’s gesture controller, I was merely amazed. He came out looking like a mashup of Robocop and Michael Jackson, wearing black gloves that were wired to his body. He then “played” the gloves using a choreography of gestures. His whole body, especially his face and eyes, was invested in the gestures, which made him look like a musical version of David Copperfield conjuring sounds out of nothing.
The technicians of 3P somehow transmogrify a normal recital hall like Camp Concert Hall into so many different spaces – an underground cave, a bustling train station, a rainforest – just by how the sound is designed. One especially notices this effect in the fixed media pieces; with the lights totally off you can really allow yourself to be fully immersed in the sound. Something that sounds like a ping pong ball bouncing can either be far off in the distance, coming towards you, or even sound like it’s bouncing inside your head. Yet other sounds sometimes feel like they are emanating from your own belly. It’s creepy, to be sure, but also very effective. Props to Matthew McCabe, aka Dr. Matt, who, in addition to having his own piece performed and being an illustrious member of our Lab faculty, makes all these pieces come alive.
One thing 3P is never without is a dash of humor. I always look forward to Joo Won Park’s performances, because they never fail to elicit a chuckle. This year, he used found objects for his piece, as well as a camera trained on his miked surface, so the audience could see the random assortment of items he was using as instruments: chattering teeth, abacus, slinky, lego, shoehorn, and comb, just to name a few. Another piece, Train(wreck) of Thought, was a fixed media work that was a pretty realistic and hilarious rendition of the composer’s actual train of thought during a boring class.
Another thing 3P is never without is us. We are featured on the last concert playing works by Molly Joyce, D. Edward Davis, Angélica Negrón, Mary Kouyoumdjian, and our very own Nathalie Joachim! Matthew is also playing Song for Low Tree by Matthew Burtner on an afternoon concert.
If you’re reading this, I’m sorry to tell you that it’s all over already. But if you’re ever in Richmond during the first weekend in November, I encourage you to check out this free festival. At the very least, I guarantee it to be a mindbending and ear-splosive experience.