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| 1. | Continuum Phase One
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| 2. | Continuum Phase Two
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| 3. | Continuum Phase Three
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| 4. | Continuum Phase Four
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| 5. | Continuum Phase Five
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| 6. | Continuum Phase Six
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| 7. | Continuum Phase Seven
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| 8. | Continuum Phase Eight
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| 9. | Continuum Phase Nine
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| 10. | Continuum Phase Ten
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Jazz
Recorded: Apr 5, 2005
Three artists create one work of art - John Cage, Merce Cunningham and Robert Rauschenberg have developed music, choreography and stage design independently of one another, only bringing the individual elements together at the final stage, yet their performances come out 'all of a piece'. When George Graewe, Ernst Reijseger and Gerry Hemingway meet in the new Bruno Walter Hall at the Munich National Theatre, seek out their own locations in this hall with its excellent acoustic, position piano, marimbaphone, percussion and cello so as to be able to hear one another without headphones, and play "Continuum Phase One", I am reminded of what Merce Cunningham once told my wife Mariko Takahashi: that nothing was agreed and discussed between him, Cage and Rauschenberg, but they all knew that at the moment of performance, the three elements would become one. Graewe, Reijseger and Hemingway meet up without any agreed framework: no tempi, rhythms, dynamics, keys or melodies are discussed, and there are no rehearsals. All that counts is the Now factor, and this Now, presented here as a sonic work, results from the individual powers of these three artists. Their backgrounds have little in common. Reijseger works with Sardinian choirs, African singers, and cello and gamba groups, writes film scores for Werner Herzog, and gives performances in Modern Art museums. Graewe composes string quartets, orchestral pieces, songs and chamber operas, produces a video cantata based on Albert Einstein, directs the GrubenKlangOrchester and - like Reijseger and Hemingway - basically only performs his own works. Hemingway composes New Music, played (1983-1994) with Anthony Braxton, forms a quartet with Herb Robertson, Ellery Eskelin and Mark Helias, develops new ways of playing and composing for percussion, gives solo performances, and belongs to both 'contemporary music' and the international improvising artists' scene. They swap discoveries on cassettes and CDs: Hemingway has probably the weirdest collection going of Hawaiian music, and loves every American yodeller he can find (e.g. Elton Britt), Graewe lets Reijseger rediscover Josef Hofmann and Prince, and Reijseger is crazy about Derek & Clive. Having first come together in 1989, in 1999 Graewe, Reijseger and Hemingway split up. This hiatus doesn't arise from internal quarrels: it's just that new challenges and objectives demand a change of direction. In 2005 their paths cross again. And they simply play together, phase by phase, freely, with no pressure, and no expectations. They let it go, they trust one another, and sitting there in the Bruno Walter Hall, as the only listener, hearing these three artists under optimal acoustic circumstances, one is witnessing the meeting of three kindred spirits who haven't met for years, yet immediately reconnect closely, even though they have gone down different musical paths in recent years. Ten phases of this meeting are recorded, and issued by Graewe, Reijseger and Hemingway with the title "Continuum", seven years after they split.
- Stefan Winter
Graewe/Reijseger/Hemingway Trio
Georg Graewe - piano
Ernst Reijseger - cello
Gerry Hemingway - drums, percussion, marimbaphone, celesta |
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