The centenary of the legendary composer Milton Babbitt (1916-2011) is ocassion to celebrate. After Augustus Arnone’s three recitals earlier this season playing Babbitt’s complete solo piano works, now his group Collide-O-Scope Music is treating us to another rarely performed gem: Babbitt’s Arie da Capo (1974). It’s the major mixed ensemble chamber work from Babbitt’s middle period, and named in dedication to its original performers, the Da Capo Chamber Players, whose flutist Patricia Spencer is also now a member of Collide-O-Scope and is part of the ensemble performing Arie this Friday—now that’s authenticity!
Babbitt drinks tea
Arie ca Capo rewards the listener on repeat hearings, which thankfully are possible. Although premiered by the Da Capo Chamber Players, Arie was recorded by Harvey Sollberger and the Group for Contemporary Music (Nonesuch 1979) and later by Ciro Scotto (Nimbus 1987). As with most of Babbitt’s mature works, its sectional structure maps out a variety of textural combinations (or shall we say combinatorics). Each of its five sections presents a solo instrument in an aria against the other four accompanying players: clarinet, cello, flute, violin, and then piano each has its turn in an intricately shadowed limelight. Moreover, each of the five arias contains a quintet, trio, quartet, trio, and quintet again. (The relation between its rhythms, textures, pacing, and precompositional structures are discussed in a 1988 Perspectives of New Music article by Ciro Scotto.) Of Babbitt’s works, this one especially abounds in loquacious social interplay. It will be conducted by Robert Whalen and played by Arnone (piano), Spencer (flute), Marianne Gythfeldt (clarinet), Gregor Kitzis (violin), and Valeriya Sholokhova (cello).
Additionally, Arnone will again tackle the solo piano work Tableaux (1973), from the same time period as Arie, and Patricia Spencer will play Babbitt’s later work None but the Lonely Flute (1991).
Charles Wuorinen, a composer associated with and influenced by Babbitt but whose music sounds nothing like Babbitt’s, is represented on the program by his trio for piano flute, and bass clarinet (2008)—a polished and vibrant neo-baroque surface full of bustling energy and clarity.
from Chris Bailey’s Timelash
Christopher Bailey’s rapidfire Timelash (1999/2016), also to be performed, bases its “quasi-morse code rhythms” on the first 16 measures of Babbitt’s violin and piano work Sextets. Resonances of carefully selected harmonies are also explored in this piece (of which further details here.) On the same program, a composition by Lou Bunk exploits the pliability of the clarinet, presenting cross-sections and intersections of three distinct themes, separated by silences.
Continuing the tradition begun earlier this season, this concert’s intermission will feature an interview-discussion between me and the composer-theorist Robert D. Morris, who, in parallel with the latter half of Babbitt’s career, developed his own independent approach to serial and post-serial composition. Morris has also been an avid listener of and writer on Babbitt’s compositions over several decades.
Collide-O-Scope: Chamber works of Babbitt, Wuorinen, Bunk, and Bailey (mid-concert discussion with Robert Morris) Friday, June 17, at 8pm, $20, $15 (Students/Seniors). Tenri Cultural Institute, 43A West 13th St., NYC.
Most New Yorkers are walking about, minding their own business, completely oblivious to the international sonic earthquake vibrating through their midst all week: The New York City Electroacoustic Music Festival (NYCEMF). The first wave of the festival (seven concerts) took place as part of the New York Philharmonic’s Biennial at National Sawdust in Brooklyn last week. Yet the lion’s share of the festival is happening right now: 28 more concerts during June 13-19, at Abrons Arts Center on Grand St., for a total of 35 concerts. Yes you read that correctly: 35 concerts of electroacoustic music, including some 350 works, by almost as many composers from all around the world! Indeed a mammoth undertaking organized, produced, and presented miraculously by Hubert Howe, Travis Garrison, David Reeder, Howie Kenty, and a highly dedicated energetic staff.
