Ross Bolleter (b. 1946, Australia)
Daughters of Time, 2011

This may seem a bit of far fetch, but I find it most inspiring on conceptual level. Bolleter works with decayed pianos sourced from outback and other locations, working with scores that accommodate pianos in any condition.

There is something poetic about choosing to play instruments in state of disrepair that indirectly refers their histories while also respecting the change in the flow of time. Time does not have to be resisted by efforts to keep the instruments in predetermined shape, going with time, going with the change can be just as interesting.

Exploration of sonic qualities of a kind of ‘readymade’ that is not in conventional ‘musical condition’ is also appealing. In a way it relates to my “Playing The Building” and some sound sculptures being planned.

I was also quite excited about a reference to Bolleter’s 1994 piece “Daughters of ANZAC” that supposedly involved simultaneous play on ruined pianos in three remote locations – something that may relate to my planned work on sonic exploration of remoteness. However, I could not find any more detailed information about it.