Tube Mouth
Bow String
by Nick Didkovsky
Pogus, New York, 2006
Audio CD, 4621". $14.00
Pogus 21042-2
Distributors website: http://www.pogus.com/.
Reviewed by Stefaan Van Ryssen
Hogeschool Gent
Belgium
stefaan.vanryssen@hogent.be
Tube Mouth Bow String: Music
for electric guitar, string quartet, computer
and live electronics is a collection
of five chamber music pieces sharing a
quasi-minimalistic, spectral aesthetic.
The predominant parameters of these compositions,
for the listener at least, are timbre
and texture, requiring intensively focused
listening in quiet surroundings. Preferably
one keeps a pen and paper at hand to take
notes in order to unveil the structure
of each slowly evolving and unfolding
piece. But even then, the underlying compositional
methods arent easily exposed. At
times, one gets the impression that the
musicians are improvising within a framework
of set rules, at other times, the subtlety
of the microchanges are such that it is
hardly imaginable that they have any freedom
at all. This is exactly the point. Nick
Didkovskys compositions are continuously
playing with the thin differences between
improvisation and full-score music. At
times, he lets a computer program and
synthesizer perform a piece only to write
it down and have the score performed by
live musicians afterwards. In some other
instances, the performers have considerable
freedom in interaction and interpretation.
By far the most interesting is the title
piece. The sound of the strings is picked
up and sent through a plastic tube into
the mouth of the performers. The score
prescribes how they are to change the
timbre of these bowed sounds by mouthing
certain vowels, which results in a very
organic sound quality, subtly coloured
and gradually shifting in an utterly unpredictable
way. It is just an example of the creative
ways Didkovsky follows to blend human
and machine elements into one focused,
surprising but always meaningful and coherent
sound image. Similarly, What the
Sheep Herd (sic), allows a user
to modify eight voices of independently
looping melody. Each voice can be turned
on or off and shifted in pitch. The start
and end points of the looping can also
be changed. (An online version gives the
reader an idea of the richness of this
seemingly strict set of choices: http://www.punosmusic.com/pages/whydontyouwriteme.)
In the recorded version, the string quartet
plays some of the voices along with the
computer and the composer comments: "Performing
this as an ensemble is a challenge in
mediating between individual choices and
the overall arches of the piece. Tending
to each voice feels like herding a flock
of sheep, nudging strays back into the
fold of coherency."