Autoduplicity is Jennifer Bewerse and Rachel Beetz, a cellist and flutist dedicated to performing contemporary and avant-garde music. 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. Their concerts are carefully constructed as musical, ideological, political, or theoretical explorations probing themes of blurred identities and realities, the physicality of sound, the movements of our bodies, and the rhythms of our speech
As a result of their first concert project – an exploration of music for performing bodies – Autoduplicity was invited to the inaugural New Music Gathering to give a presentation on theatricality and perform their feminist interpretation of Vinko Globokar’s ?Corporel. Their Machaut+Rauschen project is a continuous performance juxtaposing experimental arrangements of 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, and was described by Peter Ablinger as an “amazing program” and “beautiful combination.” In 2016, Autoduplicity traveled to Iceland where they performed Machaut+Rauschen at Mengi in Reykjavik and gave a lecture for the Performance Department of Iceland Academy of the Arts. Their most recent project, REFLECTING, commissioned by the wasteLAnd concert series, explores different kinds of musical reflection. Throughout the program’s pieces, the performers' bodies touch, imitate, sense, and are mirrored in physical and virtual spaces.
Autoduplicity’s projects have additionally been presented at ArtShare (Los Angeles), Boston Court (Pasadena), the Center for New Music (San Francisco), UC Santa Barbara, the MorYork Gallery as part of Dog Star Festival 12, and UC San Diego’s Springfest, and have been awarded funding from the University of California, San Diego Dean of Arts and Humanities and Music Department. Recently, they were artists-in-residence at the Women’s International Study Center, where they worked with Celeste Oram on a new commission.
Designed for the 2017/18 wasteLAnd Concert Season, REFLECTING is a program that explores different kids of musical reflection. Throughout these pieces, the performers's bodies touch, imitate, sense, and are mirrored in physical and virtual spaces. The effect is a kind of dance between sound and gesture, and a chance to build empathy through shared space.
Pauline OLIVEROS: Bye Bye Butterfly
Mayke NAS: Digit No. 2
Natacha DIELS: 2.5 Nightmares for Jessie
Michiko SAIKI: a…i…u…e…o…
Annie HUI-HSIN HSIEH: The thin air between skins
Celeste ORAM: Sanz cuer/Amis, dolens/Dame, par vous (World Premiere)
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.