While Jürg Frey's Landschaft mit Wörten marked a substantial change in sound and behaviour, a strong connection could be made between the words spoken and printed (a single sheet of paper handed out for this concert featuring the list of words used in the tape part printed in the original german and translated into french ) and the function of the title in Michael Pisaro's piece. Both pieces quite distinct investigations of the use of words as beacons illuminating a musical environment, even an environment as minimal as the one conjured up here: Radu Malfatti playing very occasionally, one, two or three note patterns on a muted trombone alongside recorded playback of one or two word spoken statements. Strangely enough I found the words functioning as primary material, each utterance like a small keyhole through which one sees an image, hears a sound. Malfatti's soft trombone tones framed this activity, acted as a counterpoint, something to hold onto, like a recurring hum from a radiator under the window from which you are looking out across this terrain.
A mid-afternoon drop in energy made listening to Pisaro's Interference (6) difficult, I felt unable to follow the music on the level of detail that Pisaro's music so often asks of a listener. I do recall a vague sense, again, of panels drifting across each other (text, melodica, viola, sine tones) but without any strong sense of architecture (not surprising) or clarity of function, particularly regarding the spoken words (somewhat more surprising). All of this said- there was an atmosphere that accumulated over the piece's many similar iterations- an accumulation that uncannily identifies the music as written by Michael Pisaro- a simultaneous inclusiveness and resolve of trajectory that has become so familiar from more recent 'sound-chain' pieces (Fields have Ears 6, The Middle of Life... ). Listening in difficult circumstances, but still undeniably an integral part of the day's quilt.
After a longer break the final concert was, again, a different affair, most immediately due to the obvious change in performance carriage as a result of the different notational and ensemble paradigms employed here. While the ensemble pieces on the two previous concerts featured ad-hoc groupings of members from both ensembles, these final two pieces featured the Bozzini quartet performing as a quartet, with the addition of Jürg Frey on clarinet for Martin Arnold's piece. My recollections of Arnold'sWaltz Organum are those of a particularly wild piece, a baffling two-part structure reminiscent of Walter Zimmermann's music, but perhaps a little darker, a little more neurotic. The twisting melodic lines, inside of which instruments seemed to be trying to hide from one another, formed knots and creases imbued with something more troubling, more critical, than the charming-and-awkward collisions found in some of Zimmermann's material and rhetoric (recalling Parasit/Paraklet  in particular).
Jürg Frey's Streichquartett 3 provided a compelling balance to Martin Arnold's piece, its chorale textures following Arnold's knotted polyphony along the same lines as my horizontal/vertical characterisation of the Pisaro and Beuger pieces earlier in the day. This string quartet struck me as a profoundly mature work- both difficult and clear, unforced and thoroughly complex. A slow uneven pulsing of soft chords- dissonances and consonances resolving in unexpected manners, various suspensions lingering, a passage of descending scales reminiscent of (Unbetitelt) Nr. 6, a passage of distant sonorities reminiscent of Streichquartett 2 . An accomplished essay in simultaneous stasis and motion, "path" and "expanse" , a thorough folding and re-folding of a radical tonality and noise.
 Ensemble Dedalus performing works by Jürg Frey and Antoine Beuger, released on Potlatch records.
 English translation (roughly): grey water, pale blue, stone, place, light, wall, air, colourless clouds, breeze, ramblers, two minds, u, s, w, wind, heart, death, fortune, foliage, smile, a long view
 Both Fields have Ears 6 and The Middle of Life (die ganze Zeit) released on Gravity Wave records.
 A short piece for clarinet and string quartet- information here.
 Both of these pieces available on the Bozzini's recording of Frey's previous work for string quartet, released on the Wandelweiser record label.
 "It may easily be that, at the end of a performance of static music that has remained motionless, the listener is in himself no longer where he started out – just as, conversely, directed, mobile music that lays a path need not always take the listener along on a journey." - Jürg Frey, And On It Went