For Mercer Union's Music in Alternative Spaces fifth performance, John Mark Sherlock's concert featured mesmerizing undulations from customized instruments including Fender Rhodes electric pianos, Clavinet, Hammond organ and an "organette". The orangette was described by John Mark as an "ecumenical" instrument since it was created by piecing together discarded organ parts from ecclesial sources of various denominations. The unique instrument, as even a sculptural work, was perfectly suited for the theme piece titled "salvage/wreckage" as Sherlock reeled in and rescued floating treasures from deep ambient waters of affecting sound.
I am currently completing an interview with John Mark Sherlock. Here is a short excerpt:
OC: The press release for the performance states, "these pieces will involve a mobile approach to form". Does this mean motion will be also be a choreographed element of the performance?
JMS: This mobile approach is a way of writing music I have adopted for some time now. More music is written for each performer than they can physically play. They can choose their own path through the work, often playing from the same part. In this way the overall piece is declaimed, or not - as though it mattered - in what amounts to incidental orchestration. In "salvage/wrecking" two pieces are played simultaneously. Conceptually, for me, this adds to the mobile form - and I'm thinking mobile as in Calder, right?John Mark Sherlock's website