- Program Notes
- The Roman god Janus has two faces, one for each end of the one. He is the god of beginnings and endings, of entrances and exits, of future and past—and perhaps more importantly, he is also the god of in-betweenness, of transition. Doors and passages obey him. He remains a part of everyday culture even today. The ancient depiction of the double-headed figure serves as an excellent logo for countless companies, institutions, or fictional criminal syndicates, all of which embrace its ambivalence as sagacity. Those who adorn themselves with dialectics always believe themselves to be right.
Even Janus himself has become a know-it-all, his self-assuredness having long gone to his head and turned into arrogance. In the name of his wisdom, rules, and "morality," he places himself above others. Every place and time has its Janus. The music of Janus reveals his true faces and opposes him.
Now, music is an art of transition; every melody, every shifting texture arises precisely from development. Whoever reigns over beginnings, endings, and transitions—thus controlling how everything unfolds—would likely also be useful as a god of music. This is precisely where Janus' music comes in: It frees itself from Janus' rulebook. It disrupts transitions, jumping from false beginnings to false endings. It robs Janus of control over the process of becoming. He must "surrender" to unpredictable leaps—time and time again. What is playful, immediate music for us is torture for the know-it-all Janus, who seeks to control all processes. (Andreas Karl on Janus by Ying Wang)
- Recording Notes
- Klangwerkstatt Berlin – Festival für Neue Musik 2022
Konzert „Double View“ | 06.11.2022, 15.00 Uhr | Kunstquartier Bethanien, Studio 1
Kamera: Mike Ioannidis, Jakob Klaffs, Hugo Reis
Ton: Justin Robinson, Connor Shafran, Sébastien Vaillancourt
Videoregie, Postproduktion: Jakob Klaffs | jakobklaffs.de
Bild- und Textredaktion: Laura Weber
- Record Label
- Klangwerkstatt
- Performer Credits
- Ensemble Compas
- Publisher
- Ying WANG