Часовой психоделический полет на волнах гонг-тремоло не для новичков.
https://ru.wikipedia.org/wiki/Чатем,_Рис https://en.wikipedia.org/wiki/Morton_Subotnick http://www.vintagesynth.com/misc/buchla100.php https://en.wikipedia.org/wiki/The_Kitchen
https://www.discogs.com/Rhys-Chatham-Two-Gongs-1971/release/1589352
TWO GONGS (1971) - FOR TWO LARGE CHINESE GONGS
Musicians: Rhys Chatham, Yoshimasa Wada • Recorded live by Phill Niblock at Experimental Intermedia Foundation, NYC • 15 December 1989
Часовое экстремальное психоделическое эмбиент путешествие с помощью двух больших китайских гонгов от американского композитора "гитарных симфоний" Риса Чатема для прочистки слуховых и мозговых рецепторов...
Рис Чатем:
"В конце 60-х годов я работал с Мортоном Суботником в его электронной студии Нью-Йоркского Университета (New York University). (...) Там я экспериментировал с помощью синтезатора Buchla 100 Series, желая создать музыкальное произведение, в котором основное мелодическое содержание приходилось бы на гармоники верхнего регистра звучания, используя звуко-генераторы синусоидной волны, ринг-модуляторы и фильтры.
В тоже время я подрабатывал настройщиком клавесина (harpsichord tuner) для компании по прокату музыкальных инструментов. И вот, когда однажды я настраивал один из клавесинов, то заметил группу стоящих неподалеку очень даже немаленьких китайских гонгов. Я подошел к ним, стал извлекать разные звуки и с удивлением обнаружил, что звучание гонгов неожиданно напоминает мои электрические эксперименты.
Я написал произведение для этих гонгов, обыгрывая динамику и различные приемы звукоизвлечения молоточками, придерживаясь основной идеи - продолжающегося звучания с целью пробудить их самих рассказывать музыкальную "историю" в обертонах. Мне пришлось создать настоящую партитуру, потому что в зависимости от силы удара по гонгам начинали проявлять себя совершенно не похожие друг на друга наборы обертонов. Первое исполнение произведения состоялось на сцене "Кухни / The Kitchen" в Нью-Йорке 28 февраля 1971 года."
"At the end of the '60s I was working with Morton Subotnick at his electronic music studio at New York University, where I met composers Maryanne Amacher, Charlemagne Palestine, Serge Tcherepnin and Ingram Marshall. Charlemagne and Maryanne in particular were big influences on me at the time and were responsible for sparking my interest in music of long duration.
I was working with the Buchla 100 Series modular electronic music system to make music whose melodic content rested primarily in the upper harmonic regions, using sine-wave generators, ring modulators and filters. I was also working as a harpsichord tuner for a rental company in New York called Bill's Music.
One day, I was regulating one of Bill's harpsichords when I happened to notice a collection of rather large Chinese Gongs. I started experimenting with them and discovered, to my delight, that they sounded very much like my electronic music pieces!
I made a score which consisted of a logically evolving set of dynamic changes and mallet attacks, but whose basic idea was to simply to keep the gongs ringing, thus allowing the evocative story told by their wild harmonics to unfold. I was obliged to score the piece because different sets of overtones would come out depending on how hard we hit the gongs: Hitting them softly elicited one set of overtones, hitting them harder would evoke a completely different set.
The original performance was at the Kitchen in New York on 28 February 1971. Yoshimasa Wada a composer buddy of mine who had worked with the Fluxus group, was the other performer. Yoshi and I performed the piece again at Phill Niblock's Experimental Intermedia Foundation on Centre Street in May of 1973.
Fifteen years later, in the winter of 1988, we re-created the piece in a third concert, from which this recording is taken.
In the original review of the piece that Village Voice music critic Tom Johnson wrote on 9 March 1972, he called Two Gongs "a radical new kind of minimalism that almost negates the whole idea of composition".
(...)
Two Gongs was an important piece for me because I decided to base a lot of my later work with electric guitars around it. To a certain extent, Guitar Trio was influenced by this piece in its use of the harmonic series as its primary vocabulary, but it was particularly with Drastic Classicism that I overtly tried to make the guitars sound as much as possible like the gong piece.
Из отзывов с обложки:
"(...) The hour-long Two Gongs fills the entirety of (this) disc with its ethereal, droning psychedelia. While wntten in 1971, the '89 recording documented here features Chatham, along with fellow composer Yoshimasa Wada coaxing heavy, overlapping tones out of a pair ot Chinese gongs, live instruments bun and hum moving in waves from deafening tattles to soft muted drones. The monstrous noise that Chatham concocts is far more akin to the seismic crashes of monstrously distorted guitar feedback than that of two unprocessed slabs of metal, and it proves the composer's interest in creating a similar world of sound out of whatever instrument currently proved his muse. On disc, the performance is jaw-droppingly powerful, a monumental chunk of glorious noise. — ETHAN COVEY, DUSTED
"The resulting investigation ol these gongs sounds not so much like an idealized Music of the Spheres as it is a Music of Two Enormous Fucking Ball Bearings the Size of Jupiter Grinding Together like Electric Teenagers-Heavenly, yes but with enough sharp metal shavings and distorted sparks as to spray in your eyes over its siity minutes." —PITCHFORK
" Two Gongs is a gem of minimalist composition, and is reason enough to sing Chatham's praises... the music swells and clangs, an ocean of squirming metal capable of simulating heroin stupor and root canal in equal measure.' —BRAINWASHED
"Oceanic clang." —ROLLING STONE
"Moments of exotic quiet and floor-shaking fortissimos" —NEW YORK TIMES
Скачать: https://rutracker.org/forum/viewtopic.php?t=5854930