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Elliott Sharp - 2015 - The Boreal (FLAC, Starkland 222)

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Torrent File Content (21 files)

Description

Music : Classical : Lossless
      

Starkland Records ST-222.

1. The Boreal I 4:05
2. The Boreal II 4:29
3. The Boreal III
2:59
4. The Boreal IV 3:52
5. Oligosono I 6:09
6. Oligosono II 8:52
7. Oligosono III 4:36
8.
Proof of Erd?s I 4:01
9. Proof of Erd?s II 4:56
10. Proof of Erd?s III 6:30
11. Proof of Erd?s IV 6:53
12. On Corlear's Hook I 5:14
13. On Corlear's Hook II 5:52
14. On Corlear's Hook III 3:01
15. On
Corlear's Hook IV 5:34

Produced by Elliott Sharp

Mastered by Silas Brown at Legacy Sound

JACK Quartet (1-4)
Jenny Lin: piano (5-7)
Orchestra Carbon / David Bloom: conductor
(8-11)
Janacek Philharmonic Orchestra / Peter Rundel: conductor (12-15)

Explosive tendrils of
electricity branching chaotically from the edges of a coin is the image of Étienne Léopold Trouvelot’s
Electric effluvia on the surface and circumference of a coin. Such is the fitting choice of album art for Elliott
Sharp’s The Boreal. A compilation of four pieces composed between 2004 and 2009, The Boreal features performances
by the JACK Quartet, pianist Jenny Lin, Orchestra Carbon, and the Janá?ek Philharmonic Orchestra. Avoiding a sense of
musical narrative, Sharp’s music implicates notions by experimenting with various composites and fusions of
sound. The product, though primal and turbulent, is nonetheless cleverly designed—Sharp acting as a conduit to
his own chaos.
Despite the composer’s reluctance to assign program to his music, Sharp’s opening act,
The Boreal, performed by the JACK string quartet, assumes significant meaning from its very title. The composer
indicates influences such the prehistoric northern Boreal Sea, the Holocene era’s Boreal Period, and the frigid
ecosystems of Earth’s poles. Indeed, the otherworldly soundscape of The Boreal reflects the ancient stirrings of
life brewing in Earth’s primordial soup. For this alien sound, Sharp devised alternative bows using ballchain and
metal springs—materials which, when strung across the stringed instruments, create a tortured drone of creaks and
groans. In the second and third movements, the voices slither in tangled glissandos phased out-of-sync. At unexpected
intervals, the instruments shift into unison, sustaining harmonies in the upper register. There is no levity in
Sharp’s primal world. It is a primitivism reminiscent of Stravinsky—though The Boreal reaches further than
harsh Russian pagan rites, devolving to the volatile struggle for order at the dawn of life. At the piece’s
conclusion, Sharp’s exotic, metallic bows fade into the shadows, their chittering static dying in desolate
cold.
Oligosono, featuring Jenny Lin on piano, continues the premise of instrumental experimentation left by The
Boreal. Like the album’s introductory piece, Oligosono is episodic, made up of many short ostinati and Henry
Cowell-esque tone clusters, without a central theme or tonality. Nevertheless, the passages occasionally link together.
Sustained notes from one sequence’s conclusion merge into the next—the residual overtones creating an
ethereal microtonal atmosphere.
Proof of Erd?s, Sharp’s musical tribute to mathematician Paul Erd?s, is a
auditory experiment—exploring different sounds through combination and permutation. The instrumental voices of
Orchestra Carbon demonstrate an innovative approach to additive process. Instead of building asymmetrical tonal chords,
Sharp has his musicians assemble and mix various noises beyond the conventional usage of orchestral instruments. Among
these constructs, heavy-handed, scratchy bowings drone in the lower register, combined with open-stringed strumming in
the violins. The result, often unpleasant, nevertheless evokes a sense of anxiety and panic.
Sharp’s
conclusion, performed by the Janá?ek Philharmonic Orchestra, offers a reprise from the arcane subject matter of the
previous three entries. On Corlear’s Hook derives its name from the eponymous diverse neighborhood in Manhattan.
The piece features a plethora of sonic images, illustrating the bustle of city life. Sharp experiments with various
drones that persist in the background: low-register piano trills murmur in the first movement, and, at other times,
certain voices maintain a constant singular tone in perpetual motion. The composer confounds any sense of time
organization by combining these ostinati—each of which maintains its own rhythm. The result is a cacophony
representative of chaotic movement: the sounds of life, the sounds of Earth. - Norman Cahn, icareifyoulisten.com
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