the shape distance are a series of [initially] seven pieces constructed somewhat akin to ‘Russian Dolls’ in that each contains the same or similar core material that is ‘enclosed’ by other layers of material. The core music is represented by two solo pieces that although composed in isolation contain strongly related material. This music for flute and clarinet, either together or individually pervades nearly all pieces in the series. the shape distance are asynchronous pieces as the instrumentalists play independently of each other. Music is cued to begin only, with no ‘fixed’ synchronisation between the players. Whilst the relationship of each instrument is flexibly placed against its neighbour, care has been taken to calculate potential outcomes of coincidence and variability.
The Shape Distance by Chamber CartelI appreciate that it is the various interpretations and practicalities inherent in the realisation of tempi that contribute to the richly unique nature and interplay of each performance. The music itself [through the simultaneous bringing together of these individual parts] forms dense, highly complex and constantly changing relationships that are frequently wild and sometimes beautiful. These recordings are iterations of the pieces where a performance has been fixed in time [recorded] as one possible outcome of the material thereby making this release a unique iteration.
What’s the shape distance? ‘The shape distance’ [science] is part of ‘the shape context’ and is intended to be a way of describing shapes that allows for measuring shape similarity and the recovering of point correspondences. Wikipedia
This process of describing shapes through their similarities resonated with my ambition in these pieces, especially regarding the recognition of shapes [this time shape and gestural recognition in sound rather than physical objects] within a complex, multifaceted fabric of asynchronous sounds, believing that it is the recognition of these elements that brings both context, excitement and meaning to the music.
released 18 April 2015 | Recorded at 800 East Studios in Atlanta, GA by Thomas Avery. Additional recording at the University of California San Diego Conrad Prebys Music Center by Chris Warren | Music composed by Marc Yeats | Cover Design by Mark Herron | Performers – Kim Kilmer / flute, Jessica Sherer / flute, Ariana Warren / clarinet, Cecilia Trode / viola, Connor Way / harp, Amy O’Dell / piano, Caleb Herron / percussion | Photos of Chamber Cartel by Max Eremine. Cartel members in the photo from left to right (top row) – Tracy Woodard, Gabriel Monticello, Victor Pons, Thomas Avery. Left to right (bottom row) – Jean Gay, Paul Scanling, Caleb Herron, Amy O’Dell.