Contemporary Epics: V/Vm – The Death of Rave

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In the last few days i’ve highlighted some impressive examples of music composed on an ‘epic’ scale. i’ve saved the biggest until last, but even by saying that, i’ve touched on an inherent danger lurking in a discussion of this kind. When any musical parameter is taken to a compositional extreme, the mere act of doing that starts to rupture a work’s integrity, as much æsthetically as practically. Let’s put it another way; what interests me so much in a work like Robert Rich’s Somnium is both what he’s striving to do and the way in which he’s trying to do it. It’s a piece that requires its duration to be extreme, but it’s not a piece about duration; the danger is to put undue—or, worse, all—emphasis on that one aspect, and thereby fracture one’s holistic appreciation of the piece. One might argue, reasonably, that it’s difficult to ignore the durational aspect of a work lasting seven hours; but that’s not, hopefully, what one’s thinking about as each minute passes in Somnium—or, indeed, in the Trilogy in Three Parts, Blemished Breasts, or July 17, 2010. When setting out to explore these five ‘contemporary epics’, extended duration was my common thread, but i hope it’s been clear that that aspect is ultimately an integral component in a much larger and richer whole; in a nutshell, what these pieces share is that their extensive durations fully support and are at the service of the music. Read more

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Contemporary Epics: Robert Rich – Somnium

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In the previous few articles, it may seem as though i’ve been avoiding the very obvious elephant in the room. So let’s confront it now: large-scale musical ‘epics’ of the kind i’ve been exploring present formidable problems to the listener. Assuming one can find the time to devote to it, there’s the issue of focus, of trying to maintain some semblance of concentration for a very much longer-than-usual period of time; furthermore, attempting to hear each passing event within the wider context of the whole (rather than just listening superficially) becomes a strenuous and potentially unwieldy activity. i accept that these are very real challenges with such music, and while i can speak from experience and state that it’s something that becomes much less of a problem the more one becomes acquainted with large-scale music, the fourth ‘contemporary epic’ i’d like to examine is a work that could be said to tackle the reality of this situation head-on—or, at least, take a fundamentally different approach to it.

The composer Robert Rich established his reputation in the early 1980s, as a composer whose live performances took place through the night. In part they were concerts, yet more importantly to Rich they were experiments, investigating the ways in which sound can stimulate periods of REM sleep. At these events, the audience would take its place on the floor, actively encouraged—and this may sound paradoxical—to interact with Rich’s performance through the act of sleep, engaging with the music through the gauze of a semi-conscious mind. These “sleep concerts” directly influenced the albums Rich released around this time; his debut album Sunyata (1982) pared down its content to a minimum—echoing the title, which is a Buddhist concept approximating to ’emptiness’ or ‘void’—while at the same time greatly expanding its duration to better facilitate a meditative listening state (originally released on cassette, the album was unusual at lasting almost 86 minutes). The titles of his next two albums, Trances and Drones (both 1983), made explicit the kind of deeply subliminal interrelationship Rich wanted his music to have with its audience, whether experienced live or at home.

The most telling example of this is his magnum opus Somnium, released in 2001. Having alluded to the nature of the “sleep concerts” through a prolific series of albums, on Somnium Rich sought to return to the source and directly replicate that experience. The only way to do that faithfully was for the music to be heard right through the night; hence the reason for Somnium‘s massive duration, lasting a little over seven hours. So Somnium presents the listener with the ultimate challenge, a work of unprecedented length, but it also presents its own solution, stated clearly in the title, inviting its audience to experience it through sleep. In the accompanying notes, Rich helpfully elucidates on the nature of that interaction:

The term “Sleep Concert” can be a bit misleading, as it implies that this music is intended to help you sleep deeply. On the contrary, when you play Somnium at night, you may find that you sleep less deeply, and wake up more often. The idea is to let the music incorporate itself into your perceptual framework during the night, to create a sonic surround, an environment for unique states of consciousness. The music is aimed at the nebulous territory that exists in your mind when you are hovering between awake and asleep, when you are still aware of your environment, yet detached, when your half-sleeping mind wanders into the realm of hypnogogic images and dreamlike non-linearity. You might find that this music can act as a trigger for these flowing thoughts, and the activation of the environment around you can help you to skate around the edges of sleep, with one foot in the dream world and one foot in the room where you are sleeping. Read more

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