The variety on offer is astonishing. There are pieces for live instruments or voice and electronics (live processing or premade sounds); pieces for synthesized sound, sampled sounds, and both together. Some works feature video. Other works feature graphics generated through live video feeds of the performer, or graphics generated through movement. Concerts are heard alternately in two small traditional auditoriums and a cozy cocoon-like space with 16-channel surround sound, seating in the round, amongst stratospheric ceilings. Sound art and visual art installations are mounted in the hallways and foyers. The concerts are at 12:30, 2, 4, and 8pm; workshops and paper presentations on such topics as “Oral History as Form in Electroacoustic Music”, “Orient Occident: An Alternative Analysis,” and “Wireless Sensing” occur in the mornings, at NYU.
Among the international cast of composers and performing artists heard in the festival are Tania León, Ken Ueno, Alice Shields, Clarence Barlow, Elizabeth Hoffman, Simon Emmerson, Alvin Lucier, Shelly Hirsch, Annie Gosfield, Phil Niblock, Alan Licht, Judith Shatin, Michelle Jaffe, Maja Cerar, Marianne Gythfeldt, and Arthur Kampela. Most of them are on hand and the casual atmosphere is conducive to conversation with and among participating artists.
Togo seed rattle
One of the most interesting works I heard was Precuneus; Sonic Space no.8—Iteration No.4 (2016) by Michael Musick. This is a work for live performer and “sonic ecosystem.” And yes, it sounds as great as that sounds. During the performance, Mr. Musick gently wafted throughout the stage, as if in a trance, while playing sometimes a recorder and sometimes a Togo seed rattle and other percussion instruments. Meanwhile Mr. Musick’s software reacted in the most delightfully musical way. Its “digital agents” listen to the live sounds and spontaneously extract features from them and then generate new sounds sculpted by these features. These sounds percolated and jiggled all around the hall in a delicate lavander tornado for the ears.
Zhaoyu Zhang’s Night Snow brought my ears close up and inside mysterious objects and intriguingly close to strange materials in action—as though my ears were intimately touching the source of the sounds, quiet sounds of brushing, crushing, caressing, burning, scraping, and feathering. Deeper sounds were felt more than heard, creating an altogether visceral experience, evoking what the ancient Chinese poet Juyi Bai’s calls the four senses: tactile (cold), visual (bright), feeling (to know), and auditory (to hear)
On the same concert, Larry Gaab’s Weird Orbits Need Explaining seemed to use the lyrical gestures and sweeps of melody to steer the trajectories of other sonic material. An eerie yet friendly vocality emerged. So much I wish I could go back to hear again
violinist Maja Cerar in action
The highlight of the late afternoon concert was Xiao Fu’s Longing, a ravishing audio-visual kinetic spectacle that lasted nearly a quarter of an hour, involving two performers supported by a crew of four who manipulated hand-held projectors and sound. It is based on a song of the Huang He Ge from the Chinese Han Dynasty (202 BC-220 AD). Beautifully colored hand-painted animation of Chinese calligraphy was projected on a video screen with computeized sound before two women emerged in flowing costumes, gracefully dancing and singing (both). One of them later played the flute against the sonic digital backdrop while a new, and highly original, ornate style of colorful animation permeated the visual field, zooming and granulating. Strikingly colored calligraphic imagery punctured the progression toward a taut climactic episode in which the second performer dramatically played an accelerating drum pattern against flickering virtuosic lines of the flute.
AV artist Michelle Jaffe
The overflowing diversity of creativity witnessed in this festival is simply inspiring. What I described above is only a snippet of what happened on the first day. After today there are still five days left. So most of the highlights are yet to come. It’s well worth the trip to this somewhat neglected corner of Manhattan, between Chinatown and the Williamsburg Bridge.
