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Shaking the Foundations - Berliner Festspiele Blog 4/13/2018 Shaking the foundations - Berliner Festspiele Blog Shaking the foundations Catherine Christer Hennix: a portrait. Applying dense mathematical theorems to alternative tuning systems has led Swedish jazz drummer turned dharma warrior Catherine Christer Hennix to a cosmic appreciation of sound. Here she tells Marcus Boon about encounters with Albert Ayler, La Monte Young and Henry Flynt, and the background to her masterpiece “The Electric Harpsichord”, which will be performed at MaerzMusik – Festival for Time Issues 2017. Berliner Festspiele Blog Catherine Christer Hennix © Laura Gianetti “The whole universe is vibrating,” says Catherine Christer Hennix, speaking on the phone from Berlin. We’re talking about the release on “Die Schachtel” of her masterpiece, “The Electric Harpsichord”, a 25 minute keyboard composition originally performed at the Moderna Museet in Stockholm in March 1976. Although unreleased until now, it has attained the status of legend. Her friend and collaborator Henry Flynt has described it as “a life changing revelation”. But from Flynt’s and Hennix’s point of view, the recording is important not only as a piece of music, but because it’s proof of a method, a way of making something happen, that points beyond the framing of music as a product, or even as art, to an entirely new way of philosophically understanding and inhabiting the universe. As for what that method is, Hennix, a sometime maths professor, philosopher, visual artist with works in major European collections, and disciple of Pandit Pran Nath and La Monte Young , weaves a dizzying range of disciplines and histories into a highly original argument about the power of sound. The edition of “The Electric Harpsichord” “The whole universe can be understood as just one single vibration,” Hennix continues. “All atoms are continuously vibrating, the vacuum is vibrating, the whole cosmos is vibrating. When things vibrate, they generate these harmonics. Each harmonic is a state of nature. ln physics, harmonics correspond to different states of matter. lt’s empirical. As humans, we are reconfigurations of cosmic matter – all the atoms come from outer space. We are simply reconfiguring them via the DNA molecule or whatever. When we hear these vibrations our system of molecules vibrates with them. You can think of sound as a medicinal tonic. You are exposed to sound as you are exposed to a liquid, and it may change your ground state, and you go from one state to another because you are exposed to this radiation of sound.” This is actually a pretty good description of what listening to “The Electric Harpsichord” is like: hypnotic waves of keyboard chords and melismas that at certain moments produce the experience that the ground is melting underneath you, transforming it and the listener into a pulsating field (without the aid of LSD). You might argue that any theory of sound working at such a fundamental level would have to apply equally to Lady Gaga or Beethoven, but as Hennix explains her ideas – in a precise but engaging way, the references to advanced mathematics peppered with a post-jazz lingo of ‘cats’ she’s played with and enthusiastic recollections of people who have blown her away – the possibility remains that she really is on to something. https://blog.berlinerfestspiele.de/shaking-the-foundations/ 1/5 4/13/2018 Shaking the foundations - Berliner Festspiele Blog C. CHRISTER HENNIX The Electric Harpsichord Hennix was born in 1948 in Stockholm. Her mother, Margit Sundin-Hennix, was a jazz composer, and Hennix grew up in a household saturated with the sounds of modern jazz. Sweden was a haven for American musicians in the early 1960s, and houseguests included trumpeter ldrees Souleyman (who lived with the Hennixes from 1961–69), Eric Dolphy and Dexter Gordon. She began playing drums aged five, and started taking lessons from Souleyman at 13, the same year (1961) that she first heard John Coltrane play live. Hennix played around town, sitting in with Albert Ayler on occasion. lt was Souleyman and friends that taught her “how serious it was to play jazz”. But Hennix is dubious about the Swedish jazz scene. “We thought we were extremely hip playing modern jazz but it didn’t have the punch that jazz played by black people had. lt was sort of a hallucination.” At the same time, she was exposed to the sounds of John Cage, Karlheinz Stockhausen and David Tudor, all of whom visited Stockholm repeatedly during the 1960s. Hennix began making experimental compositions, working with the computers at the Electronic Music Studio (EMS) in Stockholm. A track from 1969 – six minutes of voice synthesis – can be found on “Text-Sound Compositions 5”, part of a series of compilations of concrete poetry and computer based compositions put out by