Minor Renaissance 3: Marina Mello & Nicola Genovese (duo), Thomas Stone (solo), Cath Roberts & Magda Drozd (duo)
Wednesday, October 21, 2026 · 7:00 PM – 11:00 PM
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Minor Renaissance — concert series for experimental contemporary sound practices
#3 with Marina Mello & Nicola Genovese (duo), Thomas Stone (solo), Cath Roberts & Magda Drozd (duo)
Doors 19:00
Music 19:30
Minor Renaissance, a concert series for experimental music, traces quiet renewal through shifting relations between instruments and electronics, composed and improvised material, and inherited techniques and wayward contemporary practices.
The name reaches back to a Renaissance that was, in its own time, largely improvised counterpoint conjured over a given line, ornament invented under the hand, the written part no more than a frame for what a body would make of it. That older art turned on exposure: a sound committed to without the safety of being fixed in advance, a gesture that could go otherwise and cannot be taken back. The series holds to that same condition. Across composition and improvisation, acoustic sound and live electronics, it treats sound less as something delivered than as something enacted — worked out in the moment, with something at stake, in the room.
Minor Renaissance invites the audience to notice the small shifts already underway: instruments losing their familiar edges, materials changing form, technologies acting less like tools and more like collaborators. Rather than a rebirth announced by a movement, it points to smaller transformations — fragile, unfinished, temporary communities of sound.
#3 with Marina Mello & Nicola Genovese (duo), Thomas Stone (solo), Cath Roberts & Magda Drozd (duo)
Doors 19:00
Music 19:30
Minor Renaissance, a concert series for experimental music, traces quiet renewal through shifting relations between instruments and electronics, composed and improvised material, and inherited techniques and wayward contemporary practices.
The name reaches back to a Renaissance that was, in its own time, largely improvised counterpoint conjured over a given line, ornament invented under the hand, the written part no more than a frame for what a body would make of it. That older art turned on exposure: a sound committed to without the safety of being fixed in advance, a gesture that could go otherwise and cannot be taken back. The series holds to that same condition. Across composition and improvisation, acoustic sound and live electronics, it treats sound less as something delivered than as something enacted — worked out in the moment, with something at stake, in the room.
Minor Renaissance invites the audience to notice the small shifts already underway: instruments losing their familiar edges, materials changing form, technologies acting less like tools and more like collaborators. Rather than a rebirth announced by a movement, it points to smaller transformations — fragile, unfinished, temporary communities of sound.
By Magda Drozd