More than five years ago, the People's Republic was privileged to host what we often regard as the greatest performance seen at the house in nearly ten years of amazing events. Now our wonderful performer is generous enough to offer one final opportunity for those unfortunate enough to miss out in 2013...
On SUNDAY 23rd June
Commencing at 2 p.m. [doors at 1.30]
NOTE AFTERNOON START TIME
PERFORMANCE ENDS SOME TIME AFTER 7 P.M.
Gabriella is flying in from Adelaide once again
for this very special occasion
and her performance of Alvin’s 5-hour magnum opus
will commence at 2 p.m. and have two short intervals
please note, discreet entrance and exit will be possible during the performance in case you are unable to stay for the whole remarkable event...
[consider lunch on Enmore Rd then join us for the first movements,
or join us for the final movements then head up to Enmore Rd for dinner!]
Gabriella has performed extensively in Australia (Melbourne, Sydney, Perth and Adelaide International Festivals, MOFO and TURA), and in Europe and China, collaborating with such luminaries as Cat Hope, Constantine Koukias, Erkki Veltheim, Jon Rose, Michael Nyman, Alvin Curran, Lisa Gerrard and Brian Ritchie. She is Artistic Director of Soundstream New Music. In 2019 Gabriella is the recipient of The Australia Council's Paris Residency, and an Arts SA Creative Fellowship. Her performance of Alvin Curran’s solo For Cornelius was described as ‘meltingly beautiful’ and ‘mesmerising’ (The Australian).
Alvin Curran is one of the most distinguished composers of the last 50 years. His collaborators include John Cage, Cornelius Cardew, Giacinto Scelsi, Fred Frith, Arditti Quartet, Kronos Quartet, Luc Ferrari, Evan Parker, John Zorn, Merce Cunningham, Elliott Carter, Steve Lacy, Joan La Barbara, Anthony Braxton, Steve Reich, La Monte Young...
"Inner Cities are where you go to get debriefed, to dance a tarantella with Gurdjieff; to see Italo Calvino greet Giordano Bruno in Campo De’ Fiori; to play low C 78 times and low D-flat once for Giacinto Scelsi’s 79th birthday; to hear Louis Armstrong fuse time and space in Providence, and Ella, Peanuts Hucko, and Brubeck fill a Newport stadium unamplified; to watch Cage and Braxton play chess in Washington Square Park; to roll around in a pile of rags with Pistoletto and Simone Forti; to listen to Ezra Pound’s silence by the Grand Canal; to hear Julian Beck say "Paradise Nooow....." and years later on film say "I wuz bawn in a garbage can"; to become a composer in the Coolidges’ apple tree; to hear Miles and Coltrane blow minds at Storyville (price, one coca-cola); to listen to Cy Twombly just back from the Gobi desert; to meet Diana in her temple on Lake Nemi; to hear Art Tatum play the whole world from memory; to record, for Perlini’s "Otello", a tin can rolling through a Venetian church; to give an impromtu ram’s-horn concert for Palestinian shopkeepers; to ride with a New York cabbie nuts about Gubaidulina; to sit at Patience Gray’s table; to plant a Magnetic Garden in the Beat 72 theater; to make love with a Jewish Rhein-maiden; to help Giuseppe Chiari remix Palazzo Strozzi and Robert Ashley collect dust from the union-floor of Local 802; to hear fog-horns with the Narragansett Indians; to cook funghi porcini for Luigi Nono in Berlin-Friedenau; to meet Morty Feldman on Eighth Street; to make the Ligurian coast into watercolormusic with Edith Schloss; to hang with the Carrara anarchists and the Bertolucci’s in Tellaro where DH Lawrence had his piano delivered by mules; to get booed off the floor staging Korean folk songs in Darmstadt; to listen for Messaien in Birdland; to hear Evan Parker play the Festa dell'Unita and George Lewis play the Tower of Pisa; to see and hear Annea Lockwood’s astounding glass concert at the Middle Earth; to be sitting in a room with Alvin Lucier; to hear Thelonius Monk detune time at the Five-Spot; to observe Sartre and Beauvoir drinking Campari from a window on Piazza Navona; to accompany ventriloquists, hypnotists, sirtos dancers, and bouzouki players in the Catskills; to watch Lenny Michaels dance the mambo at Susan’s Piano-Bar and Grill; to see Steve Lacy play his soprano sax with his left leg; to blow shofar to Judith Malina’s Shelley; to split the MEV door at the Obitorio; to copy for Cardew while he rolled the revolution on