Tuesday, October 23, 2012
That said, there was nothing boring or mundane in the performance. The concert was presented informally in the grand lobby of Benaroya Hall, with introductions by Ludovic Morlot (conductor), some videos, and room for the audience to walk around during the performance. Each piece was presented in its own space, so to speak – both physically (there was more than one stage set up for performance) and aurally, with a spoken introduction about the procedure used to compose and/or perform it. Those “procedures”, however, were usually not audible in the music. Without the visual cues (offered by the videos) and introductions, a listener wouldn’t know that the Xenakis piece was based on geometrical shapes and architecture, that each player followed his/her own tempo in the Feldman piece, or that the Cage and Brown pieces were based on the conductor choosing ensembles or sections of the score during the performance. This lack of “obviousness” led to the aforementioned homogeneity.
Wednesday, October 10, 2012
As for my compositions, I’ll be playing SoundScrolls V and a long version of “Kijibato – Strange Repeating Bird” – a minimalist piece based on the haunting call of a Japanese bird. I haven’t played the long version in concert since I was in Japan, twenty years ago. Both of these are piano pieces (“SoundScrolls V” uses prerecorded electronics as well); I’ll probably also do a version of “Eco Slab-Gong” for electronics and homemade percussion (obviously the “slab-gong”, and maybe something called “Berkeley bowls” – anyone who’s lived in Berkeley CA will get that joke). Wayne and I will also do some pieces together, including “Oceanic Music” for guitar and crywire, a piano modification of my own invention that plays whale songs.
This should be an interesting and beautiful concert, in a great acoustical space (I’ve played at the open mike there many times) and I’m looking forward to it. If you like music that’s both tranquil and edgy, “be there or be an equilateral quadrangular parallelogram.”
Here’s the skinny:
Concert of acoustic and experimental music
S. Eric Scribner, piano etc.
Wayne Lovegrove, guitar
Woodland Park Presbyterian Church
225 North 70th Street (off of Greenwood), Seattle
7:00 to 9:00 PM, Saturday, October 20, 2012
A free-will donation will be taken.
A scheduling snafu resulted in this concert being on the same night as a recital by a friend of mine, another pianist, Keith Eisenbrey. His concert starts an hour later and is only a few blocks away (at the Good Shepherd Center), so concertgoers to either of these concerts might like to check out the other.
One of more of John Cage’s “Number Pieces” (One, One2, One5, and Four3 all use piano, though the latter has a couple of other instruments too – and there are some for “unspecified”; due to the nature of these pieces, several could be played simultaneously without creating cacophony.)
Terry Riley’s “In C” (has this ever been done on only pianos?)
Takemitsu's "Corona for Pianist(s)" – a graphic score. We shouldn't try to do it like the famous "London Version" by Roger Woodward (it also uses a harpsichord and an electric organ), but other versions are possible.
Both Keith Eisenbrey and Neal Kosaly-Meyer have pieces that just might be adaptable for multiple pianists...?
I’ll be sending out notices to my pianist friends, and anyone else interested (especially pianists) can let me know – my e-mail is listed under my profile in this blog.
Tuesday, October 9, 2012
L to R: Ffej, Frank Junk, Dennis Rea
Two brief acts opened the show. Noisepoetnobody improvised on 70’s and 80’s analogue synthesizers, making a sort of retro-psychedelia take on Phill Niblock and other drone music. “The Crutch Guy” played a homemade percussion instrument, a crutch fitted with strings, springs and a pickup – creating crunchy, noisy electroacoustic grooves, some of which (“at the risk of desecrating the Chapel”) had a decidedly hip-hop bent. Fun! I might add that I don’t think the Chapel was desecrated.
Symphony for Wood, Wind, and Phantom Bells: Abbey Aresty's "Paths II: The Music of Trees" in the University of Washington Arboretum
I say “expected” because I’d gone there specifically to experience these sounds (“It’s experiential music,” said another listener, punning on “experimental”). I’d been at the Arboretum a couple of days previously on a guided tour, and heard about it then – and a friend had e-mailed me the next day about it. Always intrigued by the intersection of art and nature (which is God’s art), I went.
“The Music of Trees” is a doctoral dissertation in composition by Abby Aresty. It consists of seven installations (or one very large-scale one); sounds repeated in a loop from speakers hidden in trees at various “stations” around the north end of the Arboretum. Sometimes there are additional visual or sound-producing elements as well.
