Michael Gordon first came to attention with a number of works performed by the Bang On A Can Ensemble, for which he has been one of the directors, I think since it began in 1987. Here is a link to an earlier piece of his. The piece we will hear on Thursday is a premiere.
You might also listen to this work “Music for 18 Musicians” by Steve Reich, an important “Minimalist” composer and precursor of Gordon’s style.
It was a remarkable evening last night at LeFrak Hall for the music, the opportunity to hear the composer speak about his music (I’d like to expand on his comments on working with choreographers!) and also for the fact that we were somewhat trapped by the tornado! I’m interested in your reactions to the concert and the music. Post comments below.
I definitely think that being able to speak with Michael Gordon before and after the performance helped me appreciate and gain better insight into his work. I am genuinely intrigued by the thought process he put into creating “Timber”, as it is certainly a unique piece he has created. I also really appreciate the simplicity of Gordon’s work. I’m fascinated that something so complex can consist of, mostly, sixteenth notes played on pieces of wood.
What I found interesting was the earplugs they wore to keep in beat. In my high school drama class, we would often do an exercise where all the students would simultaneously do an action and a sound repeatedly for about a minute; everyone had their own individual beat, and we kept letting someone else’s beat affect our own rhythm. When they explained the reason for the headphones, I immediately got the concept of it.
I actually found myself trying to keep track of patterns during the performance. The performers would keep a certain beat, but then each performer would always take turns changing it up, and I was constantly following the sounds to see which performer had changed the way they were banging.
All in all, it was an enthralling performance.