The New York City Electroacoustic Music Festival (NYCEMF), June 13-19, Abrons Arts Center, 466 Grand Street (at Pitt Street, near the F/M train Essex st. station) Each show $15 (evening shows $20); day pass $40; festival Pass at $160.
Since its inception, the Orchestra of the League of Composers/ISCM has displayed a catholicity of style in its program selections. This year is no exception. Director Louis Karchin and the players present works ranging in character from serialism to spectralism, with a bit of neo-tonality in between. This is only fitting: the League has long welcomed composers of myriad styles into its membership. This year’s season finale is equally representative of this musical diversity.
Huck Hodge’s Alêtheia is filled with percussive passages, glissandos, and extended techniques juxtaposed with supple melodic gestures. It makes a bold impression. In a recent interview with League member Luke Dahn, Hodge clarified his particular use of orchestration as follows, “There is the combination of roughness and elegance in my music – the way that coarse yet sumptuous timbres may create a framework from which emerge elegiac lines of melody. Some listeners have identified a certain violence in my music, but it is a regenerative violence — destruction as an act of rebirth — like the restorative nature of a forest fire.”
Sempre Diritto! (Straight Ahead!) by Paul Moravec is a robust work filled, as one might imagine, with direct melodic gestures. These are supported by harmonies redolent in Romanticism. However, the piece is not merely nostalgic for a bygone era or a particular geographic area. Instead, Moravec molds these various elements into staunchly individual music of considerable character.
Composed for the pianist Peter Serkin, Charles Wuorinen’s Flying to Kahani references his opera Haroun and the Sea of Stories. The title is the name of the second “undiscovered” moon of earth, found in Salman Rushdie’s book upon which the opera is based. A piano concerto, but one cast in a single movement, it is abundantly virtuosic, both in the piano’s solo passages and in the orchestral parts. While its harmonic language is unmistakably chromatic, like many of Wuorinen’s recent pieces there is an exploration of pitch centricity (Kahani is built around the note C) and reference chords.
The longest work on the program, clocking in at some twenty-five minutes in duration, Felipe Lara’s Fringes explores the world of spectral composition, serving as an homage to the work of such French composers as Tristan Murail, Gerard Grisey, and Pierre Boulez, However, Fringes is not just built on the harmonic series found in orthodox spectralism, but also on a complex array of effects-based orchestration. Much like Hodge’s work, there is an architecture of sentiments – of gentleness contrasted with violent outbursts. Another layer of Lara’s music is his use of antiphonal seating, with instruments spatially dispersed onstage creating a vibrant colloquy. Thus once again in its Season Finale concert, the Orchestra of the League of Composers/ISCM shares a collection of pieces from the late Twentieth and early Twenty-first centuries that display diversity, virtuosity, and a wide range of reference points. One thing shared by all the works: the durable quality of the music.
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On Monday, May 23rd, with a performance by JACK Quartet at the 92nd Street Y, the New York Philharmonic’s second Biennial begins. Running until June 11th, a plethora of concerts are contained in this year’s offerings. Last week, Music Director Alan Gilbert outlined some of them at an “Insights at the Atrium” event. You can watch a video of it below.
On Tuesday, May 24th, Q2whets listeners’ appetites for the Biennial with a 24-hour marathon devoted to the NY PHIL. Hosted by composer Phil Kline, it features recordings from the orchestra’s archive and record label. At 7 PM, there will be a live broadcast from National Sawdustof violinist Jennifer Koh playing from her Shared Madness commissioning project.
A few other events that I’m particularly enthused about:
Cheering for the home team, the Orchestra of the League of Composers/ISCM, conducted by Louis Karchin,presents a concert on June 1st at Miller Theatre with works by Huck Hodge,Felipe Lara, Paul Moravec, and Charles Wuorinen.
On June 2-4, a staging of Gerald Barry’s The Importance of Being Earnest will be given as part of the NY PHIL’s Contact! series.
