Sarah Hennies: Spectral Malsconcities

Description

In modern experimental music, and especially among a number of musician-composers emerging in America during the Sixties, a fixation on process and awareness became a structural hallmark, exploring the gradual change of sonic
materials, built environments, and the human body.

Though much maligned as a term by its practitioners, figures like Steve Reich, La Monte Young, Philip Glass, and Terry Riley were among these “minimal� composers; askew of them were electroacoustic explorers like Alvin Lucier, Robert Ashley, and David Behrman.

In recent years, composer Sarah Hennies (b. 1979) is forging new paths of reduction and expansion.

Spectral Malsconcities (2018) consists of six linked and varied sections; it is constructed in a way that ensures the musicians are never completely in sync, and in fact they generate sounds that continually destabilize the standard
ensemble goal of togetherness.

As Hennies put it recently, “this piece is an example of performers elevating something beyond what I thought it could be. I wrote a piece that I thought would intentionally create mistakes.

You ask somebody to repeat a very different polyrhythmic contrapuntal page of music 25 times, and it is going to fall apart at some point and then come back together. However, the musicians are so good that they played it exactly as it was written, which is better than what I thought it would have been if they were messing up...�

Taking its cue from a two or three player-one vibraphone piece called Settle, which was composed by Hennies in 2012, Unsettle (2017) is a spare and summarily weighty composition that finds space monolithic and driving. The score is economic, taking all of two pages to spin out 33 minutes of music.