Class #2 - The Fabulous Early Days - Musique Concrète or is it?
When I think of Musique Concrète I think of the early days of electronica. I think of tape splices, luck and courage, as well as an imaginative mind, and innovation. However, the following pieces have nothing to do with the experimental electronica I speak of. Both pieces: Density 21.5 and The Banshee focus on tone, color and the idea of the sound going into a three dimensional space where it has no bounds and can change its shape. Varèse and Cowell took these early ideas of the future and ran with it to the ends of the earth and back again.
Speaking of the ends of the earth I would like to start with Cowell's The Banshee. Using just a man and a piano Cowell creates one of the most frightening pieces I have ever heard in my life. In class was the first time I heard both of those pieces and I was astounded. I have heard pieces which were composed for the pianist to reach into the piano and pluck, grab, strum, and to do whatever to the strings that the score demands. The Banshee however captures an odd ethereal sense of pushing spacial bounds through music and sound. Much like ambient music created by the likes of Brian Eno or (early) Aphex Twin the spacial aspect of the sound flowing in and out. The piece is incredibly unsettled. It begins with the scratching of strings, followed with scratching and quasi-glissandos with the occasional pluck of a string. This continues over and over like a bad nightmare pulling to and from the listeners ears. The plucked strings every so often is much like an anchor of the piece. of The score we viewed was just as disturbing. I can't imagine sitting down and reading a score like that. I have viewed some oddly notated scores of Stockhausen and Penderecki and sat there amazed (and not understanding it!) It must make even experienced musicians feel music illiterate at times too look at variations of 20th century notation.
In Density 21.5 Varèse captures the idea of sound in space as well as having variation with tone and color. Density 21.5 takes that platinum flute and expands its dynamic range at times to the height of the upper levels of the atmosphere. Every trill, elaboration and high pitch makes this piece virtuosic through and through. Silence is a very essential part of the piece as well, between the trills and pops it creates its own notes in frequencies unheard of. Varèse creates a spacial ambiance in the piece by having the sound flow back and forth to the listener. There is a certain lamentation to the piece as well, possibly a social message. Density was written around the beginning of WWII. It is possible that the intense range of moods, from somber to hostile can be a reaction to the events of the war. Since Varèse was born in France (though lived in the US most of his life) he grew up with the perspective and roots of a European.
Overall what I heard today connects alot with the ideas of not only ambient electronica but also with post-rock. There is a ton of bands such as: Godspeed You Black Emperor, Mogwai (in some cases), Slint, Radiohead (at times...), Sigur Ros etc (meaning a bunch of other post-rock bands - too many to list) that try to have that in your face, but then drawn back sound. During the course of the piece or song the dynamic levels fluctuate up and down along the lines of the three dimensional space much like that created by Cowell and Varèse. Interesting selections. Now I am really interested in more by Cowell. So much 20th Century music sooooo little time!
Speaking of the ends of the earth I would like to start with Cowell's The Banshee. Using just a man and a piano Cowell creates one of the most frightening pieces I have ever heard in my life. In class was the first time I heard both of those pieces and I was astounded. I have heard pieces which were composed for the pianist to reach into the piano and pluck, grab, strum, and to do whatever to the strings that the score demands. The Banshee however captures an odd ethereal sense of pushing spacial bounds through music and sound. Much like ambient music created by the likes of Brian Eno or (early) Aphex Twin the spacial aspect of the sound flowing in and out. The piece is incredibly unsettled. It begins with the scratching of strings, followed with scratching and quasi-glissandos with the occasional pluck of a string. This continues over and over like a bad nightmare pulling to and from the listeners ears. The plucked strings every so often is much like an anchor of the piece. of The score we viewed was just as disturbing. I can't imagine sitting down and reading a score like that. I have viewed some oddly notated scores of Stockhausen and Penderecki and sat there amazed (and not understanding it!) It must make even experienced musicians feel music illiterate at times too look at variations of 20th century notation.
In Density 21.5 Varèse captures the idea of sound in space as well as having variation with tone and color. Density 21.5 takes that platinum flute and expands its dynamic range at times to the height of the upper levels of the atmosphere. Every trill, elaboration and high pitch makes this piece virtuosic through and through. Silence is a very essential part of the piece as well, between the trills and pops it creates its own notes in frequencies unheard of. Varèse creates a spacial ambiance in the piece by having the sound flow back and forth to the listener. There is a certain lamentation to the piece as well, possibly a social message. Density was written around the beginning of WWII. It is possible that the intense range of moods, from somber to hostile can be a reaction to the events of the war. Since Varèse was born in France (though lived in the US most of his life) he grew up with the perspective and roots of a European.
Overall what I heard today connects alot with the ideas of not only ambient electronica but also with post-rock. There is a ton of bands such as: Godspeed You Black Emperor, Mogwai (in some cases), Slint, Radiohead (at times...), Sigur Ros etc (meaning a bunch of other post-rock bands - too many to list) that try to have that in your face, but then drawn back sound. During the course of the piece or song the dynamic levels fluctuate up and down along the lines of the three dimensional space much like that created by Cowell and Varèse. Interesting selections. Now I am really interested in more by Cowell. So much 20th Century music sooooo little time!
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