Insub Meta Orchestra: Choices & Melodies

Friday 25 May 2018

Insub Meta Orchestra: Choices & MelodiesRight at the end of last year I wrote about a CD of two pieces by the Insub Meta Orchestra; a fine disc that showed what can be done when a simple but smart rule is applied to a large group of musicians to interpret simultaneously. The same group has now released an LP/download of two more pieces, recorded around the same time. Two choices: each player shall make either of two sounds and may change every five seconds. Autonomous melodies: each player may play a free melody, of just three or four notes.

These two open compositions, again by Cyril Bondi & d’incise, show what can be achieved when creativity is constrained in a way that may be considered extreme. Of the Another Timbre disc, I observed that it “reveals more of the musicians; not of their ‘personalities’ but of their understanding of how to give music life.” This LP continues the theme but explores it in ways not heard on the previous album. If the listener were to compare the two, they would notice striking differences appear straight away. Two choices works with unpitched sounds, forming a thread of complex sound that constantly changes timbre without a change in character. In fact, the exact nature of the sound remains elusive throughout. With some 32 musicians all making sound at the same time, with electronics, acoustic instruments and voice, no single timbre will ever come into focus. They are all presumably playing softly. Any change of an individual musician may only be perceptible as part of a group, but the exact combination of sounds that change cannot be known. The overall perception of the sound will be affected by how the individual sounds interact with each other.

On the flip side, Autonomous melodies takes a different direction; it’s loud and lurches through a repeating melody that can still never be quite pinned down. The sleeve notes even refer to it as “a kind of alien piece in the orchestra’s esthetic”. The pitch of each note becomes a complex chord that is never resolved. Obvious elements frequently reappear, but there are so many of them that they never settle into a context. It all ends up sounding like a single, protean voice that echoes and reverberates through a melody that remains simulataneously distinct yet undefinable.

It’s a powerful demonstration of indeterminacy applied to large groups. In both pieces, each musician’s interpretation, taken separately, would be noticeably different in content but obviously the same in structure. Taken simultaneously, a strange reversal happens: the content is unified but the structure becomes unknowable, other than through explanation.