From the seventeenth to the twentieth centuries Western aesthetics were founded upon a fraught consensus of taste. The romantic understanding of art that was naturalistic and intuitive became, strangely, a social agreement on what constituted a sufficiently congruent analogy to its subject. This was a question of subjective judgement, which brought with it a greatly increased risk of failure.
Those old romantic notions still pervade contemporary culture, possibly more so in music than any other art form. There are, however, some composers who work in engagement with these ideas – this is different from accepting them or submitting to them. Back in March I heard Reinier van Houdt play two piano pieces: Walter Marchetti’s Per la mano sinistra and Michael Pisaro’s Green Hour, Grey Future. Both works are long and make use of pauses, isolated chords, notes, brief fragments. After a while, you think there may be some repetition or recapitulation at work, probably. The scale of the work and the dynamics recall late Feldman, but there’s none of Feldman’s patterning or obvious sectional movement. In this respect each composer seems to have allowed themselves more freedom to wander, and possibly extended this to the performer, too.
The Marchetti piece meanders purposefully, a soft-spoken but poignant monologue. The Pisaro piece isolates individual piano sounds, using silence as their context. In fact, both works are accompanied: the Pisaro with electronic tones that colour and shadow the piano, the Marchetti by an umbrella, held in the pianist’s left hand throughout, leaving only the right free to play.
When isolated sounds are separated so far by silence, how do you know that it’s music? I’ve been listening to another solo piece by Pisaro, Mind is Moving IX for electric guitarist. This is another recent release on the Intonema label, which I wrote about a little while ago. Recording this piece was a two-year process: “we made several recordings in different spaces, listened and discussed all the details with the composer and the performer” before capturing the final version released on this CD.
Without an independent electronic part, Mind is Moving IX sounds even more sparse and austere, to the point of breaking up any sense of musical continuity. Single, separated notes of various length; towards the end a descending sequence of intervals becomes a major development. Occasionally there is a long tone on bowed guitar or, in contrast, the guitarist whistling, or static from a small radio. There is a clicking of stones at certain points. Each element seems to appear more than once during the piece, suggesting some faint traces of an overall shape.
As suggested above, the piece depends heavily on how it is interpreted and performed. Those “details” that were discussed, on what did they depend? The sense of timing becomes critical. The qualities needed to make the piece succeed are the same that can make it fail: we’re back into the realm of taste. With a reliance on personal judgement, the challenge becomes immense. You can hope that you’re immersing yourself in the nature of the music, away from aesthetic second-guessing, but always have the fear that your interpretation is a more or less accurate approximation of aesthetic decisions previously heard in other music. In this recording, Denis Sorokin’s performance seems as finely nuanced as you could hope for, with a sufficiently dispassionate seriousness.