electroacoustic

No small triumph: Carla Rees & Scott Miller – Devices and Desires

Posted on by 5:4 in CD/Digital releases | 2 Comments

Many’s the time in the last few years when, both in the concert hall and at home, i’ve found myself listening to yet more music for random-acoustic-instrument plus electronics—and been absolutely bored off my face. The quest for novelty seems to have ruled the electroacoustic roost for years and years, dominated by an approach to music-making that largely consists of: instrumentalist plays some material; computer (i.e. Max/MSP patch) does something with that material; instrumentalist responds to the computer; and back and forth until one of them decides to stop. Often the nature of the relationship between player and computer, as well as a sense of structural coherence and inner logic, are both fuzzy and ill-defined, and while works like this may perhaps have a skin-deep beauty that’s briefly beguiling, ephemerality remains their strongest characteristic.

It’s no small triumph, then, that the new CD from Carla Rees and Scott Miller, exploring music for flute and electronics, is so exciting and memorable. The title, Devices and Desires, is allusive—not a million miles from Ligeti’s ‘Clocks and Clouds’—evoking cool and hot impulses, a juxtaposition of measured rationality with unpredictable whim. From this melting pot of head and heart, Rees and Miller have created six pieces that each occupy a different position on the composed/improvised continuum, including “a fully composed work …, structured improvisations … and free improvisations … All of the electronic sound heard on the CD is the result of processing the sound of the flute, whether in real-time, from a sample taken earlier in the performance, or from a recording made years before we made the recording” (from Scott Miller’s programme notes). Both flute and computer fall outside convention; Miller uses the Kyma X sound design environment, while Rees uses a Kingma System C flute, an instrument designed to enable quartertones to be easily played. These instruments were brought together in “an inspired three-hour recording session”, and the result is Devices and Desires. Read more

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Robert Mackay – Augustine’s Message

Posted on by 5:4 in Lent Series | Leave a comment

The next work in my Lent series is one of my absolute favourite electronic compositions. The composer Robert Mackay, based in Scarborough, composed Augustine’s Message while studying in Bangor, in 2001. It was performed at the Bangor New Music Festival that year, and was included in an edition of Radio 3’s ‘Hear and Now’ devoted to the festival. Back then, Mackay was planning a multimedia work based on the writings of Peter Abelard and his beloved Héloïse, originally intended as an opera (provisionally titled The Breath of Dionysius), but ultimately becoming a three-part cycle simply called Heloise, of which Augustine’s Message is the final part. Abelard’s relationship with Héloïse, conducted almost entirely in secret, ended in disaster, with Abelard being viciously castrated by Héloïse’s uncle Fulbert. Perhaps not surprisingly, this was the beginning of the end for the lovers, both of whom ended up in monastic communities. In Augustine’s Message, Mackay delves into both the psyche and the soul of Abelard at this tragic point, as he explains in the programme note:

In this section of the story, Saint Augustine visits Abelard in a dream, in which he is battling to come to terms with his recent castration. This reflects a passage from Abelard’s autobiography where he describes a thousand thoughts coming into his head soon after the brutal attack, yet him eventually finding solace in his belief that in some way this act of retribution has been a gift from God enabling him to be free from worldly, carnal lusts and focus the rest of his life on the spiritual and philosophical.

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Julieta Szewach – Dikyrion

Posted on by 5:4 in Lent Series | 4 Comments

The next piece in my ongoing Lent series is an unusual setting of the Lord’s Prayer by the Argentine composer Julieta Szewach, which was broadcast on Radio 3 in 2008. Dikyrion uses the Aramaic version of the text, in a setting for mezzo-soprano and tape. The work was one of two selected as “outstanding” in the 11th International Rostrum of Electroacoustic Music, which took place in 2007 in Portugal (more info here). It’s easy to see why they came to that conclusion; Szewach’s piece is not only markedly different in tenor and temperament from the majority of electroacoustic music one tends to hear these days, but the soundworld she creates is both deeply immersive and very beautiful indeed. The word ‘dikyrion’ refers to a 2-branched candlestick used in Orthodox Christianity, that represents the dual nature of Jesus, both divine and mortal.

The atmosphere Szewach creates is a profound one, ethereal and mysterious. She abstracts the text, stretching and aerating it, turning it into mere shadows of words at the start, mere whispers of them towards the end; enclosing them at both points are low, solemn notes that toll out like deep gongs. Read more

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