September 12, 2018

  • Exploring Electro-acoustic Music

    Mind & Machine: Organic and Electronic Works
    Doug Bielmeier, lap steel and computer;
    Jannie Wei, Wyatt True, violins. Kimberlee Uwate, viola. Eric Altermann, cello.
    Julius Bucsis, electronics;
    Patricia Spenser, piccolo. Grace Anderson, mezzo-soprano;
    Elena Talarico, piano/celesta. Francesco Zago, electric bass/electric guitar.
    Fedele Stucchi, trombone. Federico De Zottis, soprano saxophone.
    Stefano Grasso, vibraphone. Giuseppe Olivini, electronic tanpura;
    Jim Schliestett, Bob Bliese, electronics.
    Ravello Records 7994
    Total Time:  48:21
    Recording:   ****/****
    Performance: ****/****

    Though most public concert goers are less likely to experience electro-acoustic music in the concert hall, most everyone has been exposed to it as it is the purview of small budget films and especially prevalent in horror genre film scoring.  In the latter the various sounds and effects blend to create the chilling backdrops to an onscreen narrative.  Film composers also use electronics when they must keep the budget low and find ways to add musical atmosphere to a film.  This is something one can keep in mind when exploring this compilation of electro-acoustic music on Ravello’s new release.  In each of the six works included on this album, the listener is transported to musical soundscapes created by often blending acoustic instruments and electronic sounds and/or manipulation.  The appeal for composers is to create works that almost have aspects of chance when performed live as the sounds of an acoustic instrument are intertwined and fed into the processors.  This creates a sense of “newness” or “freshness” to each performance and in the works here we essentially get one aspect of how this works in the moments captured here.  Across the different pieces, one also can hear how different computers, electronic keyboards, and other processors have become unique contributors.

    Doug Bielmeier’s Costa Mesa Rocking Chair (previously released on Ravello 7972) is a rather mesmerizing entry into this contemporary world of sound creation.  A lap steel guitar is used to interact with other electronic components.  In this case, additional studio techniques also contribute to the resulting gentle work.  Currents by John Bellona moves us more into a more intense atmosphere using a string quartet which is blended against electronic textures.  The sound of instruments is additionally manipulated.  Julius Bucsis moves us closer to popular funk and groove styles with In the Interest of Time (2011) which explores interesting rhythmic ideas processed and fed against a consistent percussion underlay.  It has the most “electronic” feel with the sounds being used as one might expect a funk combo to create and this includes some harmonic signposts along the way used as one might in a traditional work of this genre.

    Herbert Deutsch is among composers who have been involved with electronic music developments from the start.  He was one of the folks who worked with Robert Moog on the development of the Moog Synthesizer in 1964 and had the first piece written for use by the instrument the following year.  Abyss (1994) is a rather fascinating work which combines piccolo and mezzo-soprano against an almost science fiction-like electronic texture of astral sounds.  It is a rather intriguing work that incorporates a gorgeous lyrical line, some suggestions of serial technique, and integration of electronics (here mostly a pedal point) in a dream-like work.  The vocal line weaves itself over these interesting textures with the piccolo adding its own commentary and reflection from the vocal presentation.  The piece was released on 4Tay Records’ Woman in Darkness album.

    Bill Whitley’s Absent Light (2004-2011) is an exploration of sound and color wrapped around a religious reflection of death.  The work is wrapped around the “In Paradisum” portion of the Requiem when incense is passed over the casket in preparation for the recessional.  Whitley uses a variety of instruments as he colors an extensive lengthy phrase.  The mathematical thinking that underlines the work lends it structure.  But, as one listens, it is better to allow the meditative quality of this music to draw one into the gradual unfolding as each fragment of this line becomes an additional departure point.  The music tends to stay fairly tonal harmonically making it a rather stunning standout in the midst of these other equally interesting pieces.  The trombone entry brings us almost to a ballad-like moment that is further enhanced by the saxophone lines as bell tones loop in small patterns underneath.

    The final work, Sunrise Sonata, recorded in 1987, in a sense brings us back to a period of next-stage innovation in electronic instruments.  Composers Jim Schliestett and Bob Bliese wrote and performed this in studio work that incorporates a host of synthesizers of the period and some acoustic effects as well.  The result is the sort of thing one might have first heard on the Music from the Hearts of Space radio program.  It brings us full circle to the period when electronic music was beginning to grow in popularity beyond the cliché Hollywood genre film and open up new worlds to explore.

    On this album, one might think at first that it will be filled with a host of strange, intense musical works that feel distant from the listener.  In fact, nothing is further from the truth.  The works here have the potential to really invite the listener along on their musical narratives in often stunning, and moving works.  Whitley’s work stands out with its almost minimalist like repetition against gorgeous lyric lines.  But, each piece is sure to invite further listening, contemplation, and reflection.  The sequencing itself of the album makes this even more possible.  Ravello has this as “volume one” in what looks like it could become a series that highlights some of the finest examples of electroacoustic music.  This is certainly a strong entry.