Yarn/Wire; James Sullivan and Brian Walsh, clarinets; Andrew McIntosh, violin
This one has been knocking around the car for some months now. The kids love it. “Play the ghost music” they shout from the back, referring to the fourth part of Hyenas in the Temples of Pleasure for two pianos and percussion. I see what they mean: it’s an atmospheric little movement of piano harmonics and bowed metallic percussion that resolves into tinkling crotales and high register piano. Totally up my alley.
McIntosh, co-owner/operator of populist, also plays on this Tom Johnson CD I reviewed in 2012, but this disc is, I think, his first as a composer. In its use of just intonation and rhythmic and melodic process, his music fits in the lineage of Johnson, James Tenney, and Marc Sabat. However, it is somewhat less austere than their music can be; there are certainly processes at work throughout this disc, but picking them out when listening is not really the point; the music pulls more towards the sensual and the contrapuntally satisfying.
Hyenas is framed by McIntosh’s eight Symmetry Etudes, divided into two groups, for two clarinets and violin. These are, I suppose, more minimal in conception, and McIntosh’s primary materials of ascending and descending scales and arpeggios (conceived as equivalent to each other, just with different-sized steps) come to the fore. Those materials are often intercut or rearranged to create more complex, less predictable patterns, and may be overlaid in a number of rational tempo relations as well. The range of possibilities arising is large and taken full advantage of by McIntosh, from the melancholy, pastoral fourths of Etude II, to the bubbling exchanges of Etude III, to Etude VI, in which slow, three-note arpeggios, very widely spaced, lead to single notes being passed and sustained amongst the ensemble.
The more diverse instrumentation of Hyenas sets it in a very different soundworld, but its origins are similar: the first movement recalls late Ligeti in its use of overlaid scales that pass at different speeds, and there is a similar sense of uncanny storytelling in the way different instruments are introduced into the mix (in this case moving from piano to wooden percussion to skins) – each new instrument enters like an unexpected animal found deep in the forest. In the second movement, McIntosh is playing once again with scales and different forms of smoothness/gap size. The pianos begin with swift legato runs up and down, but are soon interrupted with the regular, dull chime of a glass water bowl. Unlike the piano notes, its thunks are spaced wide apart in time, but with the twist that they describe a very gradual movement down in pitch (just a fourth over the course of 25 bars) as water is slowly added to the bowl. It’s a great effect, both sonically and intellectually, and McIntosh returns to it in the fourth movement. In between the third movement is a resonant chamber of interlocking pianos and, later on, aluminium tubes. The sheer opulence of the sound here – quite, quite beautiful – is an oceanic indulgence in the context of what elsewhere can be a precise and reserved disc, but it shows McIntosh to be a composer of great aural as well as procedural imagination. Highly recommended.