Cellist Jay Campbell curates Ligeti Forward, a series of three concerts on June 3-5, performed by alums of the Lucerne Festival, conducted by Gilbert. Using György Ligeti as a starting point, the concerts incorporate a number of composers who have been influenced by his work, including Unsuk Chin,Marc-André Dalbavie, Gérard Grisey,and Alexandre Lunsqui.
On June 8, the Aspen Contemporary Ensembleperforms a program that features the NY Premiere of Steven Stucky’s composition for tenor and ensemble The Stars and the Roses. A setting of three Czeslaw Milosz poems, the affirming character of both the words and music of this piece are made even more poignant by the composer’s recent passing.The concert also includes NY premieres of works by Esa-Pekka Salonenand Stephen Hartke.
On June 9th, Brooklyn Youth Chorus, San Francisco Girls Chorus, and Brooklyn Knights join forces on two programs that feature pieces by, among others, Lisa Bielawa, Theo Bleckmann, Philip Glass, Aaron Jay Kernis, Carla Kihlstedt, Nico Muhly, and Caroline Shaw.
There’s more Stucky on the Biennial’s finale on June 11th; a concert given by the Philharmonic features the New York premiere of his Pulitzer prizewinning Second Concerto for Orchestra. Also on the program is the cello-filled Messagesquisse by Pierre Boulez and the U.S. Premiere of Per Nørgård’s Symphony No. 8.
On Friday, violinist Miranda Cuckson and pianist Blair McMillen release their ECM debut CD. It contains the Hungarian Béla Bartók’s Violin Sonata No. 2 (1922), the Russian Alfred Schnittke’s Violin Sonata No. 2 “Quasi una Sonata” (1968) and Polish composer Witold Lutoslawski’s Partita for Violin and Piano (1984). One can hear sound excerpts via ECM’s website. All three are interpretations of searing intensity, rhythmic vitality, and impressive ensemble cooperation.
One can hear works from the CD live at Le Poisson Rouge on May 10, where ECM will be hosting a release party for the two artists. Each will also take a solo turn with short pieces by Americans: Cuckson playing Carter and McMillen playing Stucky. Doors open at 6 PM; concert starts at 7 PM. More info can be found at LPR’s website.
At 7 PM on Thursday May 5th (Yom HaShoah, or Holocaust Remembrance Day) at the Czech Center in New York, Hours of Freedom: The Story of the Terezín Composer, a piece that explores the plight of fifteen composers imprisoned by the Nazis at the Thereisenstadt prison camp, will receive its US premiere. The high quality of the music these figures managed to write while in the camp is inspiring. Sobering too, as they were later deported to other concentration camps to be executed. One can only imagine the wealth of creative potential wasted: virtually a whole generation of Czech composers, including Gideon Klein and Viktor Ullmann.
Hours of Freedom features soprano Arianna Zuckerman, an interpretively thoughtful and persuasive performer, baritone Philip Cutlip, and narrator Jane Arnfield. Murray Sidlin arranged the material and conducts the ensemble. The performance is free. Reservations are recommended at firstname.lastname@example.org with your name, address, phone number and number of tickets; or call The Defiant Requiem Foundation at 202-244-0220.
March 4. Knitting Factory: Brooklyn, NY. Michael Daves album release concert.
Michael Daves was certainly apt in titling his debut solo album Orchids and Violence. The album presents twenty-four tracks: twelves songs realized with both a bluegrass band and an electric band. Mirroring the album, the album release concert featured both groups, both fronted by Daves.
There is something so compelling about seeing six musicians huddled around a single microphone, weaving in and out of each other as they take turns playing solos. In the bluegrass set, Daves was supported by five amazingly talented musicians. Noam Pikelny (banjo), Brittany Haas (fiddle), and Jake Jolliff (mandolin) play these incredibly virtuosic solos without any effort. Larry Cook (bass) provided a solid backbone, and even took a few well placed bass solos, illustrating his skill as a performer. Jen Larson provided a perfect compliment to the twang of Daves tenor. This band breathes new life into these songs, songs Daves identifies as old bluegrass songs, pre-bluegrass songs, and murder ballads. Guest Tony Trischka also joined the stage toting his cello banjo for a few songs, adding another layer of depth to the electric texture of the bluegrass band.
