From darkness, visible light is the bright mind
©Paulius Sliaupa
James Turrell once remarked: “I use light as a material, but my medium is actually perception.” This programme begins from that idea. Bringing together works for harp and electronics across centuries and aesthetics, this concert explores music not as a fixed object, but as an experience that comes into being through listening. Sound unfolds in relation to memory, attention, space, and time. Resonances linger beyond their source. Familiar gestures return altered. What we hear is shaped as much by perception as by the notes themselves.
At the centre of the programme is Pulitzer Prize finalist Leilehua Lanzilotti’s from darkness, visible light is the bright mind, a work inspired by James Turrell’s immersive light environments. Like Turrell’s installations, the music invites a heightened awareness of subtle change, where the smallest shifts in colour, texture, and resonance transform the listener’s sense of duration and place.
Historical and contemporary voices enter into dialogue throughout the programme. Fragments of the past are heard alongside newly created works, not as opposites but as reflections of one another. Acoustic and electronic sounds intertwine, revealing continuities across time and suggesting that every act of creation is also an act of transmission.
For Artonov’s theme We Do Not Work Alone, the programme proposes a simple thought: no artwork exists in isolation. Music emerges through a web of relationships—between composers and performers, past and present, sound and silence, artwork and audience. The listener is not merely a witness, but an active participant in the creation of meaning. In this space of shared attention, perception itself becomes a form of collaboration.
Music
We can recommend these as well
For many listeners, the Highland bagpipe remains inseparable from its cultural roots and traditions. Yet for the Breton musician Erwan Keravec, the instrument also represents a gateway to unexplored musical territories. A piper, composer and pioneering improviser, Keravec has devoted his career to expanding the horizons of the bagpipe, revealing its remarkable potential far beyond its customary setting.
The piano accompanied Mozart throughout his life from early childhood, when he performed in public across Europe. His keyboard works often resonate with those written for larger ensembles or for the operatic stage, serving as a genuine laboratory for new ideas. In the eighteenth century, however, the piano sounded quite different from modern instruments.
