Saturday, August 18, 2018
Melaine Dalibert - Musique pour le lever du hour (Elsewhere)
In essence, Dalibert's wonderful, hour-plus solo piano composition is a kind of process music, but one where its structural aspect can, if desired, be easily ignored, the listener perhaps choosing to simply be wafted along by the sumptuous, lingering tones.
One hears sets of single notes, evenly played. They arrive in sequences of 2, 3, 4, 6, 7, 8 and 9--I don't think there are any "5's" or anything greater than nine, but I could be mistaken. The sustain pedal is held down throughout. The rests between the phrases are, I believe, equivalent in seconds to the number of notes in the preceding phrase. The lengths of the phrases appear to occur randomly but are, in fact, generated by Dalibert's use of the Thue-Morse sequence, a mathematical theory well beyond my meager comprehension skills but one which, when used in certain ways, results in numbers that converge on the fractal curve known as the Koch Snowflake. There is a fine sense of repetition inextricably meshed with irregularity. The notes chosen, per Dalibert, "are only second major, third minor and fifth (or their reversal), in equal repartition so that the general color is diatonic, very slowly modulating."
What, then, does one hear? If I'm to make references, I sometimes think of it as halfway between a Tom Johnson work and the approach used by La Monte Young in parts of 'The Well-Tuned Piano', albeit without the retuning (!). There's a quasi-similar feeling of drifting, of floating while at the same time the soft rigor of the structure constrains too much wayward movement. The clearly struck notes (from a peek at a couple of pages from the score, often flatted) both stand forthright and, via the sustain, effervesce and dissolve into one another. Within each sequence, the notes tend to follow a similar pattern, enough so that it always feels familiar, perhaps previously heard, but really just slightly different; the same general environs but via differing glances. Also barely heard, but always a plus for this listener, is the distant sound of a street and what seems to be flowing water, as though from rain down a gutter; I love the sense of immersion this provides.
The music itself is watery--apparently clear on the surface, disappearing when examined very closely. One can listen to the structure, try to grasp its fractal nature or can just surrender and be borne along, irritation setting in only when the disc ends. In the interim, one floats.
Excellent, intelligent and rapturous work.