re-COMPOSE DE-compose

In her work, Interlude No. 36,  Carole Kunstadt first cut, then wove/layered and sewed up an antique,  sacred church music manuscript. Now re-assembled, it presents a cacophony of lines, notes, and marks, the original melody, score, and lyrics, unrecognizable and ‘de-composed’.

In the First Movement of my composition, I try to re-imagine, re-weave, Re-Compose, Carole’s  ‘destroyed’ melody, as possibly intended by the original composer.  The Music is performed with simple Organ Instrumentation, as it would have been presented in a 19th Century French Cathedral.

In the Second Movement, I re-interpret the score, De-Composing it ( just as Carole did with her artwork),

by introducing unexpected Instrumentation such as an Electric and Base Guitar, flatware as percussion, and the use of a Synthesizer to distort my ‘choir’ voices. Also minimal, random, repetitive, and incomprehensible lyrics, found in the cut-up manuscript/artwork, are added, thereby giving the entire Composition an abstract, experimental, and chaotic expression. 

My intent is to provoke and question the Church’s use of so-called, divine, and sacred music, as a vehicle to further religious indoctrination