From the opening deep rumblings of this disc, it is immediately
clear that this is something unusual. Comprising six works for
hyperbass flute and tape, the environmental concern is obvious
from the title. Each work concerns a glacier that still exists,
using sound to describe the life-force of nature which is inherent
in these landscapes.
The
instruments used are quite extraordinary. The hyperbass flute,
an invention of the performer and composer Robert Fabbriciani,
is the largest and lowest member of the flute family. Combined
with a tape part of natural sounds and pre-recorded hyperbass
flute, these compositions are soundscapes which are full of
imagery and suggestion - the first track even made me start
shivering! The sounds really are incredible, and I felt an urge
to take the disc to a recording studio to hear the low sounds
through speakers of a higher quality than my home stereo in
order to get the full effect.
Although
the tracks appear quite long when seen in a listing, the eleven
and a half minutes of the first track, Glacier Ururashraju
passed by quickly, and I could have heard much more. I initially
wondered whether there would be enough scope in the musical
material to sustain a whole disc, but Pasterze offers
contrast with accents and rhythmic impetus, alongside greater
air sounds and a general sense of a colder, wilder place. Bird
sounds can be heard in the background and pizzicato tongue rams
give an occasional bass line. The music builds gradually to
a dramatic crescendo of breath sounds. Despite inhabiting the
same soundworlds, the rest of the tracks also offer variety,
each having its own sense of identity. There are some musical
ideas which make regular appearances; these give some overall
sense of structure and do not become tedious. Track six, Chalcaltaya
Glacier is faster paced, containing some highly alluring
multiphonic sounds. The shortest of the works, its dramatic
opening is utterly absorbing and gives way to atmospheric stillness.
Fabbriciani’s
playing is imaginative, and makes use of various contemporary
techniques to create a wide palette of sounds, including harmonics
and air sounds. I was captivated with this unique music from
beginning to end. There is a sense of gradual evolution, as
if seeing these landscapes from the air. This music appeals
to the senses and conjures up images of the places it represents.
In a time of climate change and environmental campaigning, this
is probably one of the very best arguments I have heard to do
what we can to stop global warming.
Carla Rees
