Jacob David Sudol:
For metallic percussion and interactive hexaphonic electronics
Performed by Fernando Rocha
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Last week I recorded my good friend Fernando Rocha playing the newest version of “Resonances” (the second revision) in the McGill Digital Composition Studios. Although this mixed version is not yet complete (I’m yet to add the subtle live electronics to the interactively cued and mixed audio files) and it is only a stereo version of a piece that sounds much better in six speakers (for example there is no way a stereo version can replicate how all the gongs and one other really loud soundfile sound when they sound at an equal amplitude in all six speakers), I’m willing to consider this mix and version of the piece valid and simply excited to post it here.
Before I include my programme notes I thought I just want to briefly mention one other personal but unrelated item – I just found out my masters’ thesis was approved today.
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Would that the sound of the bell might go beyond our earth,
And be heard even by all in the darkness outside the cakravala;
Would that, their organ of hearing become pure, beings might attain perfect infusion of the senses,
So that every one of them might come finally to the realization of supreme enlightenment.
-bell gatha enchanted after reading the Samantamukha-Parivarta
“Resonances” is entirely based upon the physical phenomena of resonance. In this work, metallic percussion is emphasized. This compositional interest stems from the Zen/Buddhist philosophy that a bell’s ringing, or resonance, represents the fabric of eternity. For this work the ringing of the bell has been expanded to include the resonance of metallic percussion instruments (bells pitched and unpitched), the spatial environment of the performance, and the psychological resonance of musical ideas.
The work was written from November 2004 through December 2004 and the electronics were constructed from December 2004 through March 2005, during winter. It was revised in August 2005 and October 2005. The work is dedicated to Fernando Rocha who premiered original version in March 2005 and the revised version in October 2005.
-Jacob David Sudol