Lea Bertucci & Norbert Rodenkirchen + Slow Attack Ensemble
Composer Lea Bertucci brings her newest piece for archaic flutes in 8 channels featuring master flautist Norbert Rodenkirchen to the ethereal environment at Church of the Holy Trinity. Minimalist ambient act Slow Attack Ensemble opens the night.
Norbert Rodenkirchen (of early music ensemble Sequentia) plays a collection of flutes dating from the Renaissance to Medieval to Neolithic in Bertucci’s piece “The Days Pass Quickly Immersed in the Shadow of Eternity”, filtered through an 8 channel array via Lea’s live electronic sequencing. Lush flutters and chattering notes mingle with drone-like breaths and haunting tones that whistle underneath it all. Electronic experimenter Chuck Blazevic’s Slow Attack Ensemble creates subtle ambient soundscapes that evolve with the soft creeping drift of errant fog as digital delay pulls playful tones out of sampled guitar notes. Hypnotic sounds stretch and warble as if on some cosmic conveyor belt.
Curated by Tad Michalak
ABOUT LEA BERTUCCI
Lea Bertucci is an experimental musician whose works revolve around electronic and spatial extensions of instrument and voice. In addition to her longstanding practice performing with woodwinds, she has created compositions for strings, brass, percussion and other instruments, often incorporating electronics and multichannel sound. With an ear toward site-responsiveness and acoustics, her work has expanded toward installation and non-linear presentations of her music, often staged in hyper-resonant spaces.
Lea has performed both within the US and internationally with presenters such as The Whitney Museum, The Museum of Modern Art New York, The Metropolitan Museum, Blank Forms, Gagosian Gallery, Pioneer Works, The Kitchen, The Walker Museum, The Art Gallery of New South Wales Sydney, Tempo Reale in Florence, Muziekgebouw Amsterdam, Museo Reina Sofia Madrid, ReWire Festival, Borderline Festival, and Unsound Festival Krakow. In 2018, she was awarded a Jfund for New Music grant from the American Composers’ Forum and a commission for a brass octet from the Levy Gorvy Gallery in New York. Lea has attended artist residencies at the Bemis Center for Contemporary Art, The MacDowell Colony, Headlands Center for the Arts and ISSUE Project Room. She has received commissions from the INA GRM in Paris, Quartetto Maurice in Turin, and ARS Nova Workshop in Philadelphia. She is a 2024 recipient of the Gigahertz Production Prize from the ZKM in Karlsruhe.
ABOUT NORBERT RODENKIRCHEN
Norbert Rodenkirchen, who studied flute and Baroque traverso at the music academy Koeln, has been the flute player of the internationally acclaimed ensemble for medieval music Sequentia since 1996 and also works regularly with the French ensemble Dialogos directed by Katarina Livljanic. With both ensembles and also with his medieval solo programs “Medieval Echoes” and “Hameln Anno 1284” Norbert Rodenkirchen has been invited to numerous international festivals between New York City (Lincoln Center Festival), Vancouver, London, Melbourne, Paris, Boston and Lviv, a.o.. He is also much in demand as a composer of music for theater and film as well as a producer for CD projects. Additionally he founded the ensemble Candens Lilium which specializes on a dialogue between medieval music and modern avantgarde. Norbert Rodenkirchen has given many workshops on medieval instrumental improvisation and related topics as an unconventional lecturer and coach, f.e. at the Mozarteum in Salzburg, the Haute Ecole de la Musique in Geneve, the Schola Cantorum in Basel, the University of Oregon in Eugene, and the Wellesley College near Boston.
ABOUT SLOW ATTACK ENSEMBLE
Slow Attack Ensemble is a solo project of musician/producer Chuck Blazevic (You’ll Never Get to Heaven, Dreamsploitation). It began in 2015 from a fascination with the haunting, elusive beauty found within various (mostly pre-digital) conceptions and applications of echo/delay in music — e.g., time-lag accumulator, the ghostly echo chambers of the 1960s, dub mixing techniques, Daniel Lentz’s ‘state-of-becoming’, etc. As SAE, Blazevic explores delay-centric arrangements of sound and its histories, building aural afterimages of oblique rhythm and melancholic melody that ebb and flow, form and f a d e.
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