Posted by Maxine Cook, Marketing Assistant
This week, James Saunders has uploaded his interview with Jennifer Walshe
Interview with Jennifer Walshe:
Objects and their sonic properties are central to Jennifer Walshe’s music. The terms of reference for her work are wide and draw in the world around her: everything has potential as material, whether it is found text from food packaging, old answer machine messages, skateboarding, or the texture of ribbons. There is a voracity to her collection of sounds and exploration of ways to elicit them from performers, exemplified by pieces such as Hostess-in-a-Jiffy® Brings You Cooking With Stone: 4 Five-Minute Dishes (2004) which presents instructions for sonic cooking, or elephant (2004) with its unique scoring of ‘harp, gun’. The manner in which sounds are made is perhaps every bit as important as their audible result. Instructions in her scores typically indicate the necessary attitude required to make sounds as a primary focus, or differing forms of documentation are used to enable performers to triangulate her intentions when working with objects. This consideration of the physical situation of performing is a constant in her work, drawing on her own experience as an improviser and a concern with what it feels like to make sounds. Often this involves recontextualizing her material, stripping away some of its inherent meaning so that it can be used as a building block to construct new identities, finding a natural extension in her recent installation, stage, and intermedia work. All of this was present in the first piece of hers that I heard at the Darmstadt Ferienkurse in 2000, her astonishing duo for violin and voice as mo chéann (2000), which she also performed. This piece helped me begin to expand the palette of my own work and its impact on an unsuspecting audience was startling, as was her follow-up lecture there two years later, which mostly used kick-boxing as a presentation medium.
The interview was conducted by email between 10 May – 5 December 2004, and edited in September 2008.
Read the full interview here.
All the interviews from James Saunders can be found in The Ashgate Research Companion to Experimental Music.