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Phillip Bush, piano; Greg Stuart, percussion; Michael Pisaro, sine tones.
Michael Pisaro (b. 1961) is a member of the Wandelweiser collective, an international organization of musicians which he has defined as “a particular group of people who have been committed, over the long term, to sharing their work and working together.” Its members have shared an interest in John Cage and experimental music, and extended durations, indeterminacy, and silence have featured in many works they have made; but Pisaro is quick to point out that the members of the collective have a far from uniform aesthetic stance. Pisaro’s work over the past decade bears little surface resemblance to the pieces made by other members of the collective apart from a commitment to experimental music and to deeply collaborative processes. Many of the recent trajectories of his work intersect in A mist is a collection of points (2014).
“A mist is a collection of points”, while a grid is an organized collection of points. There is the unspoken tension in this work between regular and aperiodic, solid and vague, artificial and organic, order and sprawl. This interplay takes place from one section to the next, and also in the interactions between the parts: between the pianist (Phillip Bush), the percussionist (Greg Stuart), and the sine tones (by Michael Pisaro). It affects the melody and the resonance, the timing and the coordination between parts. The intermingling of shadow pitches and extended resonances creates effects that are at least as vivid as any articulation.
Gradual change is a feature of the entire work, on the most local scale (measure by measure) and on the macro scale as well. Timing, resonance, melody, register, and dynamics are all intertwined in these slow transformations. “The work is essentially about the morphology and topography of this resonance.” This recording, like the piece itself, best reveals itself when it is “let loose in an environment,” played on speakers rather than headphones, in order to continue to develop its shape.
Phillip Bush, piano. Greg Stuart, percussion. Michael Pisaro, ondes sinus.
“Un brouillard est un ensemble de points, tandis qu’une grille est une collection organisée de points”. Voilà un peu ce qui serait le propos de la pièce.
Une tension tacite entre le régulier et l’apériodique, l’artificiel et l’organique, l’ordre et l’étalement… Le travail porte essentiellement sur la morphologie et la topographie de la résonance qui naît de la rencontre des trois instruments.
Une subtilité et une intelligence caractéristiques des pièces de ce compositeur.
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