For the second set, Daves returned to the stage with Kid Millions on drums and Jessi Carter on electric bass. While the bluegrass band was light and buoyant, the electric band was muddy and heavy. The heavily distorted guitar seemed to grow out of the tone of the electric bass. Halfway through this set Daves asked the audience if they recognized any of these songs from the first set. In response to a few fans cheering, he laughed and said he wasn’t sure if it was a good thing or a bad thing, but that was the point of the album. I spent much of this set thinking about Daves approach to the electric guitar. I feel like this guitar sound was very important to Daves’ concept for this album. Honestly, I feel like Daves is experimenting with something in this configuration, though I’m not sure exactly what it was, or if it was entirely successful. This band brought something heavy and raw to these songs that the bluegrass band simply couldn’t. That being said, the guitar completely dominated these songs, with a thick layer of distortion not adding to the music, but instead keeping me from it.
Orchids and Violence is currently available from Nonesuch Records.
(This is an expansion of an earlier post for a concert ultimately postponed due to snowstorm Jonas in January)
Augustus Arnone performs a double bill of Milton Babbitt’s solo piano works including the complete Time Series, at Spectrum, Sunday March 6, at 12-5 pm (12 and 3:30)
This year marks the centenary of the legendary composer Milton Babbitt (1916-2011). To my ears, his extensive body of piano works especially channels his singular charm as a raconteur. Over the decades a number of pianists have championed some of his major piano works, for instance Robert Helps and Robert Miller performing and recording his Partitions (1957) and Post-Partitions (1966) in early days and much more recently Marilyn Nonken did as much with Allegro Penseroso (1999). Babbitt’s Reflections for piano and synthesized tape (1975) has been performed by the likes of Anthony de Mare, Martin Goldray, Aleck Karis, and Robert Taub, the latter two of whom also recorded it. Robert Taub and Martin Goldray recorded and released full-length CDs. Alan Feinberg too presented stellar renditions of Minute Waltz (1977), Partitions (1957), It Takes Twelve to Tango (1984), Playing for Time (1979), and About Time (1982) on a 1988 CRI CD.
Yet only one pianist has earned the distinction of presenting the entire oeuvre of Babbitt’s solo piano works in concert. And that is Augustus Arnone, who performed the entire set, spread over two concerts, in 2008. In honor of the Babbitt centenary, Arnone is performing the entire set again (this time spread over three concerts) at Spectrum on Ludlow in NYC. Due to a postponement caused by storm Jonas in January, Arnone is performing the second and third concerts in one afternoon this weekend!
The largest work on the program is Canonical Form (1983) which I’ve heard several Babbitt aficionados recently describe as their “favorite” and “most beautiful” Babbitt composition. The most recent work is The Old Order Changeth (1998). Arnone’s performance also presents a rare opportunity to hear the entire ‘The Time Series’ (Playing For Time (1977), About Time (1982), Overtime (1987)), the last part of which has never been released on a commercial recording. This much constitutes concert II, the first half of this Sunday’s double bill, which starts at 12 noon.
In the final concert (concert III) which starts at 3:30, Arnone presents a variety of works spanning nearly all of Babbitt’s professional career, from the mid 1940s through the remainder of the 20th century and beyond. Tutte Le Corde (1994) represents Babbitt’s most streamlined and ingratiating late style, which is a nice inclusion for the final recital of the series. On this recital we’ll also be treated to some of Babbitt’s wittiest and pithiest: Minute Waltz (1977) and It Takes Twelve to Tango (1984), which are perhaps the only Babbitt works to clearly project rhythms associated with a familiar genre. It Takes Twelve to Tango leaves us unsure whether to imagine a single 12-legged Argentinian dancing spider or a communal square dance gone dodecahedral! Either way, brilliant sparks fly from these eccentric collisions of tradition and avant garde.
