In Classical mythology, the marine centaur (half man, half horse with the long
scaly tail of a fish) represents the merging of the human and the bestial, of virtue with instinct. Centauro Marino is a montage of two autonomous compositions. Salvatore Sciarrino compares his composition to more physical art: “Once the face of a sculpture had to be cast from a single mold. Today that will to form has been overthrown. No longer covered up, they leave impossible disparities, mutilations, brutal scars. The artwork henceforth betrays its own processes, as if the layers of consciousness had been multiplied and superimposed, trace upon trace, like the
sketch-book of a demiurge. Development, even connection, is shunned. A marine centaur now emerges from the depths to seal this work with the symbol of its double nature.

Group Theory

Centauro Marino | Salvatore Sciarrino

George Crumb | Four Nocturnes

Root, Branch, Crystal - Live at Tenri 10/12/08

Pierre Jalbert | Ice Field Sonnets

Samp Haapamaki  | Wide

Aperghis | Mouvement pour quintet

Xenakis | Ikhoor

Lee Hyla | Ciao manhattan

c)i's Benjamin Fingland performing Globokar's classic. Voix Instrumentalisee

Vinko Globokar Voix Instrumentalisee-

A sneak preview of Diego Tedesco's incredible new 'Scherzo', from a pre-premiere in Media, PA in March.

Opening of Diego Tedesco's 'Scherzo' for chamber ensemble

Excerpt from Steve Ricks' Reconstructing the Lost Improvisations of Aldo Pilestri (1683-1727)

A few minutes from Anthony's  'kaleidoscope III'.

Excerpt from Anthony Green's kaleidoscope III

a recording of a live performance by counter)induction in Oct 2011 at the Tenri Cultural Institute

Multiple Modernisms - Live at Tenri 10/30/11

Mario Davidovsky - Quartetto No 3

Centauro Marino (Sciarrino)

c)i emerged from a very practical need - finding performers for works when Kyle and I were students at Penn.  What emerged was a collective of composers and players interested in pushing the limits of performance, but also engaging with music's deep questions of historicality and ontology.  I was studying with Anna Weesner through this, and c)i ended up playing some of her music a few times, specifically Light and Stone.  As is much of Anna's music, it's quite coloristic, mimesis in the best sense; diverse musical patterns mirroring the branching paths of nature.  This performance is from a 2008 concert exploring these ideas called root, branch, crystal, at our second home, Tenri Cultural Institute.  

(image: Seurat's 'The Stone-Breaker'

Anna Weesner:  Light and Stone

Quintet l'homme armé was one of the first works specifically composed for the quintet formation of counter)induction, and one of the clearest (and at the same time least clear) manifestations of my decades-long interrogation of medieval and renaissance practice. It takes as its touchstone the eponymous 15th cent. melody, but the melody is subjected to a series of transformations so drastic as to render it largely unrecognizable. 

This transformed melody, however, serves as the source material for the piece in much the same way that the 'l'homme armé' tune did for so many composers of masses from the mid-1 5th to the end of the 17th centuries. Indeed, several contrapuntal and isorhythmic techniques occur within the piece, though they are partially or completely effaced by a different set of contrapuntal and textural strategies derived from Lutoslawski and Ligeti. 

The source tune and the tradition surrounding it serve as organizing principles, but not, in any significant way, as a stylistic framework. Rather, consideration of earlier compositional practice informs current practice, not through a one-to-one mapping,

Here it is performed at the 2019 Corcoran Music Fesitval by counter)induction's current lineup.

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