Memory Palace, by Christopher Cerrone

Рет қаралды 9,218

7 жыл бұрын

Memory Palace, by Christopher Cerrone
Performed by Ian David Rosenbaum
Film by Mark DeChiazza
This recording was made during a residency at the Curtis R. Priem Experimental Media and Performing Arts Center, Rensselaer Polytechnic Institute, Troy, NY between January 12 - 16, 2015 in the Theater of EMPAC.
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Memory Palace
I. Harriman
II. Power Lines
III. Foxhurst
IV. L.I.E.
V. Claremont
Memory Palace is a kind of paean to places and people that have deeply affected me. The title refers to an ancient technique of memorization that helped orators remember very long speeches by placing mental signposts in an imaginary location and ‘walking’ through it. In this piece, the palace is my life. The crickets in the first movement, “Harriman,” were recorded on a camping trip with two old and dear friends. The recording of windchimes in the third movement was recorded at my parents’s house in their backyard. The sounds in the piece are signposts; they help me remember-and more important, understand, who I am.
The majority of the instruments in Memory Palace are to be fashioned by the percussionist. This includes restringing a cheap guitar, cutting and tuning 14 slats of wood (to be played like a marimba), tuning 10 metal pipes, and tuning wine bottles by filling them with varying amounts of water. Ideally, the instruments should not be expensive to make; simple household items (and maybe a trip to your local hardware store) should suffice. In addition, a few traditional percussion instruments are used: three loose crotales, two glockenspiel bars, and a kick drum.
- Christopher Cerrone
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Christopher Cerrone’s Memory Palace is a remarkable piece of music for being somehow both intimate and epic. When performing the work, there is a kinetic magic Ian conjures with his flying mallets-beautiful soundscapes blooming from simple arrays of mundane objects-shimmering textures that become enveloping atmospheres full of shape and detail. From the start, it felt clear that the act of playing this piece should be a primary focus of the film. At EMPAC in an empty theater we captured Ian’s performance-both sound and image-allowing the set-ups for each of the five movements to accumulate on the stage one by one, to remain as physical markers of his passage through the space and the piece. The theater is backed by a wide low screen that becomes a portal that refracts imagined versions of Cerrone’s remembered locations-his memories are ghosts that we try to make concrete through his music. I walked with Ian in the woods of Harriman State Park and the back yard of his childhood home, and drove the LIE, my camera searching these places to find and amplify traces.
-Mark DeChiazza
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For more information, please visit:
www.iandavidrosenbaum.com
www.christophercerrone.com
www.markdechiazza.com

Пікірлер: 8

@RickOliveiraOficial 7 жыл бұрын

One of the most beautiful creations I've ever heard ... I work with music therapy, and this is sure to serve me a lot, both for students and for myself! Thank you so much for this avalanche of sound that has massaged my ears.