Babbitt’s Three Compositions for Piano (1947), the earliest work in the series, is to my ears the closest Babbitt ever came to neo-classicism, its first movement being a clean perpetuum mobile and its second movement a veiled tribute to Schoenberg’s expressive piano textures. While Duet (1956) is the closest Babbitt ever came to a lullaby, his Semi-Simple Variations, of the same year, is perhaps his jazziest jaunt on the ivories, an adventure amusingly exploited in the Bad Plus and Mark Morris Dancers’ adaptation.
Of course the series wouldn’t be complete without Babbitt’s most uncompromising trailblazing Partitions (1957) and Post-partitions (1966). Nowhere is his engenius originality more startlingly on display than in these works. In Partitions in particular, the activation and deactivation of various high, low, and middle registers of the piano guides the listener through an uncanny but navigable maze of contrapuntal intricacy.
Between the two concerts, at 2:30, will be an interview-discussion between me and Indiana University composer-theorist Andrew Mead, a former student of Babbitt’s at Princeton and author of the acclaimed book An Introduction to the Music of Milton Babbitt (1994, Princeton University Press) and many articles. This will also be an opportunity for questions from the audience. Whether you’ve been merely curious about Milton Babbitt’s music and legacy, or are already a long-time follower, this is an opportunity to spend part of the afternoon in the good company of Babbitt’s music and its admirers.
Augustus Arnone: The Complete Piano Works Of Milton Babbitt, Concerts II & III
Sunday March 6, concert II at 12 pm; pre-concert discussion at 2:30; concert III at 3:30.
$20, $15 (Students/Seniors) for each concert or $30/20 for both concerts.
This week in New York, Austrian Cultural Forum celebrates the music of Georg Friedrich Haas. Haas, currently MacDowell Professor of Music at Columbia, is a thoughtful and innovative composer. The two programs curated by ACFNY, both free (with reservations), are excellent opportunities to hear two different facets of his creativity.
On Wednesday February 24th at 7:30 PM at the ACF, JACK Quartet performs String Quartet No. 3 In iij. Noct., a piece that occurs in total darkness.
On February 26 at 8 PM at Bohemian National Hall (321 East 73rd Street), the Talea Ensemble presents the following program of large ensemble and chamber works: La profondeur (2009), for lower instruments, I can’t breathe (2015), a US Premiere that commemorates Eric Garner, played by trumpeter Gareth Flowers, tria ex uno (2001), and …wie stille brannte das Licht (2009), featuring vocal soloist Tony Arnold. James Baker conducts.
On Friday night, February 5, 2016 a good crowd braved the dreaded 101 freeway closure to travel downtown to Art Share LA . The occasion was …until… the first concert of 2016 for wasteLAnd music, marking the third year they have offered programs of new and experimental music in Los Angeles. Four pieces were performed – including a premiere – each incorporating traditional acoustic instruments accompanied by electronics.
Scott Worthington was the double bass soloist on …until… #10, by Santa Barbara-based composer Clarence Barlow. This was the premiere performance and the inspiration for the concert title. …until… #10 begins with a steady electronic tone from a large speaker and this was joined by Worthington’s double bass. A series of moderately fast notes streamed out from the bass in repeating phrases that featured slight variations in the pattern of pitches and rhythms, but no overarching gestures or development. The notes were confined to the higher registers and none of the familiar deep, woody tones of the bass were heard. The mix with the electronic sound was quite complimentary, the warm tone from the speaker nicely filled up the nooks and crannies of the faster passages coming from the bass. Transient harmonies of bass notes against the electronic tone momentarily appeared and vanished, adding to the intrigue. There is a bright, bubbly optimism to this piece, effectively conveyed by the almost child-like melody. This pattern continued as the work progressed but the slight variations in rhythm and the sequence of the notes kept the listener actively engaged. …until… #10 is a masterful combination of simple electronics and refreshingly uninhibited musicality that envelops the listener with a cheerful buoyancy.
