Lullaby for a Landscape (All The Pretty Little Horses)
Tune in to a unique live recording from David Horvitz’s Lullaby for a Landscape (All The Pretty Little Horses) performed by the artist himself alongside Ches Smith and Shayna Dunkelman. Horvitz's project seeks to create an environment that embraces the soporific. The interactive chime installation revolves around ideas of hypnagogia, the transitional state from wakefulness to sleep, during which the onset of sleep influences the brain’s experience of time and space. Running parallel to this interest is Lullaby for a Landscape, which is a liminal space between aural sound and physical landscape, where sound is given a spatial and physical form as it embodies the landscape in which it resides.
In the installation, each note is its own chime, and appears in two different octaves. Horvitz has two sets of the seven notes in a larger chime size, and two sets of the seven notes in a smaller chime size, creating a dissonance in the experience of the melody. The individual chimes, scattered and hung throughout Socrates Sculpture Park’s grove of trees, are to be played by visitors, creating waves of sound that wash across the park.
As visitors meander through the grove of trees, they may encounter gentle notes floating across the grounds as the performer plays the chimes. Once the lullaby is played through, the performer improvises to communicate the fragmented sensation that one experiences when in a state between consciousness and unconsciousness. In his project, Horvitz removes the narrative aspect of a lullaby. Without a beginning or an end, there is no completed transition from consciousness to sleep. The experience of time is caught in limbo.
The object of this series is to invite emerging and established innovators to share their work. These programs are usually a combination of an interview with a far-reaching perspective on the artist's career, some recordings illustrating this history, and something new. Open territory. The unfortunate and unintended messages that come attached to a title like Experimental Composers are many. Still it is one of the few labels to come out of the world of music that has not been co-opted by promoters, corporations, journalists, or lawyers. This one just seems to have anti-market goo on it. Hooray. It's also just bad English (as if to imply that these poor souls are themselves, in their flesh and blood, some kind of experiment and, perhaps, even expendable). And then there is the spectre of defying the wisdom of the great Edgar Varèse who said something like, "I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment."more