the banks of the Tiber; to play on a Holland American Ocean Liner which later catches fire and sinks; to wish that Meredith Monk, Diamanda Galas, Joan La Barbara, Billie Holiday would sing from the minarets five times a day; to play Dixieland in the Brussels World’s Fair across from Varese and Xenakis’ Phillips Pavillion; to play "An American in Paris" in Dahomey with John Sebastian Sr. on harmonica; to witness real Balinese dance in trance; to accidentally step on Dietrich Fischer Dieskau's foot backstage at the Akademie der Kunste; to record an interview with King Hussein of Jordan; to watch Trisha Brown levitate on Bach in San Francisco; to help Cage squeeze lemons into his fresh taboule on 18th Street and watch David Tudor mix chili peppers and lasers at the Grand Hotel des Palmes; to play the Sydney Harbour like a bandoneon; to teach advanced-orchestration in the Greek Theater at Mills College with Pauline Oliveros and the ghost of Harry Partch; to shake Stravinsky's hand in the American Sector-Berlin and Varese’s in New Haven; to watch Kosugi dance his electric violin around Marcus Aurelius; to get thrown off stage in London as a warmup act for the Pink Floyd; to meet Stockhausen at a strobe-light show in Düsseldorf; to open windows on Cage’s cue for adding real cold air to his Winter Music; to camp out with Teitelbaum and Rzewski for Antonioni’s Zabriskie Point; to hear Terry and LaMonte’s landmark concerts at the Attico in Rome; to help Charlotte Moorman and Nam June Paik get an introduction to the Pope; to nearly get sequestered along with Arnold Dreyblatt’s instruments at the Friedrichstrasse Bahnhof; to play the "Tennessee Waltz" with a banjo-band in Florence; to hear Maryanne Amacher make sound circle your head in her Boston harbor basement; to have tea and guffaws with Helen and Elliott; to play "Drumming" with Steve Reich in Pamplona; to bury 80 loudspeakers under Melissa’s Floor Plan in Linz and feed hay to a Diskklavier in Donaueschingen; to play with the original Scratch Orchestra; to make 300 people in 6 countries who cannot see or hear one another play together on the radio; to drink a Turka-Cola at the foot of Mt. Ararat; to hear Scelsi’s piano sonata on the car radio in central Anatolia; to make a concert of shiphorns in the "Golf of Poets"; to be 5 years old in Central Falls, Rhode Island, sitting next to my father in the trombone section at the Sunday afternoon Vaudeville show.
Inner Cities began in 1991 as an single innocent piano piece and has now evolved into a musical cycle of 12 pieces sometimes performed in its 6-hour entirety. My goal, as always, was to reduce the musical elements to their ultimate essences, to repudiate and embrace dualism, and to emulate, even in permanent notation, the feel of spontaneous music-making. The music therefore is open, unhurried, brutally lyrical, quiet, private and tonal as it is raucous, aggressively impolite and obsessively meticulous in making the simple relations between tones and durations an unending adventure of personal wonder. Each piece starts with a single idea, chord, or cellular pattern, which serves as its own source of narrative and history. These could incorporate anything from the simplest melodicizing on a single tone, in IC I, to a vast postmodernist sonata, as in IC 10 (in itself lasting over one hour), where the music no longer understands where it is coming from or where it’s going" - Alvin Curran
ALL PEOPLE'S REPUBLIC EVENTS ARE FREE
WITH GENEROUS DONATIONS INVITED AND ENCOURAGED
PLEASE REPLY TO THIS EMAIL ADDRESS A.S.A.P. [nshimmin AT dodo DOT com DOT au]
FOR FULL DETAILS AND TO CONFIRM YOUR ATTENDANCE
OUR EVENTS ARE B.Y.O.
please bring along any beverages you wish
but no food is allowed at these events
DO INVITE FRIENDS AND COLLEAGUES WHO MIGHT BE INTERESTED
BUT DO NOT POST ON WEBSITES OR SOCIAL MEDIA
AND FOR ANY OF OUR FRIENDS WHO MIGHT BE LOOKING FOR WAYS TO SUPPORT RESISTANCE TO THE ADANI MINE PROPOSAL AFTER THE DISMAL FEDERAL ELECTION RESULT...
Adrian Burragubba, Murrawah Johnson & Linda Bobongie
for the Wangan and Jagalingou Traditional Owners Family Council
You can purchase our “Adani, No Means No” t-shirt and you can share these links to encourage others who care about land justice to donate to our Defence of Country fund, and to join the 129,000 people who have signed our petition.