On Trial and Error: the work of vivienne spiteri: Part 3
Oct 21st, 2021 by Innovations en concert
She has been called reclusive, enigmatic, irreverent, and even a destroyer of music, but also a true artist. Dubbed an iconoclast, her approach to music has always been “sans a priori.” She has also been described as enraged and contradictory.
Her concerts have been reviewed as being “sans envergure,” but also as offering listeners a remarkable presence. Concert spaces have gone from sold out to empty. Concert and record producers lose patience at her fastidiousness, yet claim to respect her determination and clarity of vision; her recordings have been described as an enrichment of humanity. Some composers seek to work with her, while others avoid her like the plague. Most musicians remain perplexed.
Her own relationship to her instrument presents parallel binary tensions: Love-hate, respect–ridicule, creation–destruction. vivienne spiteri’s sincere intention is to give expressive voice to music at any cost and by any means when played at the harpsichord, an instrument whose very mechanism defies musical expression.
Artists in the podcast:
narrator: peter von tiesenhausen
rainer maria rilke : sonnets to orpheus (sonnet 1), read by fred weihs
non-pedal harp: sharlene wallace
accordion: joseph macerollo
violin: lawrence beckwith
banjo: kirk eliot
electric guitar: tim brady
harpsichord: vivienne spiteri / vivie’ vinçent
Part 3: Music
- déploration – in memoriam morton feldman – brian cherney @ 15’05” – 34’24”
- à perte d’espace – françois rose @ 36’30” – 47’31”
- ostinato and dance – barbara pentland @ 49’18” – 53’14”
Co-produced with Bradyworks
The Innovations Zine is made possible with the generous support of the Conseil des arts et des lettres du Québec, the Canada Council for the Arts, the Conseil des arts de Montréal and the SOCAN Foundation.