AGAINST METHOD: A celebration of counter)induction’s 20 years of thought-provoking programming and relentless virtuosity. A party for unexpected paths and contrarian aesthetics. A re-awakening for the familiar, and a baptism for the new.


Kyle Bartlett – Before (2019) (NYC Premiere)

Douglas Boyce – Trio Etude #2 (2019) (World Premiere)

Ryan Streber – Quartet  (2018)

Jessica Meyer – Forgiveness (2015)

Mark Rimple – Mystic Fragments (2017)

c)i marks its 20th year with a satisfyingly strange program of recent music by the ensemble’s composers and a premiere by longtime counter)induction friend Suzanne Sorkin. Kyle Bartlett’s obstreperously percussive trio Before, for bass clarinet, cello, and guitar, at turns severe, more severe, and sweet, begins the program.  Douglas Boyce’s Trio Etude #2 is a virtuosic hero’s journey, a tripled chase of shifting allegiances, down paths crude and subtle. It is counterpointed by the film noir sensibility of Ryan Streber’s Quartet, an unsettled elegance told in shadows and fleeting gestures. Jessica Meyer’s Forgiveness for bass clarinet and looping explores the iterative and imperfect nature of love and relationships. Suzanne Sorkin contributes a celebratory premiere.


FRIDAY, JANUARY 31, 07:00pm

ShapeShifter Lab

18 Whitwell Pl, Brooklyn, NY 11215

Tickets, $20 suggested donation at the door

On Sciarrino’s Centauro Marino

This week we’re sharing a piece from c)i’s first CD, Group Theory, a disc that featured two long-time members Steve Beck and Sumi Kudo. That’s actually the crew that played my first Piano Quartet on my ‘Some Consequences…’ CD for 2018. I just saw King Crimson at Radio City last month, so I’m very temped to call that c)i III (which would mean we’re at c)i V now (welcome, once again Dan and Caleb!).

But c)i’s relationship to the piece is much older than that. We were playing it within a few years of our formation, and it was one of the pieces that made us commit to the instrumentation of string trio, clarinet, and piano, and some echoes of the piece are definitely present in my Quintet l’homme armé, my first piece for that power quintet. The instrumental colors are, as always with Sciarrino, perfect in all ways;- intricate but also quite simple in many ways, and the feu d’artifice, as showy as they might seem in the moment, are impeccably balanced to amplify the impact of the form. This is always a piece that is a tight 9, but always feels to me to be 20 minutes or more, like I’ve been pulled out of the timeline and put back in not quite in the right place. Quintet l’homme armé plays a similar game of balance, and has a similar utilization of pianissimo- Centauro Marino punctuates its own zero-point matrix with sharp, inelastic collisions, while my quintet finds crosses the skein of pulse and density into a quietistic isorhythm, a reflection on the surpassing enthalpy of certain strategies of music making.

Quietism is the right word for the Sciarrino, despite the (irregular) interruptions. We performed that as the last piece on one of my favorite show from that classic c)i III period. We were in the vast cavernous space of the old Washington Square Church, all dust and must and holy resonance. I remember walking out into the night, some autumn evening in Manhattan, in the subtle brûit of a less tidy, constructed by less rebuilt Manhattan, and thought about how that churn had sanctified our little show, puzzled people, spiders listening at least as much to the vibrations of their was as to the who, and church-mice living their church-mice lives. We walked out into the evening and as we walked down the steps to the sidewalk, Kyle turned to me and said “Quiet. It’s the new loud.”

On Mario Davidovsky’s Quartetto #4

Like many of those who knew him and his work, I have been thinking of Mario Davidovsky often since his passing on August 23. Nothing speaks more powerfully than the music itself, but since counter)induction has been such a strong advocate for his music, and we have a platform on which to explore and share ideas, I wanted to take this opportunity to spend time listening to a c)i performance of one his pieces that I wasn’t previously very familiar with, and discovered their excellent live recording of his Quartetto #4 for clarinet and string trio. 

c)i’s performance of Davidovsky’s Quartetto #4 for clarinet, violin, viola, and cello beautifully captures many of the hallmarks that I listen for when I hear his music. His characteristic electronic music type analogues that he “re-orchestrated” for acoustic instruments are tightly woven and spring to life like sonic Rube Goldberg machines. Some great examples: the composite gesture of a Bartok pizzicato revealing a sustained tone at 0:18, creating a hybrid timbre; at 8:17 the high squeals followed by a skittering downward murmur (one could imagine these sounds trailing away across the stereo field in a spatialized speaker set up); at 11:18 the final burst of bombast, with a fleet clarinet gesture followed by a trill that sounds like tolling bells. c)i’s performance also does a wonderful job of bringing out Davidovsky’s compositional juggling act of contrasting characters, balancing the unfolding rhetorical argument while allowing each motive to evolve and change over the course of the piece.

