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by Godfried-Wilelm Raes, Joachim Brackx, Hans Roels, Kris De Baerdemacker.
Logos Publiek Domein/Public Domain 004, Gent, Belgium.

Reviewed by Mike Mosher, E-mail: mikemosh@well.com


The computer-driven player piano affords composers new opportunities to create pieces based on mathematical propositions, playing in a manner difficult to even trained pianists, yet fit into and enlarge existing traditions of piano music.

"Take an integer. If it is even, divide it by the number 2. If it is odd, however, multiply it by the number 3 and add 1. Now , after a sufficient number of recursions, we always arrive back at the number 1." That proposition is applied by Godfried-Wilelm Raes as an algorithm for musical composition in his "Jumpy Variations" (1995). "Movement 1: Tendering" is dynamic and reminiscent of the free jazz of Cecil Taylor, until the energy gradually winds down as the calculations approach 1. "Movement 2: Tropes" used the logarithm of the logarithm of particularly large numbers applied to the initial algorithm that generates the music, so the bursts of notes are seemingly at random. "Movement 3: Totems" has so much quiet that at times it's difficult to discern the notes holding the composition together.

These are followed by Raes' "Fortepiano" (1973) for two player pianos. The player pianos are enlisted to play the notes fortissimo then immediately pianissimo for a bouncing effect. The melody is based upon a repititous four-note motif, like something Erik Satie would teach a young niece in order to infuriate her mother, Uncle Erik lustily playing along insouciantly suppressing a smile.

Joachim Brackx says of his "Dualistic Solitude II" (1998-99) "The player piano starts a conversation with itself, fast and mechanical--a machine chit-chat, regularly interruped by moments of doubt and alienation". Yet this twittering machine seems more pensive than chattering.

Hans Roels' angry "Sailing the Waves of Down Below" (1997) is full of rapid keyboard runs and subjective passion, as are Kris De Baerdemacker's three studies from 1999. "Study #1" is a study in seriality, with repetitive motifs built of eighth-notes. "Study #3" is memorable for its opening funereal chords, and "Study #5" employs its propulsive glissandoes for a jazzy feel, soundtrack for a Bugs Bunny cartoon of pursuit and unexpected doubletakes.

Evidently a computer-controlled piano still has the range and subtle majesty of the instrument in trained human hands. In this collection "New Music for Player Piano" the mechanical element doesn't get in the way, but liberates the human player from replicating very complex and difficult music.