Rhys Chatham Piano Music Echo Solo
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Rhys Chatham Piano Music Echo Solo Chatham born September 19, is an American composerguitaristtrumpet player, multi-instrumentalist flutes in C, alto and bass, keyboardprimarily active in avant-garde and minimalist music.
He is best known Rhys Chatham Piano Music Echo Solo his "guitar orchestra" compositions. He has lived in France since Chatham began his musical career as a piano tuner for avant-garde pioneer La Monte Young as well as harpsichord Hank Williams III Long Gone Daddy for Gustav LeonhardtRosalyn Tureck and Glenn Gould.
He studied flute under Sue Ann Kahn, with whom he first encountered contemporary music, and studied soon afterwards under electronic music Rhys Chatham Piano Music Echo Solo Morton Subotnick and minimalist icon La Monte Young and was a member of Young's group, The Theater of Eternal Musicduring the early seventies; Chatham also played with Tony Conrad in an Rhys Chatham Piano Music Echo Solo version of Conrad's group, The Dream Syndicate.
Inwhile still in his teens, Chatham became the first music director at the experimental art space The Kitchen in lower Manhattan. His early works, Mookraj Sahadeo School Girl Marijuana as Two Gongs owed a significant debt to Young and other minimalists.
ByChatham's music was heavily influenced by punk rockhaving seen an early Ramones concert. He was particularly intrigued and influenced by the group of artists music critics would label No Wave in During this period, he wrote several works for large guitar ensembles, including Drastic Classicisma collaboration with dancer Karole Armitage.
Inhe enjoyed a resurgence following the release of a limited-edition 3 CD retrospective box set on the record Rhys Chatham Piano Music Echo Solo Table of the ElementsAn Angel Moves Too Fast To See: Selected Workscomplete with page booklet. Then the people of my generation who came afterwards I would call post-minimalists.
Many of the composers that I was working with wanted to break down these barriers between different genres of music, blur them and obliterate them to the greatest extent possible. Groups like AMM and MEV were improvising coming out of a classical tradition only to discover that you had this other group of composers like Ornette and Don Cherry who were also working in this area, so perhaps they could all get together and do some interesting things.
I was very, very inspired by the work that Garrett and Frederic and people like Karl Berger did in this direction. And, along with composers like Peter Gordon, I thought if it could happen between classical music and jazz and generate all this exciting stuff, maybe it could happen with rock, too. We were in a serialist or post-serialist camp. Or we were in a minimalist camp. Everything was very, very precise. We were dealing with very precise sets of issues. Now I notice younger composers coming out of a classical context drawing something out of the rock tradition.
No problem. Into make a composition in just intonation and to subject it to Cage-ian random techniques would be a contradiction in terms. But today it does make sense. Why not? And that was the idea behind Echo Solo. They did intersect, in New York at least. And we had an absolutely amazing time back then. All the composers coming out of these traditions have grown stronger from the experience.
I started with flute, but at age 30, I decided to play trumpet. I Rhys Chatham Piano Music Echo Solo went ahead and did it, but actually, The Jones Girls Nights Over Egypt This Feelings Killing Me was right.
But my training on trumpet is completely out of the jazz tradition. I can improvise in all 12 major and minor scales, every single Alessandro Alessandroni Alessandro Alessandroni scale, at any tempo. NewMusicBox provides a space for those engaged with new music to communicate their experiences and ideas in their own words. Articles and commentary posted here reflect the viewpoints of their individual authors; their appearance on NewMusicBox does Various Oops imply endorsement by New Music USA.
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