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AND HEARD INTERNATIONAL CONCERT REVIEW
Philip Glass, Steve Reich and Rhys Chatham: Either/Or, Richard Carrick (founder), David Shively (founder), Issue Project Room, Brooklyn, NY, 24.10.2008 (BH)
Anthony Burr,
keyboards
Andrew Byrne,
keyboards
Richard Carrick,
piano and keyboards
Jennifer Choi,
violin
David Shively,
percussion
Alex Waterman, percussion, keyboards, cello
Philip Glass: Music in Similar Motion (1969)
Steve Reich: Four Organs (1970)
Rhys Chatham:
Two Gongs (1971)
This evening still has me chuckling. Recall, if you will, the
single loudest concert you have ever been to. (Mine was a
performance by the German art-rock band Einsturzende Neubaten back
in the 1980s at the Palladium in New York City.) I now have a new
candidate in the running, thanks to the slightly devilish guys of
Either/Or, who presented three examples of early minimalism as part
of Issue Project Room's Darmstadt: Classics of the Avant Garde.
Prefacing Rhys Chatham's self-explanatory Two Gongs, the
group's co-founder Richard Carrick made reference to ear plugs.
Let's be clear: they are not optional, but mandatory. (I brought a
pair, but many in the audience did not, so someone was sent out to
fetch a box.) Using two mammoth Chinese gongs, David Shively and
Alex Waterman began touching the surfaces with light taps, creating
shivering silvery tones. One could pause to consider the beauty of
these instruments, both aurally and physically, and perhaps
anticipate a certain meditative state to come. But as the 63-minute
piece progresses (pausing for emphasis), the volume level steadily
rises as the two players smack the surfaces with increasing power
and frequency, unleashing a mammoth Category 5 hurricane of sound
waves. Without protection one almost certainly risks permanent
hearing damage.
With ear plugs (and occasionally fingers pressing plugged ears still
more tightly shut), Chatham's experiment is at least bearable;
without them I can't imagine any human being sticking around much
past the first peak, and there are five or six of them. (Mr.
Waterman tried to experience the pure sound until the first crest,
but was quickly forced to cover his ears for the remainder of the
hour.)
After a while the effect became almost endearing: the earthy buzz
and roar began to be almost trance-like in their power. The sound
burrows right into your stomach. I wondered at what level my spleen
would simply burst, my blood vessel walls would disintegrate, or my
brain would become unmoored, floating around in its fluid. As the
titanic waves keep tolling, engulfing one's body, one senses the
sheer power of these instruments and what they are capable of. It's
notable that most composers rarely use them at full tilt.
Not surprisingly, after about five minutes an entire row of people
quietly got up and quickly hustled themselves out. I can't really
blame them. Listening to Chatham's experiment probably rearranged
some of my molecules, not that there's anything wrong with that.
But after sonically going over Niagara Falls in a cardboard box, the
remainder of the program almost seemed washed away, outstanding as
it was. To begin the program, violinist Jennifer Choi was part of
the small ensemble that did a fine, exacting job with Philip Glass's
Music in Similar Motion, written long before the composer
became a household name. Designed to be performed by variable
combinations of instruments, Glass has each one enter in turn,
building an ever more luminous fabric as the timbre and texture
change.
Steve Reich's Four Organs is often performed these days on
electronic keyboards, given the difficulties of assembling a quartet
of organs in a single space. With Mr. Shively giving solemn
attention to a pair of maracas that form the rhythmic spine, the
musicians (Carrick, Waterman, Anthony Burr and Andrew Byrne) found
surprising drama in Reich's minimal palette. But the Chatham pretty
much swept everything else aside. Afterward, Mr. Waterman confessed
he was slightly disoriented, adding, "Now that was a real
mend-binding experience."
Bruce Hodges
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