Orpheus Variations
Alvin Lucier
Orpheus Variations
Boomkat Product Review:
Cellist Charles Curtis searches for phantom sonorities in ‘Orpheus Variations’, a work for solo cello and seven wind instruments played by the SEM Ensemble - one of eight large scale compositions expressly written for him by Alvin Lucier - and specifically based on a particular sonority, or de-tuned chord, from Stravinsky’s ‘Orpheus’ that Lucier can’t shake since he first heard it, decades ago
“Lucier speaks first of a sonority, and only then of a chord. He discusses the chord, its notes and their disposition, but what haunts him is a “particular sonority.” A sonority is the product of physical action on physical materials: the instruments, the registers in which they are activated, the breath of the musicians, the waveforms thus produced, their merging and interfering, and finally the moment and place of these actions. An energy field, certain to vanish completely once the musicians put down their instruments. However concrete and real the actions and materials, the sonority they produce is a phantom.”
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Boomkat Product Review:
Cellist Charles Curtis searches for phantom sonorities in ‘Orpheus Variations’, a work for solo cello and seven wind instruments played by the SEM Ensemble - one of eight large scale compositions expressly written for him by Alvin Lucier - and specifically based on a particular sonority, or de-tuned chord, from Stravinsky’s ‘Orpheus’ that Lucier can’t shake since he first heard it, decades ago
“Lucier speaks first of a sonority, and only then of a chord. He discusses the chord, its notes and their disposition, but what haunts him is a “particular sonority.” A sonority is the product of physical action on physical materials: the instruments, the registers in which they are activated, the breath of the musicians, the waveforms thus produced, their merging and interfering, and finally the moment and place of these actions. An energy field, certain to vanish completely once the musicians put down their instruments. However concrete and real the actions and materials, the sonority they produce is a phantom.”
Boomkat Product Review:
Cellist Charles Curtis searches for phantom sonorities in ‘Orpheus Variations’, a work for solo cello and seven wind instruments played by the SEM Ensemble - one of eight large scale compositions expressly written for him by Alvin Lucier - and specifically based on a particular sonority, or de-tuned chord, from Stravinsky’s ‘Orpheus’ that Lucier can’t shake since he first heard it, decades ago
“Lucier speaks first of a sonority, and only then of a chord. He discusses the chord, its notes and their disposition, but what haunts him is a “particular sonority.” A sonority is the product of physical action on physical materials: the instruments, the registers in which they are activated, the breath of the musicians, the waveforms thus produced, their merging and interfering, and finally the moment and place of these actions. An energy field, certain to vanish completely once the musicians put down their instruments. However concrete and real the actions and materials, the sonority they produce is a phantom.”
Boomkat Product Review:
Cellist Charles Curtis searches for phantom sonorities in ‘Orpheus Variations’, a work for solo cello and seven wind instruments played by the SEM Ensemble - one of eight large scale compositions expressly written for him by Alvin Lucier - and specifically based on a particular sonority, or de-tuned chord, from Stravinsky’s ‘Orpheus’ that Lucier can’t shake since he first heard it, decades ago
“Lucier speaks first of a sonority, and only then of a chord. He discusses the chord, its notes and their disposition, but what haunts him is a “particular sonority.” A sonority is the product of physical action on physical materials: the instruments, the registers in which they are activated, the breath of the musicians, the waveforms thus produced, their merging and interfering, and finally the moment and place of these actions. An energy field, certain to vanish completely once the musicians put down their instruments. However concrete and real the actions and materials, the sonority they produce is a phantom.”
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Boomkat Product Review:
Cellist Charles Curtis searches for phantom sonorities in ‘Orpheus Variations’, a work for solo cello and seven wind instruments played by the SEM Ensemble - one of eight large scale compositions expressly written for him by Alvin Lucier - and specifically based on a particular sonority, or de-tuned chord, from Stravinsky’s ‘Orpheus’ that Lucier can’t shake since he first heard it, decades ago
“Lucier speaks first of a sonority, and only then of a chord. He discusses the chord, its notes and their disposition, but what haunts him is a “particular sonority.” A sonority is the product of physical action on physical materials: the instruments, the registers in which they are activated, the breath of the musicians, the waveforms thus produced, their merging and interfering, and finally the moment and place of these actions. An energy field, certain to vanish completely once the musicians put down their instruments. However concrete and real the actions and materials, the sonority they produce is a phantom.”
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