Here and There
Music for Piano and Electronics
Brian Belet / Jim Fox /
Jeff Herriott / Tom Lopez /
Ed Martin / Phillip Schroeder
Jeri-Mae G. Astolfi, piano
Innova Recordings has assembled the work of six composers in this CD of music for piano and electronics, performed by Canadian pianist Jeri-Mae G. Astolfi. Released in early 2013, this album contains works written between 2006 to 2012 and combines the fine playing of Ms. Astolfi with varied atmospheric electronic and processed sounds.
Crystal Springs (2011) by Philip Schroeder is the first track on this CD and is inspired by the Arkansas landscape of brooks, streams and mysterious caves. This piece begins with booming bass chords that are created from electronically manipulated bass, cymbal and sounds from the inside of the piano. These are combined with piano trills in the middle and solitary notes in the upper registers. This effectively conjures a running, liquid feel combined with the deep darkness of an underground cavern, as if we are following a subterranean stream.
The piece is constructed in three parts and with each part the mysterious dark sounds in the lower registers increase and the watery sounds are reduced. The second section has a more animated and less of a flowing feel and is dominated more by the bass chords – as if we are traveling deeper and the water is splashing downwards. By the third section we hear long bass tones accompanied by slow, languid chords, then single notes sounding in the middle registers – a feeling of going deeper still. The low tones are more comforting now and by the conclusion of the piece there is the sense of arriving at a distant, unexplored place filled with a quiet serenity. The electronic processed sounds and the skillful playing of Ms. Astolfi combine here to produce just the right balance of mystery and beauty.
The second track is Swirling Sky (2011) by Ed Martin who describes this piece as inspired by “…peaceful moments spent lying in the grass, gazing at cloud formations drifting above.” This music contains a series of mystical, swirling sounds powered by light arpeggios in the upper registers combined with a sense of majesty in the lower chords. At 4:30 the feeling turns dark and powerful, like a storm approaching full of rain and thunder. Electronic effects provide a sense of rushing wind as the piece slowly winds down to a gentle finish. Swirling Sky was composed for Jeri-Mae G. Astolfi whose sense of imagination adds to this already imaginative work.
Track three is green is passing (1999, rev. 2006) by Jeff Herriott. Jeff explains that “The initial version… opened with pulseless material that would become typical of my later work. In 2006, when I reworked the piece for a performance by pianist-composer Dante Boon, I retained this opening structure but changed the piece’s development to better suit my evolved musical style.” The opening is indeed simple and spare, consisting of soft passages with just a few notes. It proceeds in a slow and stately manner, like a person speaking quietly with well-chosen words. There are pauses between the short phrases, allowing the notes to reverberate, and this evokes a sense of suspense and questioning. At other times there is a definite feeling of warmness – turning almost wistful and nostalgic. The piece ends with a long sustained note that seems to melt into the air. Ms. Astolfi’s playing provides the delicate and sensitive touch critical to this quiet piece.
The fourth track is by Brian Belet, titled Summer Phantoms: Nocturne (2011) and this completely lives up to its name. The piece opens with deep, scary sounds, like the throwing of a knife in the dark or a large blade cutting through the air. Piano notes, often dissonant, add to the tenseness. The electronics here are particularly effective and atmospheric. Brian explains: “The fixed media part is made up of piano sounds (string scrapes, hand-dampened tones, soundboard strikes and isolated tones) that I processed through Spectral Analysis, Sum of Sines, Time Alignment Utility and additional stochastic algorithms…” For all of that, the effects are genuinely chilling and not artificial or overly analytical. The piano weaves its line skillfully in and out between the electronics and the balance between the two sustains the tension. This piece convincingly portrays things that go bump in the night, and could well be the sound track for a horror movie.
Track 5 is Confetti Variations (2012) for piano and fixed media by Tom Lopez. According to the liner notes by the composer, this piece “…entailed shredding Brahms and Feldman piano music into brightly colored fragments, firing the sparkly bits into the air, and listening to them rain down on field recordings.” Accordingly, the piece starts out with a rousing segment of Brahms accompanied by the sounds of a fuse lit and burning – followed by explosions. More loud Brahms follows and a spectacular fireworks display is heard overhead. This gives way to distant thunder and rapid piano playing alternating with soft wind sounds and a quiet Feldmanesque piano section. Now a downpour is heard and the piano jumps from rapid, loud playing to quiet simple chords. The sounds of booming surf follow with gentle piano passages alternating with energetic Brahms. The plunk of a rock thrown into a stream is heard and the water seems to be moving more slowly now. Soon we are in a full-blown rain forest complete with sounds of birds and the croaking of frogs. This tranquil setting is leisurely accompanied by the piano and the buzzing of bees. The occasional piano notes and a few simple chords bring us to a quiet ending. The piano playing by Ms. Astolfi here is impressive as she switches seamlessly between the two styles – Brahms and Morton Feldman being two of her favorites. The field recordings are of a convincing and vivid fidelity. This track is an imaginative mix and demonstrates the creative possibilities of piano music combined with field recordings.
The final track is titled The pleasure of being lost (2012) by Jim Fox and is also for piano and fixed media. This piece was written for Jeri-Mae Astolfi and includes the speaking voice of Janyce Collins. The voice is distinct and is accompanied throughout by electronically processed sounds suggesting a steady roar of the wind.. The piano is heard as solitary notes and chords between long pauses, lending a lost – but not tense – feeling. The words are spoken in a flat, perfunctory tone and this provides a sense of reassurance. The text is from the 1854 journal of Joseph Dalton Hooker, friend of Charles Darwin and an early explorer of the Himalayas. The words are partly an objective account of the remote surroundings in which he must have found himself and partly the stray thoughts of a wanderer. While this is certainly a solitary account, there is no sense of loneliness or fear. The piano provides a commentary on this discourse, sometimes building a bit of tension, sometimes turning introspective and nostalgic. The combination of voice, electronics and the spare piano passages are in just the right combination for building a convincing portrait of the seemingly contradictory states of pleasure and being lost.
This CD, as well as its separate tracks and links to the composers are available from Innova Recordings.