This was followed by Ilhas, by d’incise and this consisted of four snare drums with a player assigned to each along with a small, hand-held speaker. The speakers were placed face down on the drum heads, which were prepared with upturned plastic cups or boxes as well as other found objects. Soft electronic tones were heard and the speakers actuated the drum heads to produce a very light drum roll. The result was a pleasantly calming effect, like hearing an organ prelude in a soft rain. The electronic tones were sustained for a few seconds at a time, and the players adjusted the position of the speakers to achieve different effects. The speakers were moved from the center of the drum to the edges and at times the speakers were covered by the plastic cups or a box to concentrate and direct the energy to the drum head. The drum tension was adjusted and occasionally the speakers were lifted up slightly to vary the timbre and intensity of the drum head response. There was no scoring for this – it was up to each player to find the best place to maximize the various effects. Matt Barbier, Justin DeHart, Cory Hills and Scott Worthington were all effective in drawing out subtle differences in timbre and texture. Ilhas is an understated yet engaging work that is both inventive and surprisingly tranquil, given that it is performed with four snare drums.
Next was Commitment :: Ritual I ::BiiM, by Jessie Marino. And this was performed by Cory Hills with a single snare drum and lamp stand. The room was completely darkened and the piece began with a sharp rap on the drum followed by a short flash of bright light from a single lamp – and then a few seconds of silence. This sequence was then repeated. The sudden sound and bright flash of light was quite startling – the loss of visual references in the total darkness sharpened the senses and when the sounds and flashes occurred, it multiplied the effect. As the piece progressed the sequence changed so that the lamp flashed before the drum was heard. The beginning section invited your brain to associate the light and the sound together so when the light flashed first, the effect of the sound was that much more alarming. The feeling was reminiscent of a thunder storm at night – a flash of lightening closely followed by a loud thunder clap. Commitment :: Ritual I ::BiiM is an dauntingly instructive demonstration of the power of sensory conditioning on ear and eye.
The final work on the program was untitled three part construction by Michelle Lou, who is the featured composer for the current season of wasteLAnd concerts. For this Justin DeHart and Cory Hills were seated at desks containing a number of mechanical objects and one tape recorder. Matt Barbier and Scott Worthington shared a music stand, with muted trombone and double bass, respectively. Low, rough notes from the amplified double bass opened the piece while the trombone added a series of sharp repeating notes. Mechanical clickers were heard and more mechanical electronic sounds came from a speaker. As the clicking and clacking continued, ratchet wrenches were applied to stationary bolts and twirled backwards, introducing a light metallic ringing to the texture that added to the impression of being inside some sort of operating machine. At times, smooth tones from the bass made for a nice contrast with the clatter; at other times all was continuous rattling, commotion and roar. The feeling, however, was one of virtuous and industrious intent, free from any trace of malice.
About midway through the piece there was a sudden, measured silence, followed by a high pitched note from the double bass, as if hearing a siren at a distance. Knocking and scraping sounds ensued from the electronics, adding a distinct feeling of anxiety. The siren tones increased and the trombone added a deep growling sound. A piece like this invites the listener to create a story around the sequence of sounds – was that the drone of bombers overhead? The thud of bombs falling in the distance? The clicking and knocking increased and the tape recording added more anxious sounds. The double bass and trombone added a few rugged low notes and exited the stage. The tape increased its intensity and finally became disconcertingly chaotic before a sudden silence concluded the piece. untitled three part construction is a marvelously creative combination of sounds and musical tones that invite the listener to inhabit the unfolding drama of one’s own invention.
The next wasteLAnd concert, titled point/wave, will be on February 26, 2016 at Art Share LA.