Album insights
The composer Anahita Abbasi writes about the complexities of our everyday lives, constantly in motion and ever-changing. Her composition for harpsichord and electronics, titled "Intertwined distances," reflects upon not just the recent past but also musical dimensions spanning over sixty years. This piece is part of a program curated by Mahan Esfahani, featuring diverse composers such as Tōru Takemitsu and Henry Cowell, whose works bridge various musical traditions and eras. From Takemitsu's blend of diverse musical influences to Cowell's innovative exploration of traditional and modern elements, these compositions embody a fusion of past and present aesthetics.
Tōru Takemitsu's musical evolution integrates elements from varied musical movements, embracing modal harmonies, electronic soundscapes, and even influences from traditional Japanese music. John Cage's experimental approach profoundly influenced Takemitsu, emphasizing the interconnectedness between sound and silence. This avant-garde mindset led Takemitsu to explore tonality and consonance in his later works, symbolized by the metaphor of water flowing into the "sea of tonality." As his compositions evolved, Takemitsu's fascination with Debussy and Messiaen's harmonies resonated, showcasing a continuous exploration of evolving musical similarities over time.
Henry Cowell's "Set of four" commissioned by Ralph Kirkpatrick, a pioneer of both new and ancient harpsichord music, echoes a departure from conventional thematic developments, reacting to the increasing focus on pre-classical music during his time. The piece comprises short, independent movements emphasizing repetition and variation akin to Cowell's innovative approach in seeking clarifications within musical traditions. Similarly, Cowell's later works like "After Handel's 'Vesper'" continue this exploration of historical motifs, intertwining them with imaginative elements, much like the transformative essence seen in John Cage's compositions.
Kaija Saariaho's composition "Jardin secret II" integrates harpsichord with electroacoustic elements, exploring rhythmic articulations and digital transformations of sound material. This piece reflects a profound engagement with computer-based musical techniques, emphasizing spatial dimensions and the relationship between live performance and electronic elements. Through collaborative efforts with Mahan Esfahani, Saariaho pushes the boundaries of sound manipulation and performance, creating a mysterious interplay of touch and breath.
Luc Ferrari's piece, "Programme commun," delves into political and social themes of its time, challenging listeners with a complex amalgamation of harpsichord and electronic sounds. The composition serves as a reflection on contemporary societal questions, presenting a nuanced blend of transparency and obscurity. Ferrari's work embodies a relentless call for interpretation, refusing straightforward resolutions, much like the enigmatic nature of socialism and broader existential questions inherent in our lives.
In conclusion, these diverse compositions examined in the program curated by Mahan Esfahani collectively embody a fusion of musical traditions, experimental techniques, and philosophical musings on the interplay of past, present, and future. Each piece offers a unique perspective on the intricate relationships between familiarity and novelty, closeness and distance, symbolizing the profound impact of music in shaping our innermost experiences.