Laurie Spiegel, Dither Quartet / Fennesz

“When I composed this music, using various combinations of computer-coded logic and real time interactive controls of the high level variables that logic incorporated, I was fascinated by the processes, structures and sounds. I never gave much thought to whether this music could be performed live by human musicians. I simply assumed that was out of the question, that it could not be played live. So I was skeptical when the Dither quartet approached me about doing just that. To my delight they proved my doubts wrong and have come through with one amazing performance after another. This is a true collaboration between human and technological music creators, from my initial use of computer software during the compositional process through the newest layer of electronic orchestration, the wide array of digital signal processing effects that have turned a mere four guitars into a full cosmic-level orchestra”, writes Laurie Spiegel.
Biennale Musica 2025 presents the European premiere of The Expanding Universe, the seminal group of pieces by Laurie Spiegel that explores the relationship between sound and cosmogony, reinterpreted by Dither, an electric guitar quartet from New York, known for the versatility with which it interprets experimental repertories that range from composed music to improvisation to electronics. The Festival thus pays tribute to one of the most influential figures in electronic music, casting new light on a work that continues to reveal its visionary power, inviting us to reflect upon music as a form of knowledge and imagination, a map to navigate the mystery of time and matter. A composer, programmer and pioneer of electronic music, Laurie Spiegel has developed a language of sound that merges mathematics and human sensibility, technology and intuition. Her work, profoundly influenced by cybernetics, by her guitar and ancient lute studies, by folk modal music and African and Indian polyrhythms, considers sound as a living organism that is constantly expanding. Conceived between 1974 and 1977 at the Bell Labs, The Expanding Universe arises from a dialogue between the author and the GROOVE system, an innovative sound synthesis software. Her sonic experimentation is situated with an aesthetic that refutes determinism and embraces generativity as the fundamental principle of musical creation.

Originally released in 2004, Venice was the fourth studio album by Christian Fennesz, composed using tools and techniques that now largely belong to another era. Much of the hardware and software employed in the original production no longer exists or functions, and parts of the source material have been lost. Revisiting Venice two decades later involves a process of reconstruction using contemporary tools, resulting in an inevitable reinterpretation of the work. This new live iteration is not a straightforward act of restoration but an engagement with the material from a changed perspective. The passage of time has altered Fennesz’s working methods and sensibilities. Revisiting the album today opens a dialogue with his earlier self, shaped as much by reflection as by continuity. One element remains central: the influence of Venice itself. The city’s acoustic atmosphere – its reverberant spaces, resonant textures, and layered sonic memory – continues to shape the music. This live version listens forward and backward at once, bringing the original work into renewed presence.