Inspired by natural processes and acoustic phenomena, composer and percussionist Nathan Davis makes music that elucidates essential characters of instruments and the fragile athletics of playing them.
|01||Like Sweet Bells Jangled|
Like Sweet Bells Jangled
|Claire Chase, flute, Nathan Davis, percussion, Joshua Rubin, clarinet, Eric Lamb, flute||10:37|
|Claire Chase, flute||9:58|
|03||The Mechanics of Escapement|
The Mechanics of Escapement
|Phyllis Chen, toy piano||15:32|
|Joshua Rubin, clarinet||9:30|
|05||The Bright and Hollow Sky|
The Bright and Hollow Sky
|Joshua Rubin, clarinet, Daniel Lippel, guitar, Eric Lamb, flute, Doug Perkins, conductor, Adam Sliwinski, percussion, Peter Evans, trumpet||19:32|
The architect Louis Kahn once stood before a group of students, held up a brick, and asked it what it wanted to be.
“I like an arch,” the brick responded.
“But Brick,” Kahn quipped, “arches are expensive, and I can use a concrete lintel over you. What do you think of that?”
“I like an arch,” the brick responded.
Kahn addressed the monumental extremes of modern architecture with an ancient Platonic appeal: let things be as they are, not as you want them to be.
When Nathan Davis sat down to write pneApnea, he picked up a flute for the first time in his life, blew into it, and listened to the sound it produced. He blew into it again, and listened again. He scribbled a few notes to himself. Another breath, another sound, another scribble… a compositional process borne out of an ethic of exploration, and a basic respect for what musical instruments want to do. Likewise, The Mechanics of Escapement was the product both of months learning the overtones and clackings of a particular toy piano (exploration quite evident to those of us who share studio space with Nathan), and an apprenticeship with a master woodworker to custom-build clock chimes by hand.
There are no “concrete lintels” in this music: no synthesized electronics, no taming of unwieldy instruments. Where Nathan’s music sounds the most complex, it is in fact the most simple, as in the rich microtonal sonorities Like sweet bells jangled, created with a simple ring modulation of just intervals; or the rich bell-like overtone clusters in Dowser, which in their dense virtuosity elucidate the most basic acoustic properties of the bass clarinet.
Nathan is equally a composer and a performer, and for him those two worlds flow seamlessly into one another. Like so many percussionists, he bears the influence of Indonesian Gamelan and Indian Karnatic music; innately spiritual traditions in which percussion music plays a purifying role, making Earth inhabitable for spiritual beings. Likewise, the proud, spacious sonorities and the slow, irregular march procession of The Bright and Hollow Sky resound as a kind of invocation, initiating uncertain rituals.
There is a unity in Nathan’s craft: for him, the percussionist’s innate curiosity for new musical resources is equally the composer’s fascination with confronting sound on its own terms. There is also a collegiality. While each of the compositions on this album bears a deeply felt respect for the acoustic properties of instruments, these works were written for people, not devices. As a member of the International Contemporary Ensemble, Nathan has intimate musical relationships with each of the performers on this recording; idiomatic writing and these commanding performances—from Claire Chase’s tightly controlled pnea (breaths) and frenzied apnea (breathlessness) to Peter Evans’ virtuosic multiphonics in The Bright and Hollow Sky—are the fruit of close artistic friendships.
One cannot help but listen to this music. Not just hear, but listen. Each struck crotale sends a cloud of incense billowing through the room, each throbbing breath into the clarinet forces a collective exhalation of musty, distracted air. The acoustic space is changed, made sacred. In his fascination with acoustic purity, his reverence for the historic sacredness of resonant bodies, and his close relationships with his performers, Nathan is a 21st century Louis Kahn: an artist for whom the world of objects and the world of ideas are one and the same.
