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Throughout the course of Patchwork’s nineteen minute realization of the piece, one hears tightly coordinated ensemble music, free improvisation, and mechanistic loops. Wubbels has included a wide range of notational approaches in this set, from extremely specific notation to graphic and text scores. The piece ends with a rhythmic augmentation on the wood block, briefly echoing the subtle triplet figure that opens the piece on the cymbal.Įric Wubbels’ Axamer Folio is a modular work consisting of twenty four individual pieces (including solos, duos, and duos that can be combined with other pieces) to be performed in any order determined by the performers.
Chin’s cyclical organization manifests itself both on the micro and macro levels in the piece - through the circular, repetitive figures in both instruments, as well as a larger structural pattern of reprising similar material over the form of the work.
The texture explodes momentarily for cathartic crashing figures on the drum set underneath sax multiphonics that conjure distorted power chords. The saxophone plays elliptical, repetitive phrases of snaking microtones as the percussion answers with insistent figures on the cowbell, bass drum, wood block, and tom-tom. was inspired by Gabriel García Márquez’ iconic novel One Hundred Years of Solitude, and the cyclical nature of time and history. As the work builds in intensity and moves towards its close, Netzer creates a texture where the two instruments are filling in a composite rhythm between them, with the percussion frequently hearkening back to the opening rolls, this time on varied instruments. Just after the midpoint of the piece, the two instruments join together again for an off-kilter dance, this time more extroverted and angular, before retreating to the inward material that preceded it. The manic pace of change in the work slows in its middle, as an extended section explores delicate multiphonics and cymbal rolls. The “chaos and mayhem” that is referenced in the liner notes is characterized by raw saxophone multiphonics and proto blues riffs. Netzer establishes layers of implied counterpoint through registral leaps and distinct timbres in the saxophone, while the percussion highlights specific voices in this linear chorale by playing figures in rhythmic unison with the sax. Noa Even enters with a shrouded line that begins like a hesitant, exploratory dance. Stephen Klunk begins the work with three annunciatory tom-tom rolls that quickly devolve almost before they begin, each time breaking apart into phrases that lose strength with each new attack.
“Patchwork” opens with Osnat Netzer’s Zwang und Zweifel, a work exploring the tension between constraint and ambiguity.
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