EAR #17 seventeenear july 1974 copyright 593w

[by Beth Anderson ?]


Thursday, June 20 [1974] at 1750 Arch, Berkeley there were New Musics by Ingram Marshall and other CAL ARTS composers. 1750 does a lot of good music and on top of that, they have the most beautiful bed of calendulas my mother has ever seen -- big as mums!

The first tape was by John Weisberger -- CONCRET IId, and it seemed to have about four sections. The first was inhabited by friendly sounding rhythms and suddenly the second appeared and it was made of rushes between speakers. Every time a section made itself known, it startled me. The third started very small and concentratedly and developed into a metallic penetrating sound that entered and withdrew. It alternated between pulsating and being diffused and created stupendous climaxes repeatedly. The last section began with deep bells over a concentrated point of moving sound that seemed to be overcome from underneath by an even deeper roll. And the floor trembled and the rushes were strong and good. A terrific piece!

Chas Smith's ENERGENESIS II came next. It was aptly named. I'm told that this piece and the one before it were made on Buchla 200 series. This one was space music with a smoother than organ sound and yet it was undisturbed by the tones that penetrated through the surface. It somehow managed to be so smooth, so silky, it was tactile. There was a lot of swirling that moved from the background to the foreground and all around. It burrowed deeper and deeper and very continuously and always with sweetness and warmth. Music for THE LITTLE PRINCE, sensuality and wonder.

Harry Breuer wrote HAPPY HAMMERS for marimba, piano, and bells. If Gottschalk and Schoenberg were hired to write for Walt Disney, this might have been the result. It was completely pleasurable and kept disintegrating and recovering with great humor. Someone said that Breuer was alive and living in Long Beach. I'm not sure I believe that Breuer exists. Is Ingram Marshall Harry Breuer? Ingram says there will soon be a complete edition of Breuer's work followed by a Breuer Renaissance.

WEATHER REPORT (form Greenland's Icy Mountains) by Ingram followed. It was a text-sound piece made from the voice of a Danish weath woman. It was very mysterious.

MIND EMISSION by a composer whose name was not on the program and whose name I could not hear when it was announced -- came next. [Peter Plonsky -jh] It was the most amazing thing I've seen or heard recently. He said that it was based on glissando and that the shape and speed changed directions often and it did. All I know is that the effect was very peculiar and that I'd like to see that again. Amazing.

Ingram's last piece, AUGMENTED TRIAD SHIFTING, for two marimbas, vibraphone and piano, seemed for a long part of the performance to be an extensive introduction to a music that may never exist and that certainly will never crest. There was also a most interesting effect created by the combination of piano and vibes. I kept hearing an organ very clearly and kept looking around for it as if Ingram had hidden one over behind the piano, but of course it wasn't there. Tricky. Finally the piano became apparent and eventually I felt my metabolism lower itself into the minus ranges and I knew I was hearing something terrific. I can always feel it physically when the music is good and the resolution was truly beautiful. Charlemagne, Charlemagne, where art thou?