Last night I got to see Philip Thomas play Bryn Harrison’s Vessels live, at Cafe Oto. As implied last time, I hadn’t re-listened to the piece on CD prior to the gig. I now need to make some additional comments.
The first surprise, before the piece started, was that the piece is more thoroughly notated than I thought: a dense hedge of changing meters, irregular rhythms and tuplets, all on a single treble stave throughout. No wonder the pianist finds it disorientating. As in Feldman’s later scores, Vessels uses precise notation to produce ambiguous results, so that events seems to drift by without any sense of a rhythmic pulse underneath. The comparisons to Feldman’s music keep coming up, so here are some more important differences. Feldman used irregular rhythms to set his sounds in surrounding silence; his music is episodic, switching arbitrarily between contrasting sets of sounds. Harrison’s piece allows for no breathing space and never deviates from its initial palette of sounds and texture, which seems even more exhausting than a Feldman work of comparable scale. (The very late works for orchestra are a significant exception.) The entire work barely covers more than three octaves of the piano’s range.
The scale of the piece has an insidious effect on the listener. After a while you get used to it, become immersed in it, like an aural bath, but through sheer persistence it unnerves and captures your attention again, as you try to figure out if it has changed.
It’s remarkable how short many of the repeated passages are. The piece frequently loops on itself for a while, but the harmonic ambiguity and unfocused rhythms make it very difficult to detect where each loop begins and ends, if in fact it is repeating at all. With further analysis the ingenious construction would become more intelligible, but by that time the indelible impression of its first hearing has already been made.
Witnessing Thomas perform the piece in person, as beautifully and seemingly effortless as on record, impressed on me further what an achievement it is. Strangely, it seemed to be over too soon.