Recorded and mastered by Ryan Streber
Recorded at EMPAC, Smith College, and Oktaven Audio
Editing and electronic processing by Nathan Davis
Analog ring modulator built by Joshua Rubin
Clock Chime instruments built by John Roche and Nathan Davis
Cd Layout design by Nathan Davis
All works written for the International Contemporary Ensemble
Produced by Nathan Davis
The International Contemporary Ensemble (ICE) is an artist collective committed to reshaping the way music is created and experienced. As performer, alchemist, curator and educator, ICE explores how new music intersects with communities across the world. From youth in schools to audiences in established and alternative venues, ICE engages its listening public in the spark of musical invention. ICE’s thirty-five musicians are empowered through curated concerts that promote their virtuosity, versatility and expressive range. The members of ICE are featured as soloists, chamber musicians, commissioners and collaborators with the foremost musical artists of our time. Emerging composers have anchored ICE’s programming since its founding in 2001. ICE’s recordings and digital platforms highlight the many voices that weave music’s present. Founded by flutist and MacArthur Fellow Claire Chase, ICE has received American Music Center’s Trailblazer Award and ASCAP/Chamber Music America’s Award for Adventurous Programming, and was also named Musical America’s 2013 Ensemble of the Year. The group currently serves as ensembleinresidence at Lincoln Center for the Performing Arts’ Mostly Mozart Festival, and previously led a fiveyear residency at the Museum of Contemporary Art Chicago. ICE has been featured at the Ojai Music Festival since 2015, and at festivals abroad such as Acht Brücken Cologne and Musica Nova Helsinki. Other recent performance stages include the Park Avenue Armory, Nagoya Symphony Hall, ice floes during Greenland’s Diskotek Sessions, and boats on the Amazon River. From 2011 to 2014, the ICElab program created dozens of new works that grew from close performer/composer collaborations. OpenICE, with lead funding from The Andrew W. Mellon Foundation, today brings the full scope of ICE’s programming and commissioning to broader audiences around the world in free concerts and online. In 2015, the EntICE education project was launched, uniting leading composers with youth ensembles in new works developed and performed side-by-side with ICE. Inaugural EntICE partners include The People’s Music School Youth Orchestra (Chicago) and Youth Orchestra L.A. Yamaha Artist Services New York is the exclusive piano provider for ICE. Read more at iceorg.org.
Inspired by natural processes, acoustic phenomena, and the abstraction of simple stories, Nathan Davis makes music that elucidates essential characters of instruments and the fragile athleticism of playing them, writing "music that deals deftly and poetically with timbre and sonority" (Steve Smith, NYTimes). Amplification and live electronic processing are used organically with acoustic instruments to reveal and exaggerate subtle complexities of sound, forming an architectural sound-world through which the audience travels in experiencing a piece.
Lincoln Center inaugurated its first Tully Scope Festival in 2011 by presenting the premiere of Nathan's half-hour, site-specific work Bells, performed by the International Contemporary Ensemble (ICE) and described by Tommassini in the NYTimes as "an alluring and pensive musical experience". Selected to write a program of ICElab commissions, Nathan has written many other works for the group and its members, and he has also received commissions from master percussionist Steven Schick, The La Jolla Symphony Chorus, Miller Theatre at Columbia University (for Morningside Lights, an hour-long participatory procession), the Ojai Festival (for Eighth Blackbird and an installation by sound-sculptor Trimpin), MATA and the Carlsbad Music festival (for the Calder String Quartet), Yarn/Wire (for their residency at Issue Project Room), and Santa Fe New Music. Nathan has also received awards and commissions from The Fromm Foundation for Music at Harvard University, Meet The Composer Commissioning Music/USA, Aaron Copland Fund for Music, Jerome Foundation, New Music USA, American Music Center New Music for Dance, Concert Artists Guild, ASCAP, The Trust for Mutual Understanding, and the ISCM.
Performances of his music have been presented at NYC's Carnegie Hall, Alice Tully Hall, Miller Theatre, Merkin Hall, Symphony Space, The Kitchen, Roulette, Le Poisson Rouge, the Stone, Issue Project Room, the Park Avenue Armory, and the Look and Listen Festival. His music has been performed across the country by the San Francisco Contemporary Music Players, the Chicago Symphony Orchestra MusicNOW, Talujan, TimeTable, Sonic Generator, the Meehan/Perkins Duo, and many soloists, and it will be featured in an upcoming portrait concert at the Spoleto Festival. International performances have been heard at Helsinki Musica Nova, Internationales Musikinstitut Darmstadt, Audio Art Krakow, and other festivals in Holland, China, Canada, Mexico, Cuba, and Australia.
Recordings of Nathan's music include a monograph longplay of his chamber works performed by ICE entitled The Bright and Hollow Sky(one of TimeOut NY's top 10 classical albums of 2011), his electroacoustic percussion disc Memory Spaces, flutist Claire Chase's debut Aliento, Travel Diary from the Meehan/Perkins Duo, Simple Songs from percussionist Doug Perkins, and a forthcoming disc from Rebekah Heller. His music has also been broadcast on NPR's All Things Considered, on WNYC's New Sounds Live, KALW's Then and Now, American Public Media's The Story, on WKCR, and on Q2.
