Undercurrents 6 - Interwoven Scores: A Symphony of Correspondence

3 April, 2025 - 19:30
MINARD
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An invitation to experience the resonance between cinematic scores and compositions by women composers. Ferreyra, by Tamara García Iglesias and Xabier Erkizia, draws from Beatriz Ferreyra’s concrete music compositions, transforming them into a visual script that places sound at the center of the montage, where the image becomes a vessel for auditory exploration. In Occam Delta XX, Éliane Radigue’s score, performed by Rhodri Davies (harp), Julia Eckhardt (viola) and Aura Satz (film), transforms the cinematic form itself into an instrument, a complex mechanism of translation where the surface of the film becomes as musical as the harp and viola that resonate through it. In Light Music, Lis Rhodes offers a score not in the form of notes, but through the abstraction of drawn patterns, black and white lines projected onto opposing screens, creating a visual symphony of sound and image. Each of these works encourage us to rethink scores as living codes, forms that resist definitive readings, always in flux, and constantly shifting with every encounter. The scores are not merely heard or seen; they are felt, experienced, and reimagined. In these compositions, the spaces between sounds are as significant as the sounds themselves, urging us to listen, see, and engage in a continuous dialogue.

 

Curated by Ana Júlia Silvino
In collaboration with EQZE — Elías Querejeta Zine Eskola

 

You can read a talk between Lis Rhodes and Aura Satz here.

 

Thanks to Tom Pauwels, Judith Van Eeckhout, Tommy De Nys, Mich​​​​ Leemans
Special thanks to Mary Lattimore and Erwin van 't Hart

Ferreyra, un film concrète

Tamara García Iglesias, Xabier Erkizia
,
ES, FR
,
2020
,
digital
,
19'

Beatriz Ferreyra is a concrete music artist of Argentinean origin, based in France, who has developed her own language in experimental music. This documentary has as a script the scores elaborated by Ferreyra along the years, the sounds and silences she built, and the radical proposal that the image is at the service of the sounds.

 

English subtitles

Occam Delta XX

Éliane Radigue, Aura Satz, Rhodri Davies, Julia Eckhardt
,
UK
,
2022
,
performance
,
20'

Expanding the cycle of Radigue’s Occam Ocean acoustic works, Occam Delta XX is a trio composition featuring Aura Satz, Rhodri Davies and Julia Eckhardt. Radigue transmitted a new score image (or ‘living score’ as she calls them), an image associated with water, to film-maker Satz and long-term musical collaborators Davies and Eckhardt. Rather than producing a film that documents the music and sits outside of it, the film participates in the logic of the score and is developed in an open weave with the composer and musicians.

Light Music

Lis Rhodes
,
UK
,
1975
,
16mm
,
25'

Light Music was motivated by the scant attention being paid to women composers in the European tradition. It began as a composition in drawings. In the filming of these drawings—it developed into an orchestration of noise—whereby the intervals between the lines register as differentiated noise or “notes”. The drawings were then filmed using a rostrum camera (a type of camera used to animate still images). The movement of the camera lens—towards or away from the drawings—is heard; as the intervals between lines narrow or widen, so the pitch of sound rises or falls. The image produces sound—that is, the playing of lines is literally “light” music. In the earliest film screenings of Light Music, it was not possible to synchronise the two projectors. And so I would move between the two—in a sense conducting them—trying to keep them in time. Cinema and music tend to demand that each performance be a repetition of the last. But Light Music is more or less different each time it is screened. In a particular context, the audience becomes performers—performing within and to the light of Light Music. This is taken away, perhaps—on a mobile phone—as a digital record of the viewer as performer. The relationship of the audience to the work has radically changed: sound is not still—sound moves. (Lis Rhodes)