„The image comes, as it does for many of Clara Iannotta’s pieces, from the late Irish poet Dorothy Molloy, who died in 2004. Iannotta’s title comes from ‘Dog-kite’, from the third of three posthumous collections of Molloy’s poetry, Long-distance swimmer. A memorial to a lively, beloved pet who now whizzes ‘between the stars’, the poem ends and grounds itself suddenly with this picture: ‘She left her paw-marks/in the wet cement.’
It is a tactile image; we can imagine feeling our own palms or feet sinking too. It transforms an accident (a dog running somewhere they shouldn’t) into a feature (the permanent mark of a brief moment of life). And it is a way of registering something that has happened – like a scar, a ruin or an echo – and of a life that is no more.
At its centre is still a piano, although one prepared with singing bowls, tape, magnets, an ebow, fishing line, a fork and even a small vibrator, wrapped in aluminium foil, so that it almost never sounds as a normal piano would. As well as the pianist, the two percussionists are also needed at times to play it. And yet at no point does it seek to dominant or to lead, as it might in a typical concerto. Instead, its unusual and sometimes bizarre sounds diffuse through and animate the rest of the ensemble….“ (© Tim Rutherford-Johnson, 2018)
Das Konzert findet am Montag, 8. Oktober 2018, im Théâtre de la Ville Paris statt.
Einen Einblick in das Stück kann man hier erlangen.