Also an active percussionist, Nathan has premiered hundreds of pieces, working with luminaries and fostering emerging composers. He has appeared as a concerto soloist with the Seattle Symphony conducted by Ludovic Morlot at Benaroya Hall and with Gamelan Galak Tika at Carnegie's Zankel Hall. A core member of ICE, he is in residence at Lincoln Center's Mostly Mozart Festival, and performs regularly at major venues throughout NYC, across the US and Europe, and has toured Russia, Bali, Turkey, and Cuba. He has recorded for Nonesuch, Tzadik, Mode, Kairos, New Albion, Bridge, BMOP, Karnatic Lab, and Cold Blue records.
A dedicated instructor, Nathan is on the faculty at Dartmouth College where he teaches lessons and directs the Contemporary Performance Lab. He has given masterclasses on composition, electronics, and extended percussion techniques at UC Berkeley, CalArts, Rice, Baylor, Yale, the Longy School of Music, UMass Amherst, Georgia Tech, the Center for Advanced Musical Studies at Chosen Vail, and the Akademia Muzyczna in Krakow, Poland, and has been in residence at Harvard, Princeton, UCSD, Brown, and others. Nathan received his Masters in Music from Yale University, Bachelors degrees in both composition and percussion at Rice University, and was awarded a Fulbright Fellowship to study at the Rotterdams Conservatorium in Holland.
Nathan Davis is a New York based composer and percussionist with a clear understanding of the blend between acoustical and electronic sounds sources and with some fascinating results. Davis has studied at Rice University and, while on a Fulbright Fellowship, at the Rottersdam Conservatorium. He has also explored a great deal of the philosophies and tonalities of Karnatic music and meditation. Davis has written pieces for many of the most influential performers of new music including the Calder Quartet and the Ethos percussion ensemble. His works have been featured at the Ojai Festival and at many performances of the International Contemporary Ensemble, featured on this recording.
This disc illustrates the meditative, introspective quality of Davis’ work and showcases his ability to treat traditional sounds in very unusual ways quite well! In many ways, I suggest starting with his “pneApnea” for alto flute and live processing (delays, decays, and so forth). This fascinating work takes its title from the Greek terms for breathing and the difficulty or absence of doing so (the term “apnea” is one most people have heard) Soloist Claire Chase creates an almost “eastern” sound that seems to begin out of nothing and close into nothing. With the assistance of the processors, the net effect is almost like listening to a floating shakuhachi ensemble. Davis’ “Like sweet bells jangled” begins in a similar trance-like way as a sole triangle blends with some odd, not quite triadic, harmonies between clarinets and flutes. Small hollow wood percussion “react” to the sonorities while the harmonies created by the winds are run through a ring modulator to heighten the effect and further blur the identity of the various sources of sound. Here, too, the effect is odd, eerie but not at all unpleasant.
I found “Dowser” for bass clarinet and delay to present an experience similar to that in “pneApnea”. Bass clarinetist Josh Rubin does some truly amazing things to his instrument including singing while playing, pitch bending, some multiphonics all with the assistance of the electronics delays. At times, the sonorities are – again – barely definable and pitches slide in and out of clarity. The movement in this piece, like the others, is very gradual and deliberate. In this piece too, the instrument is almost transformed by the skills of the player; in the case I found it very reminiscent of a didgeridoo.
“The Mechanics of Escapement” for toy piano and clock chimes offers another beautiful but bizarre listening experience. The timbres between the small tuned rods of the toy piano and those within a mechanical clock are nearly seamless. Phylis Chen has made a career out of collecting toy pianos, writing music for them and performing works featuring them. As her own website admits, the results are frequently “quirky” but in my estimation oddly beautiful. Davis’ work takes advantage of the chosen timbres and the performer’s expertise to create a piece that sounds “artificial” but still very acoustical. Following pitches as they bounce around the composer’s landscape is fun and this piece is rewarding to listen to; almost like walking inside a toy piano and watching the tiny hammers as the pitch rods are struck.
“The Bright and Hollow Sky” for a larger group of the ICE ensemble plus ring modulation presents a similarly other-worldly experience. The music is almost pushed along by a chugging, almost syncopated mallet line against wind pitches and utterances that seem wildly out of place at times, very syntactical at others. The blend of upper range timbres between the clarinets and the flutes is assisted in places electronically and the bizarre multiphonic bursts by trumpeter Peter Evans are fascinating and worth some kudos! This piece is a bit more restless, strident and kinetic than the others on this disc but fascinating, none the less.
