April 07, 2022
3401 Filbert St
Fri-Sun April 1-3, 2-9pm
Thurs-Sat April 7-9, 11am-6pm
Admission is free. You may come and go as you please, stay for a while or just drop by.
This module references back to Ari Benjamin Meyers’ meta-institutional project Kunsthalle for Music, which was first fully realized at Kunstinstituut Melly (fka Witte de With) in Rotterdam in 2017. This iteration for Rehearsing Philadelphia is an open source version of the project activated by a group of 40 exceptional students from The Curtis Institute of Music and Drexel University, split into four experimental ensembles, who come together in units similar in size to a family or quarantine pod. Under the direction of Mary Javian (Curtis) and Christopher Farrell (Drexel) the ensembles will perform over six days, eight hours a day in an exhibition of musical works drawn from a repertoire or “collection” that includes existing and newly commissioned solos, duets, and group pieces by both composers and visual artists combined with works brought in by the young musicians themselves. The core collection and exhibition score was created by Ari Benjamin Meyers, but in this iteration performed during Rehearsing Philadelphia it is open to daily variations and reconfigurations. In this way Ensemble seeks to question concepts around the classical canon and the traditional concert format, as well issues of accessibility and transparency. Highlights will be a new version of Autoschediasms by Tyshawn Sorey, a newly commissioned work by Zoë Keating and a workshop performance by the Dover Quartet. All three will be present, rehearsing and performing with the ensembles on various days as special guests. The location for this module will be an abandoned building in center city, providing a fitting context for these young musicians given the current atmosphere of economic crisis and uncertainty caused by the pandemic.
About Rehearsing Philadelphia:
This is a city-wide project exploring the question “How can we be together?” with music as the medium for exploration. It is titled “Rehearsing Philadelphia” to emphasize the nature of modern life—in a constant state of practice and rehearsal. The idea of rehearsing until perfection and then performing does not reflect how most of us live. We embrace the rehearsal process as the way in which people learn to come together, sometimes in tension and conflict and sometimes with the intention of finding commonalities and ways to live and make music side by side.