For my piece in the project I chose to respond to Annea Lockwood's iconic Piano Transplants series. The works and the text scores include: Piano Burning, Piano Drowning and Piano Garden. Each piece takes the complex instrument of the piano—with all its historical and symbolic baggage—only to decontextualize it and make it surrender to the forces of nature and to time. For me, those brilliant works and scores are not only an invitation to recreate the pieces as described, but also a broader invitation for sonic explorations and for different ways of listening, thinking, and making music. These works take the music outside—outside the concert hall, obviously, but also outside of one's control. Through a very intentional setting and process, the piece leads the performer to eventually release, or set in motion, something from the inherent sonic potential of the object, which then is no longer in one's control. Another aspect of the piece which I considered in my response is the fact that it puts our temporal human existence in proportion, and alludes to the idea of experiencing reality under different time scales, often beyond our human perception. The scores, which are set to be performed out in nature, are inevitably puting the human musical-machines and concepts in relation to the natural sounds of the surroundings. My response to the pieces and the ideas mentioned above is through an extension of my own musical practice of Sonic Botany, in which I work to expose the sonic potential in organic, found natural artifacts that are explored systematically and combined to create new imaginary soundscapes.
Dani Willianson: video and editing
Shaul Kohn, Amir Bolzman, Maayan Tsadka: sound recording
Shaul Kohn: mixing and mastering