The package notes by Whit Bernard refer to Nathan Davis’ work as similar in their ethos to the work of architect Louis Kahn where “the world of objects (and) ideas are one and the same.” From what I can tell, I would agree. Davis’ music is certainly not for everyone and even in this collection, some pieces have a sound that most listeners would appreciate on some level with others might not. The ICE performers are all dedicated and Daniel Lippel and New Focus Recordings is to be commended for making a wide variety of new music and new performers available in very high quality recordings.
-- Daniel Coombs, July 25, 2011
Long a tremendous asset to the International Contemporary Ensemble as both a brilliant percussionist and a resourceful composer, Nathan Davis finally documented five of his sonically beguiling works, with predictably rich results.
-- Top Ten Classical Albums of 2011, Steve Smith, December 11, 2011
As a composer, Nathan Davis lets many variables dictate what it is he is writing before he puts his own personal thoughts and feelings into the piece. He is unusually attuned to the abstract wants and needs of particular instruments and is careful to consider who will be performing his works. The Bright and Hollow Sky is a collection of five extended works performed by the International Contemporary Ensemble, and each one is drastically different from the other. “Like Sweet Bells Jangled” is a chance for Davis himself to play with ring modulation while clarinet, piccolo and flute supply sharp dissonance. The effect would be considered dull and slow on other albums, but it’s something of a jolt here. “The Mechanics of Escapement”, an odd exercise in minimalism that is in turns soothing and frantic, is played on what sounds like my daughter’s toy piano coupled with clock chimes. “preApnea” and “Dowser” are haunting flute and bass clarinet solos respectively, but the bewildering title track is saved for last, corralling a chamber ensemble into the sound of a sky that can’t decide if it’s calm or raging.
- John Garratt, Aug. 23, 2011
NATHAN DAVIS & INTERNATIONAL CONTEMPORARY ENSEMBLE [ICE] With JOSHUA RUBIN/ERIC LAMB/PETER EVANS et al - The Bright And Hollow Sky (' 120; USA) The Bright and Hollow Sky is a compilation of works that Nathan Davis has written for the International Contemporary Ensemble (ICE), of which he is also a current member as a percussionist. Long a tremendous asset to the International Contemporary Ensemble as both a brilliant percussionist and a resourceful composer, Nathan Davis finally documented five of his sonically beguiling works, with predictably rich results. Davis' music-making is inspired by many sources, beginning with a simple fascination for acoustic phenomena and embracing American experimentalism, Balinese Gamelan, and Karnatic music. These recordings benefit from the closest of collaborative circumstances with his ensemble mates, from the composition stage to the performance and recording phases of the works.
"This disc was picked by NY Times/Time Out journalist Steve Smith as one of his top ten picks for best modern composer discs of last year. It is easy to see why as this is one of the most creative, unique and challenging discs of the year. Each of the five pieces here were written for different instrumentation from solos for alto flute, toy piano & bass clarinet to a quartet & quintet pieces. "Like Sweet Bells Jangles" is for clarinet, piccolo, flute & percussion. The piece is sparse and mysterious with layers of carefully crafted drones. A selective amount of ring modulation was used to alter the instruments delicately. An eerie resonance has been added to the minimal percussion sounds making everything shimmer or hum cautiously, the effect is quite hypnotic. "pneApnea" is performed on solo flute by Claire Chase with live processing. Ms. Chase is a virtuosic flutist who is able to breathe life and add layers of nuance to the pieces she performs. This piece pushes her to use breathlike reverberations, bend notes and layer various parts simultaneously due to the use of processing. I am reminded of different ghost-spirits dancing around one another in a fascinating haze of patterns. "Dowser" is for solo bass clarinet with delay and the alteration adds a floating layer of echoes to the warm yet dry tone of that distinctive reed. "The Mechanics of Escapement" is for toy piano and is playful yet slightly twisted and it gets better as the tempo and ringing increases, similar to a clock spinning out of control. The title track is last and is performed by a quintet of members of ICE for flutes, clarinets, trumpets, guitar and percussion with more ring modulation utilized. I dig the way this piece builds with different bent drones sailing around one another over what becomes a hypnotic groove. Composer Lois V. Vierk does something similar with her work yet here the results are less predictable as certain instruments lay out and space is used in unexpected ways. There is compelling air of mystery the links all these pieces here together. With a little time and reflection, the mystery will be revealed."
- Bruce Lee Gallanter