FALSE FESTIVAL 2013
FALSE FESTIVAL 2013 @CNDB, September 15-17
Sâmbăta Sonoră invokes the concept of false / resistance to false: having never intended to organize a music festival, we now have to fake it.
“Magic exists” – thus announces the yearly recurring and largest music festival in RO happening now and dedicated to the memory of composer &c George Enescu – and needs a wand and top hat. It is useful and grossly lacks contemporary sense. This makes us want to demonstrate without falling into repertory that there must be yet another ear inside the ear. Capable of perceiving also non-academic, experimental music. It feels like work and is a system of production and open network distribution and this is where we stand. Quantitative and qualitative proofs via London-Bucarest-Tel Aviv will be presented instantly for a non-delirious musical space and time. Program below.
But is it legit? Even though unpopular &musical institutions are incapable of taking it seriously without patrimonialist/comercial &status arguments, this “non-academic experimental music”, fairly easy to recognize due to its lack of interest in harmony (magic, according to the new calendar), only breaks with the past in order to acknowledge a premise, the new &non-organisational sound. Nothing unheard of here &so-called False Festival isn’t made in ivory towers of corporate nostalgia &is more a superspecialized platform. We call upon this false festival music to do what it knows how to do best: sound problematic &in touch with other art forms of the present-real, be rare and accesible to all those who realise that it only sounds strange &already anachronistic if associated with a self-image &too familiar &too inspired from life, ultramodernist, more efficient, more dehumanized. If this is its postmodern condition &anything is possible musically, why even bother to define it negatively in relation to the magical kind, which always asks where is the absolute? &why doesn’t it keep that safe distance with tradition? Because this is the false perspective, and what’s further ahead must appear larger than what is at hand.
(re)Capitulating: the phenomenon to be perceived is so sensible that it appears false. No graduated link with the past will make it seem any more real. Its specificity is activist. It poses problems and offers no solutions for a festival we can’t afford and have no way out of.
It has: international activists and local exponents, sounds capable of reaching deeper than the classics, possible links between musicians and organizers: Sâmbăta Sonoră and
Cafe OTO (UK)
Maybe the world’s busiest small performance space, Cafe OTO opened in London in April 2008 with the aim of providing a home for creative new music that exists outside of the mainstream, hosting an evening programme of adventurous live music almost seven nights a week. Hamish Dunbar, Cafe OTO programmer, presents Paul Abbott, a quietly innovative presence in London’s improvised music scene working with electronics and self-built instruments before more recently dedicating a good part of his energy to the radical potential of an unadorned drumset, notably as one third of lll人 with Seymour Wright and Daichi Yoshikawa. His practice focuses on the heuristic aspect of free improvisation – as a process of discovery, learning and dialogue. Paul has worked with musicians including Eddie Prévost, Otomo Yoshihide, Evan Parker, Seymour Wright, Toshimaru Nakamura, Sebastian Lexer, Guillaume Villtard, Daichi Yoshikawa and Benedict Drew.
Primate Arena (IL)
The longest running and most consistent platform for freeform, free spirited and experimental music in Israel. Curated by Eran Sachs and Alex “Drool” Yunowitch, Primate Arena has been active since 2008 and includes concerts, a radio program, an international festival, tours, panels and many additional activities, which have successfully raised the profile of experimental music in Israel and has nurtured a community of adventurous local musicians including Maya Dunietz and Yoni Silver, as well as hosted visiting internationals such as Blood Stereo, Dave Philips, Jérôme Noetinger, Fritz Welch, Arnaud Rivière, Ignatz Schick, Daniel Padden, Bob Ostertag and many others. Both Sachs and Yunowitch (as well as their guest musician Yoni Silver) are also members of Ensamblul Hyperion, dedicated to the works of Romanian Spectral composers Iancu Dumitrescu and Ana-Maria Avram.
Sunday, 15th of September: 6pm – Romanian showcase (short sets) – @ National Center of Dance
Monday, 16th of September: 6pm – London, Tel Aviv, Bucharest: experimental music scenes, discussion with the programmers invited – @ Control Club
Thusday, 17th of September: 8pm – Concert Primate Arena and Paul Abbott – @ National Center of Dance
This initiative is possible through the support of British Council, CNDB and Control Club; big thanks to Florin Cojocaru for the sound.
Media partners: TATAIA, modernism.ro, metropotam.ro
Director of the festival: Octav Avramescu