Three performances to report: Electric Autumn, James Tenney's In a large, open space and Silent Noisy Music.
The first of these was the performance resulting from a weekend of workshops with young (13-16 year old) guitarists, exploring alternative ways to make noises with guitars. Aside from the couple of guitar players who insisted on playing Stairway to Heaven in the pauses between the playing (they'll learn about the power of the sound man!), the group was remarkably mature. A particularly striking piece involved solo notes from each of the guitarists in sequence. At each iteration they modulated their own note: louder or softer; with a bend or slide; pick scraping. Really very good.
The setting for James Tenney's In a large, open space comprised some 15 or 20 players with sustaining instruments spread around Bates Mill. Over the course of an hour, they played long, soft notes selected from the score. The audience were encouraged to move about the space to get a different perspective on the music. I found it hugely hypnotic: by the end I felt like part of the performance, which I suppose I was.
The first event this morning, Silent Noisy Music, demonstrated the range of the Piano Baschet-Malbos, which is a weird sci-fi looking contraption. Four pieces were played on the PBM: the highlight by far was the Pierre Alexandre Tremblay piece Le tombeau des fondeurs. The interplay between the PBM and electronics built up rich tones reminiscent of peals of bells. Quite astounding. The four pieces were punctuated by Musicbox Interludes performed by Crank. Of the 10 pieces performed, the PA Tremblay composition Billows in a ladle really stood out for it's use of the (albeit limited) range of the instruments. The John Lely Box Music was a close second.
Off to town soon for a bit more James Tenney.
No comments:
Post a Comment