Friday, April 19th, 2019, 8pm

Villa Aurora
520 Paseo Miramar
Pacific Palisades, CA 90272

To place oneself somewhere, to root, to habituate, to soak deep and believe, to smell and eat and become, to dress, to sink, to be overwhelmed, to gang up and involve and dip low-and-happy.

To displace oneself from somewhere, to uproot and alienate, to unplug, to resist and observe, to deprive, to go hungry, to be lonely, to move on and to forget, to be undone and to be obnoxiously melancholic.

A special collaboration between PIE and the Villa Aurora, place/displace is about spaces—large and small, acoustical and spatial, synchronistic and anachronistic—and the human experiences placed in and out of them.  The program consists of five works, including the world premiere of Genoël von Lilienstern’s new piece for solo violoncello and electronics.

German composer Lilienstern spent six months in Los Angeles on a Villa Aurora fellowship last year.  His new work, specifically written for this program and poietically derived from his string quartet, is an obsession for the gravitational pull of drones, distortions, and raw granulations.  Another Villa Aurora fellow’s work also on the program—Berlin-based Canadian composer and visual artist Chiyoko Szlavnics’s For Eva Hesse (2007) for solo flute and multi-channel sine waves—is, on the other hand, a music that slowly, glisteningly, and sinuously tickles the micro-movements of the air inside the small concaves of our ears.

Meanwhile, current Bay area-resident, IRCAM alumnus, and Croatian composer Davor Vincze’s bass flute and live electronics work Take your time…hurry-up! (2015-16) is to be performed the first time in Los Angeles.  Take your time…hurry-up!  is a set of nine miniatures taking its title and materials from Nirvana’s song “Come as You Are,” each miniature containing within itself an aphorism of the joie de vivre we all experienced in our adolescence and our memories of it.

Also a Los Angeles premiere, ..à.. (2018-19) for flute and electronics by LA-based Taiwanese composer Mu-Xuan Lin figuratively reenacts the composer’s experience of expatriation and rehabituations.  Field recordings from Taipei, Boston, and Los Angeles where the composer has lived for extended periods of time, as well as other places where she had either resided briefly or traveled, are dialectically fused with the flute part to create a temporal spectacle and topographical juxtaposition.

Finally, the only piece on the program composed before the Twenty-first Century, Luc Ferrari’s Madame de Shanghai (1996) performed here in version for solo flute and electronics, is an exquisite yet subversive epitome of the musique concrète and a seductively complex, semantically rich music exemplifying the late French composer and pioneer of field recording’s sensitivity for acoustically altered ambience, an “anecdotal music,” as the composer termed it.  The work engages sounds and speeches recorded from the Asian commercial district in Paris, and dramatically and comically referencs Orson Welles’s 1947 film noir “The Lady of Shanghai.” 

place/displace is jointly produced by PIE and the Villa Aurora, a collaborative project that involves artists from Berlin, Paris, San Francisco, and Los Angeles.  The program features Shao-Wei Chou, a Taiwanese flutist living in Paris, who will perform four of the five compositions.  To place/displace oneself… takes place at the historic Spanish mansion of Villa Aurora, situated at the Pacific Palisades with a breathtaking vista of Los Angeles and the Pacific Ocean.