the Swedish Iabel Fylkingen, and recently reissued as a CD box set. Working with the computer led to a fascination with numbers and mathematical logic, which Hennix pursued in graduate level studies in Sweden and the US, and later a period of teaching maths at university Ievel. She became fascinated with Fourier’s theorem, which, among other things, provides the mathematical basis for analogue-to-digital conversion, through describing complex phenomena, such as a sound, as a collection of sinewaves. ln 1969, Hennix made a trip to New York and visited La Monte Young and Marian Zazeela’s I oft, where she heard a drone playing. “lt’s the sinewave composition that he has on all the time in his loft,” she recalls. “lt took me about 60 seconds to decide that this was the sound. lt was completely related to Fourier’s theorem, and here I found someone who knew how to deal with this, deal with sinewaves. His was the first successful application in terms of sound experience. I didn’t leave his place for three or four days. l was just listening, and from time to time he and Marian would sing with the drone, which was even more fantastic.” La Monte Young and Marian Zazeela, March 1976 © Los Angeles Philharmonic Archives, Photo: Betty Freeman Young visited Stockholm the following year and Hennix worked with him at the EMS, realising his “Drift Study 15 X 70 2:00–3:00 PM Stockholm”, which she considers one of his most spectacular works. Young had already been working with sinewave generators for a number of years. He was the first composer to produce works in Just Intonation using the pure and sustainable electronic tones that such devices generate. These include his “Drift Studies” series (1967 – present), which consists of unadorned, very slowly shifting tones, and “Map Of 49’s Dream” (1966 – present), which also features Young and Zazeela’s voices. “That was the revolution,” affirms Hennix, “that he went from acoustic to electronic instruments in terms of producing Just Intonation works.” Just Intonation is a vast and controversial topic, opening the door on an alternative history of harmonics and scales that has run in parallel with the modern Western tradition. Essentially the term refers to tuning systems based not on the equal tempered scale familiar from Western music, but on the natural harmonics of sound, which the physicist Hermann von Helmholtz described in the 1860s. Such tunings also exist in many older musical forms, including various European folk musics, the blues, Balinese gamelan and Indian raga. The French musicologist Alain Daniélou compiled data in the 1950s showing that many of the scales used in traditional societies can be expressed according to mathematical ratios. There is a kind of political history of music contained in these observations. After the emergence of the piano in the 18th century, the dominance of the equal tempered tuning scale, which fixes notes mathematically as a series of absolute pitches, put an https://blog.berlinerfestspiele.de/shaking-the-foundations/ 2/5 4/13/2018 Shaking the foundations - Berliner Festspiele Blog end to Just Intonation in Europe. “With equal temperament,” notes Hennix, “all of these intricate relationships were thrown out. Everything was tuned to the piano. And so they ruined the entire concept of sound.” Consequently, the culture of European modernity is literally out of tune. The likes of Young, Tony Conrad and, later, Hennix herself wanted to put things right. Of all the various figures associated with Young over the years, from Terry Riley, Jon Hassell and Rhys Chatham to Tony Conrad and Yoshi Wada, Hennix’s music and ideas are perhaps the closest to his own. For example, when her trio “The Deontic Miracle” – a Japanese gagaku-style unit (also named Chagaku) featuring her late brother Peter Hennix and Hans lsgren on two oboes, sarangi and a sheng – performed their “Five Times Repeated Music” at the Moderna Museet in the mid-1970s, it was directly inspired by Young’s duo with Terry Jennings in which they played combination notes together. “ln gagaku,” Hennix explains, “you have the same effect when the hichirikis (a type of oboe) are playing. lt’s quite eerie: when they play, you have sound flying through the air. Like bats. lt’s incredible. The combination notes have this emergent structure that is really indefinable.” A mesmerizing recording of this trio performing in 1976 was recently issued as “Central Palace Music”. Pandit Pran Nath ln 1970, at Young’s urging, Hennix travelled to the south of France to meet the Hindustani raga master Pandit Pran Nath. “I was completely blown away by his sound. What I was focused on was the sound of the tambura. I told him I wanted to study the tambura and its tuning and he told me the only way to do that was to learn to sing ragas. But l’d never sung in my life.
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