This album is not just a tribute; it is a gentle act of remembrance. A way of connecting with what Lucier showed us: listening is an art in itself. A meditation on resonance, memory, and the quiet power of pure sound. Or, to quote Alvin Lucier himself: "I try to help people hold seashells to their ears and listen to the ocean again." The influence of Alvin Lucier's work on acoustic phenomena and the interaction between sound and space is undeniable. His legacy continues to resonate in the work of countless composers and sound artists. Lucier's music is imbued with childlike wonder and sonic simplicity, shifting our perception from what we hear to how we listen. At the heart of his compositions is the sine wave: the purest and most elemental sound form. Clarinetist Dries Tack pays homage to this master of minimalism with an album centered on two works Lucier composed as intimate "In Memoriams" for his friends. Both pieces explore a single, elegant idea: the interaction between an instrumental sound and a sine wave. Dries Tack is a clarinetist specializing in contemporary performance practices. He performs with ensembles such as the Nadar Ensemble, Curious Chamber Players, and Ensemble Fractales. As co-artistic director of the GLoW Collective, he explores transdisciplinary collaborative practices in the broadest sense. In addition to his ensemble work, Dries organizes solo projects that offer new perspectives on existing repertoire or give rise to entirely new works, at the crossroads of composition and improvisation. From this interaction emerge "beats" - a pulsed rhythm that accelerates or decelerates depending on whether the waves approach or move away. Although built on the same concept, the two works mirror each other: in "In Memoriam Jon Higgins," the sine wave slides in a slow glissando while the clarinet maintains stable sounds. In "Memoriam Stuart Marshall," it is the clarinet that dances around a fixed sine wave.
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