The Music Room of the Rosens’ house —the room itself— witnessed many an evening of music being executed in it by Walter Rosen (piano) and Lucie Bigelow Rosen (theremin) themselves. The [Music] Room—the sound installation piece—manifests as an apparently immanent state of eternal quasi-presence.
The performers and the audience have already left the room. The involuntary sonic presence of both the instruments and of those who attended the concert, however, refuses to leave. It will resonate forever within these confines as a quasi-music that somehow surpasses the original; with its own self-sufficient presence, beauty and pride. Or, seen in a different light: that “original” situation of performers and audience is probably being reenacted now — in front of us — in a parallel realm of which we can only sense its most alluring aspect: the noise in the music.
