Page 168 - PDF Flip TR Program Demo

168
The Music at Tippet Rise
Clarinetist Anton Dressler explores landscapes of sound and geog- raphy in his music.
Devanney Haruta: Can you tell us about your electronic clarinet music?
Anton Dressler: It’s a very different output of sound. I’m using guitar equipment, but I modify and reprogram the sounds for my clarinet needs. Basically, the feeling is of flying, of freedom, even if I am constrained in certain schematics that I cannot exceed. It is a nice principle where you are constrained on your sides; it actually gives you freedom to go forward. It’s 3D thinking; what you do now is going to influence what you do in the future. But this principle, the way the present is influencing the future, is actually a principle for any musician playing any piece.
I think what I do is not that different from any musician playing music that they love.
DH: How do you discover new sounds on your instrument?
AD: It’s a mixed process. From one side, I’m improvising and finding all the different boundaries. When you discover your boundaries and your limits, that’s where you can push them. It starts as well with exploring the possibilities of technology, and they are limitless in their combination. It’s like discovering new territories. If you find a new land, you start by charting it and seeing where you can go. Then, the concept can be born out of improvisation. I almost never write down a piece exactly as it’s going to be. It might be a structure, might be a theme, might be nothing, might be just an idea. They are never repeated in the exact same way as they were in the performance before.
CONVERSATION WITH
ANTON DRESSLER