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CONTENTSCONGRATULATIONS
TO . . ., 3 LIVE EVENTS I
Hear Museum Art (B.L.C./Greenfest) <> Mad Dreams and Brits
(Hickey), 6 DOTTED NOTES
INTERVIEW SPEAKING OUT!
THE PRINTED WORD RECORDINGSÀ outrance
à la Anderson (de Clef Piñeiro) <> RECENT RELEASES, 31 THE
PUZZLE CORNER: COMPOSER INDEX, 34 BULLETIN BOARD, 35 WEB SUPPLEMENTLive EventsEquinox
Chamber Players In Concert for Impact CD ReviewsHarrison
Birtwistle: Refrains and Choruses ObituariesArthur
Berger (1912-2003) |
Review of CD OUTLIERNEW MUSIC FOR MUSIC BOXES: JOHN MORTON INNOVA 553 The music on this CD is most enjoyable. Unlike many experimentalists, John Morton is concerned not only with attractive sounds (and make no mistake, this is a most fetching disc from a purely sonic standpoint) but thoughtfully considers how to express them within a larger context. The releases tripartite magnum opus A Delicate Road (2000-01), for music boxes, sound processing, piano, and guitar, is an ideal illustration. It progresses in surprising, yet cogent fashion, expressing long-range structure in convincing, yet non-traditional ways. And the four instruments employed complement each other handsomely; piano and guitar are almost never played in standard fashion, instead mirroring the less prescriptive sound sources called for. Happily, Morton also takes to heart the old Shakespeare observation brevity is the soul of wit. The twenty-three minute Delicate Road is in fact the exception here; over half the selections are no lengthier than a typical pop song. Morton keenly knows how long his material will sustain itself and asks only what it can reasonably bear, thus making these little confections seem eloquent and self-assured, not long-winded and monstrous. All but one of these works prominently feature the sound of music boxesbut these are in no way sentimental salon trifles. Morton takes standard music boxes and, to paraphrase the sketchy liner notes, mutilates and recomposes their remains. The resultant sound retains the tinkling timbre one normally associates with these entities while imposing all sorts of unusual pitch and rhythmic figures. Abundant influences of non-Western idioms and jazz further explode convention. The title track (2001), a selection for music boxes and sound processing, uses a basis ostinato redolent of African kalimba playing. The trio Lulabell (2000), awash in thick upper tertian chords, strongly suggests kinship with standard jazz ballads; here the music box line participates as an equal partner with its vibraphone and piano compatriots. Jazz leanings also infiltrate White Tara (2000), though with its more dissonant verticals and complex rhythms resulting from multiple overlays of music box lines, the influence is subtler, confined to certain aspects of the underlying piano and bass material. Mortons roots are encountered in the older Slurry (1987) for three clarinets. Present here is the use of layering heard in the more recent pieces, though handled with a bit less finesse (some of the tripartite clarinet passages sound densely cluttered instead of riotously sparkling) as well as a thoughtful sense of unfolding, texture, and pacing. Performances, by David Loewus (clarinets), Ted Piltzecker (vibes), William Blossom (bass), Steve Hardwick (guitar), and the composer (everything else), are excellent. Sound and production are first-rate. Your reviewer was left only wanting bios for the composer and performers and more extensive program notes. This charming and imaginative release is strongly recommended. --David Cleary |