Boomkat Product Review:
Bunita Marcus is subject of a first vinyl release with her ‘Lecture For Jo Kondo’, written for Morton’s group, Feldman & Soloists and premiered in 1985, and now accompanied by a dramatic new David August deconstruction .
“Not a lecture in the literal or recognisable sense, the piece is dedicated to the Japanese composer Jo Kondo, who was a friend and exchanger-of-ideas with Marcus. “I think it is a demonstration of the serial patterning I developed by being inspired by his Kondo's ‘Standing’ and how that just messes with your mind”, says Bunita, adding the following:
“’Lecture For Jo Kondo’ was conceived as an instrumental work. The voice part is just another instrument – an optional instrument at that. This isn’t a work where I took a text and wrote music to it. I wrote the music, heard and sensed a speaking part, but it took me a few years to get text that worked in this context. I met the Nico Vassilakis and got to love his work, so I added a speaking part using excerpts from his poem ‘Lowered and Illuminated.’
Musically and compositionally innovative, LFJK? is one of the first works to use consonance in the second half of the 20th century that was not tonal. It also introduces the idea of serialism as an aspect of neuroscience: “This is something that Jo and I had in common. This piece is based in complex theories I am calling ‘serialism’ and showing how Repetition + Mutation = Patterning. It is this patterning that is the basis of musical language and thought”, explains Marcus.
Taking listeners into a sound space unlike any they’ve been to before, the 20 plus minute piece is both dissonant and beautiful. The prominent broad strokes of LFJK are an alternating exchange between Bunita’s voice performance and Adapter Ensemble’s sound clusters, where a repetitive violin refrain at the fore is joined by flute, percussion and piano.
99Chants label owner and notable electronic musician David August provides a more machine-based deconstruction, changing most of the instrumentation and sound design, but maintaining the same narrative. He transports the listener through different environments, all equally connecting to Bunita’s voice, but changing the point of view. Within the release’s illuminating artwork is August’s visual score for his version, where traditional notation is replaced by a Kandinsky-esque abstract diagram.”