Leo Svirsky is a composer, improviser, pianist and accordionist based in the Hague, Netherlands. As a composer, his work explores how the instability of listening itself transforms the perception of musical semantics and affect. Disorientations of memory and spatial awareness are nevertheless bounded by a rootedness in song and story.
With his new work, Heights in Depths, Svirsky examines psychoacoustics through way of glistening reeds. Architectural in its scope, these sine wave esq sounds are pinned to each corner of the listeners space, radiating like Dan Flavin sculptures in the room. Executed in two side long compositions, the laser like focus of these sounds bend and swirl, slowly drifting in and out of phase of one another, while all along making a grandiose evolution in the ultimate composition. Recorded on Easter Sunday at Gallery W139 in Amsterdam, Heights in Depths draws a map for the listener that has the arrows pointed in all directions. Accompanied by Norman Cohn’s text “The Pursuit of the Millennium: Revolutionary Millenarians and Mystical Anarchists of the Middle Ages” - Svirsky’s musical end game is down an infinite hallway lined with infinite mirrors - “To descend from the oneness or Eternity, into the multiplicity, is to lose ourselves in an endlesse Labyrinth.”
supported by 6 fans who also own “Heights in Depths”
“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach
Enough said. pt