The Four Pillars Appearing from The Equal D under Resonating Apparitions of The Eternal Process in The Midwinter Starfield 16 VIII 10 (Kansas City)
Andrew Lee, amplified piano
Composer Randy Gibson is best known for his compelling experiments with intonation. R. Andrew Lee is the go-to pianist for Wandelweiser and minimalist-oriented music. On Gibson’s The Four Pillars Appearing from The Equal D under Resonating Apparitions of The Eternal Process in The Midwinter Starfield 16 VIII 10 (Kansas City), he meets Lee in the middle, creating a mammoth work out of very restricted means. The pitch material of the piece consists of just seven notes: D in all the octaves on a concert grand piano in equal temperament. Added to this are amplification and a small amount of electronic manipulation, designed to add resonance to the overtone vibrations taking place.
Irritable Hedgehog’s recording is a single unedited live performance from 2016 at University of Kansas City Missouri, with electronics realized alongside the piano part. Clocking in at some three-and-a-half hours, Lee deserves credit for a tour de force of stamina, focus and, perhaps above all, musicality in shaping the repeating pitches into countless varied phrases. Gibson is a master of deploying overtones. He has figured out how to exploit the various spaces between D’s to gradate the appearances of the harmonic series’ upper notes, or partials, and to maximize their potential. Shimmering conglomerations of overtones abound in The Four Pillars … it is certainly not a piece just about D! And while pitch serves as a focal point, it is worth mentioning that the piece’s overall shape, labyrinthine in scope, and its localized rhythmic gestures are equally well conceived. Four Pillars is one of the most compelling pieces yet from Gibson, and is Sequenza 21’s Best Drone Recording of 2017.
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