CD review: André O. Möller with Hans Eberhard Maldfeld: in memory of james tenney (Wandelweiser)

André O. Möller with Hans Eberhard Maldfeld: in memory of james tenney

Hans Eberhard Maldfeld and André O. Möller


Is there such a thing as a “Wandelweiser sound”? Perhaps for a while a decade or so ago, but I sense this is becoming increasingly less true. Yes there remain certain familial connections, but these have less to do with specific techniques or even aesthetic preferences, and more to do with more or less shared concerns about the relationship of sound (material) to context. As has been pointed out to me recently, it’s not easy to fit works like Michael Pisaro’s ricefall (2) or White Metal into a stereotype of extreme quiet and long silences.

in memory of james tenney I (one just second) is thirty minutes of tromba marina drones played at the interval of a just second. Really nothing else. I am reminded very much of a comment I once heard that a lot of Wandelweiser is “meditation music for people who don’t like to meditate”. There’s nothing to do with pieces like these, it seems, except sit still and get deep inside the sound. Except that this is a really noisy, raspy kind of sound, that makes one feel really self-conscious as a home listener. Extreme and long, yes, but not quiet, not silent. What is this? What am I doing? Can my neighbours hear this, and do they think I’m mad? Breaking through to the interior of this sound takes a deal more effort than for, say, a Manfred Werder recording. Which may be the point.

But then what do you find when you get there?

Yes, there is lots of harmonic complexity, plenty of beating patterns, that sort of thing to get yourself lost in. The timbre of the tromba marina itself is also highly perforated, so there’s a really grainy rhythm, thousands of micro-pulses, to sink into as well, which you don’t get with, say, sine waves. It’s not necessarily an unpleasant place to be, but it is very different from the Wandelweiser stereotype.

The other pieces on the disc explore a wider range. in memory of james tenney II begins with almost a counterpoint between the two instruments as they shift notes against each other before settling on a particular interval. imojt IV (reprise) is by far the shortest, at just two minutes, a bagatelle of a single lolloping arpeggio pattern. The last piece on the disc, imojt V (when eight is seven), is the most active, a melange of insectoid buzzes, glassy harmonics and thunder-like bass rumbles.


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