In Quartetto #4, this motivic journey is heard most clearly through the evolution of the clarinet’s voice, which frequently retreats back to somber material between more active sections. In the introduction, Davidovsky lays out many of the characters that will be developed later in the piece, the whole of the commedia deIl’arte as he liked to say. Melodrama and sudden expressions of extroversion are very much a feature of his music and the players execute these with requisite energy but retain precision. I’ve noticed a consistent pattern in Davidovsky’s music of tempering those outbursts with introverted material directly afterward. We hear this in the contrast between the climactic material from ca. 10:00-10:36 and the tender music that directly follows, or also in the subsequent passionate passage from 10:55 to 11:24 and the eerie calm of the lone clarinet that comes on its heels. This ability to turn on a dime really makes Davidovsky’s music come alive and gives dimension to the multi-layered expressive component in his music. c)i’s performance is a compelling version of a powerfully lyrical piece that is late Davidovsky chamber writing at its best.

man can embody truth but he cannot know it

Miranda Cuckson, violinist
Miranda Cuckson, violinist

c)i will be performing the trio version of the suite from Stravinsky’s A Soldier’s Tale on Sunday, and so I’ve been thinking a bit about the piece (and his music more generally). Music is always an abstraction, due to its temporality– it is through memory that form and rhythm and harmony are experience, as associations between present and past (and future) events. And (some of) Stravinsky’s music (some of it) gets tagged as being cold or bloodless. But always at the same time it is about the body, it is in the body, savagely and unavoidably.

Continue reading “man can embody truth but he cannot know it”

Shadows aren’t mirrors

theisenc)i is excited to be performing a work by Alan Theisen for the first time – he’s on faculty at Mars Hill College near Asheville, North Carolina.  Some of you may know that I am on a long sabbatical, and I’m living down in NC;  I got to know his music as started getting to know musicians in this corner of the world. (Ah, soundcloud, my late night friend.)  When I heard Ondes et Ombres it struck me as a good fit for the 3x2x2x3 show that we were developing, both immanently as a piece and as a trio that would stand as one of the bookends of the program, contrasting Stravinsky’s masterful The Soldier’s Tale. (Apologies for the linkage, Alan; I went through a few years with c)i where I kept ending up on programs immediately after Crumb or Bartok, and so I was officially the hack-composer on the show…) 

Continue reading “Shadows aren’t mirrors”

Playing together


As I hinted at in the previous post, our programs this year have a factorial element: 3×2, 2×3; 2×2, 2×4, 1×5; and 1×1, 3×4, 1×5. The repertoire, the staging, the all sorts are organized around these refracting relations and in doing so makes us notice the other, subtler elements of this calculus of performance, the performers. What it is to be Ning playing with Miranda, or Miranda with Ning? What’s Hecuba to him, or he to Hecuba? Quite a bit, I think.

We could say that playing-together is a special category of being-together. Ben performs. But in performing Ben is also Benjamin-clarinetist. And in that being, he participates in the community that is clarinet-being. Add to other players and a bunch of composers (living or passed) and things get rather more complicated– clarinet being has a relationship to Stravinsky, as does Benjamin-the-clarinetist, as does Ben. There are always a lot of ways to be together, manners of enmeshment made kaleidoscopically beautiful through the ritual of performance. Continue reading “Playing together”

Feyerabend and counterinduction.


Ok, so, the name: “counter)induction” sometimes confuses people, and that’s understandable. It’s a negative, it’s an abstract, and it doesn’t seem to have much to do with music, or sound, or making art.  It’s logic, though, is a logic of creation. Counterinduction as a term is coined by philosopher and ‘scientific anarchist’ Paul Feyerabend; counterinduction is the opposite of induction, it is not doing something that is illogical; rather it is doing the opposite of what is logical.  It is not an ill-advised choice, it is the choice that most strongly stands against all advisements. Continue reading “Feyerabend and counterinduction.”

Anna Weesner: Light and Stone

c)i emerged from a very practical need – finding performers for works when Kyle and I were students at Penn. What emerged was a collective of composers and players interested in pushing the limits of performance, but also engaging with music’s deep questions of historicality and ontology. I was studying with Anna Weesner through this, and c)i ended up playing some of her music a few times, specifically Light and Stone. As is much of Anna’s music, it’s quite coloristic and mimetic in the best sense; diverse musical patterns mirroring the branching paths of nature. This performance is from a 2008 concert exploring these ideas called root, branch, crystal, at our second home, Tenri Cultural Institute.

I love this painting by Seurat, in we see the worker, as he comes between the light and the stone, making shadows between the light and the stone. Just work that happens to lead to beauty.