Autoduplicity is Jennifer Bewerse and Rachel Beetz, who are dedicated to performing contemporary music. As a cellist and flutist, respectively, they regularly perform avant-garde works. Both musicians perform in artist-led ensembles and consider it part of their art form to spearhead new and exciting artistic projects. Rachel and Jennifer created Autoduplicity to explore performance beyond sound-making for highly trained instrumentalists, to explore musical ideas and the bodies that inhabit them, and to find what this exploration might illuminate when done as a duo. They were featured performers at the inaugural New Music Gathering and have given performances at UC Santa Barbara, UC San Diego, Artshare LA, and at Mengi in Reykjavik, Iceland.
Machaut + Rauschen
Autoduplicity's second concert exploration is Machaut + Rauschen, juxtaposing Guillaume de Machaut's ballade, “Dame, ne regardez pas” with several of Peter Ablinger's Instrumente und Rauschen and the world premiere of Ablinger's Kreuze for solo cello and electronics. Leaping from the simple purity of a single melody to the “everything always” of white noise, Machaut + Rauschen explores the hidden complexity in simple sounds and hidden sounds within masses of complex noise. Listening at these extremes reveals how deceptive the very ideas of simple or complex can be.
WEISS / WEISSLICH 17d: Flöte und Rauschen
WEISS / WEISSLICH 17k: Violoncello und Rauschen ("Kreuze")*
Piccolo und Rauschen
Das Wirkliche als Vorgestelltes (The Real As Imaginary)
Kyrie after Machaut
Guillaume de Machaut
Dame, ne regardez pas (arr.Rachel Beetz and Jennifer Bewerse)
*indicates world premiere
Autoduplicity's debut concert is an exploration of music for bodies and speech - our shared instruments - and investigates how these ordinary sounds can be transformed into powerful musical ideas reflective of the human experience. The program also probes themes of blurred identities and realities, questions of sanity, the movements of our bodies, and the rhythms of our speech.