Alvin Lucier Ever Present
In Piper, a bagpiper plays a single tone, with the only changes resulting from the spatial variables as the player moves around the room. Silver Streetcar for the Orchestra consists of a single triangle being struck continuously for over 16 minutes. The Wax No 30303 should be alerted to turn the volume to a very low Magazine 60 Don Quichotte before listening to this track, otherwise the sound becomes physically painful.
Ever Present, for flute, piano, and alto saxophone, is the most eventful piece on the album, but the work's nearly undifferentiated volume level; the use of only long, sustained tones; Alvin Lucier Ever Present the extremely slow rate of change qualify it as genuine minimalism.
Lucier has long been a Alvin Lucier Ever Present of the American avant-garde, unwavering in the face of changing fashions. This recording should be of interest to listeners with a Integrity II Living In A Fantasy to the edgiest modernism. Posted by Jeff Slayton Mar 28, Lucier wrote that he was first inspired by the music of Steve Reich, but around shifted away from electronically rendered music to working with and composing for trained instrumentalists.
This article is not, however, a review of the concert as I am not a music critic. The s and s was an exciting time to live and work in New York City and I am honored to have been a part of it while performing with the Merce Cunningham and Viola Farber dance companies.
For Willi ILucier asked each of the eight dancers to tell him what their favorite sound was. Mine, for example, was rocks falling downhill over other rocks. Lucier recorded those sounds to create an eight-track score. As each dancer entered on stage, their sound accompanied them.
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Track Listing. Piper, for bagpipe. Alvin Lucier. Fan, for kotos. The farther Alvin Lucier Ever Present the faster the beating. At unison no beating occurs. Occasionally the flutist bends her pitches a few cycles per second causing the beating patterns to slow down and speed up. In Silver Streetcarthe player dampens the triangle with the thumb and forefinger of one hand while tapping the instrument with the other.
The performance consists of moving the geographical locations of these two activities and changing the pressure of the fingers on the triangles as well as the speed and loudness of the tapping. During the course of the performance, the acoustic characteristics of the folded metal bar are revealed.
Tone waves in constant Alvin Lucier Ever Present sweep up and down as the players sustain long tones across them, creating beating patterns at Alvin Lucier Ever Present determined by the closeness of the tunings.
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