“When you listen in a space long enough, you begin to cross thresholds. Your perspective shifts. In a quiet environment you can hear softer and softer sounds as your focus gradually intensifies. And if you listen carefully for a long enough period of time, you are bound to experience countless instances of natural musicality. Sometimes you will stumble into them unexpectedly.” – from Ms. Aresty’s notes for the project. I couldn’t have explained it any better, even for my own projects…
Like me, Ms. Aresty seems to find that music made from metallic sounds (gongs, piano with the pedal down) is the most evocative of natural sound. In my case, it is the long, lingering reverberations that die away into silence, that suggest both wide and open spaces and the surrounding echoes that one hears in a forest as any distant sound bounces off the myriad tree trunks. The second station is based on a similar idea. Water sounds – sounding from high in a cedar tree next to a little pond – are transformed suddenly into quite different water sounds, and then into a metallic drone; into a different metallic drone, and then back to water sounds. The entire “cycle” lasts about six minutes, then it all repeats. Again, the sounds were made from processed recordings of the same location – though I couldn’t hear the pond making any particular sound, so this could be regarded as an amplification of what is otherwise inaudible.
The third station (which was hard to find) brought back the idea of artificiality –the plastic tubes were present again in the branches fringing a seemingly hollowed out part of another cedar tree, and the sounds were based on (besides rain, again) a lawnmower. Again, the sounds were processed and not really recognizable from their sources, and this time I became aware of the meaning of the tubes. The sounds were coming out of their open ends. They were obviously attached to speakers at the other end, hidden somewhere in the tree…
The fourth station was based on rain in the forest, and provided a shimmering pointillism of rustling and distant gongs, echoing spaciously from several trees. Quite lovely.
With the sixth station, I entered the world of interactive music. A number of short trees, leafless at the human level, were hung with a web of cording, from which were suspended ten or so seed-pods (probably from the same trees) and an equal number of half-dollar sized metal finger-cymbals. This appeared at first to be merely an added visual element to the installation, but the finger-cymbals invited playing. I picked up a stick from the ground and struck the nearest one. The sound rang out, a surprisingly loud (but very tiny) ping! in the forest – and it blended perfectly with the prerecorded sound. I tried the others; all rang out similarly. The seed-pods made no audible sound. What of the prerecorded sound? Again, it was highly amplified bell-like shimmering, processed from (otherwise inaudible) dropping dried flower petals, probably onto a contact mike. “All the bells quiver in the light; light and therefore life.” – Olivier Messiaen. In this case, the bells quivered in the half-light of the tree-shade, and the sounds, of flowers, indicated the brevity of individual life of earth, and the continuity of life in a collective sense.
Finally, the seventh and last station was on the edge of what Ms. Aresty called the “outside world”; the world of traffic and other human-sound outside of the arboretum. The prerecorded sounds (from birdsong and a bicycle going by) were abstracted, unrecognizable – but they were not as continuous or ambient as those of the previous stations. They blended with the intermittent rumbles and roars of cars going by. I sat on the bench and listened to this and (at Ms. Aresty’s suggestion in the accompanying flier) the voices of people walking by on the footpath – and found myself drawn back into the everyday world, away from this oasis of tranquility.
After seeing an installation such as this, one is tempted to search for meanings. The flier provided some, certainly: the interaction of natural and man-made sound, the many layers of the arboretum's soundscape, an “exercise in silent reflection” which was both for the observer and the composer making the recordings that formed the basis for the whole composition. I would add some others, akin to those of my own “StormSound” music (though I don’t know if any of these were intended in this case). 1. The interaction of man and the environment (not just the sounds) – the tubes in the Camperdown Elms were a potent symbols of how we’ve messed with nature in not always benevolent ways. (There is, of course, the Biblical mandate to “subdue the earth”, but I think this is to make it bloom, not to obliterate it with pesticides, pollution and resultant global warming, and millions of miles of concrete). …And one could note, of course, that the arboretum itself is actually an artificial environment, no matter how “natural” it appears on the surface. 2. (Suggested by the occasional seeming discord) the hint that nature doesn't seem quite "right" anyway – something on planet earth seems to have “gone off” somehow (I won’t go into “evolution vs. creation” here – that's the silliest debate that's ever been voiced). Predators, parasites, viruses, and ghastly diseases exist, and are certainly not artificial; and we all know that vague sense of unease we can sometimes (though not always) experience in a natural place, regardless of the surrounding beauty. 3. Despite all of this, there is simply the aesthetic sense that trees, bark, leaves, flowers, and the sounds that they make as the wind blows through them, are often spellbindingly beautiful.
Paths II: The Music of Trees will run in the Washington Park Arboretum in October, Wednesdays from 3:00 to 6:00 PM, and weekends (Saturdays and Sundays) from 10:30 AM to 1:30 PM.
A couple of years ago, on a very hot day in August, I happened by the grove of walnut trees. They were filled with a continuous (and strangely musical) crackling and popping, like a simultaneous sound-infusion of irregular drumming, leaves crunching underfoot, and a monumental kettle of popcorn. I immediately stopped and looked for the source, which seemed to be from every direction – and found a bunch (herd? flock?) of squirrels – at least ten in each tree. Apparently the walnuts crack open in the heat, and the squirrels have a feast.