Erik Hall - Canto Ostinato - COMPACT DISCS [CD]
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In the fall of 2021, Simeon ten Holt's InchCanto OstinatoInch was reborn in a 'solo version for seven keyboards'. During the weeks leading up to the birth of his son Lark, Erik Hall moved methodically among the instruments in his recording studio, conducting a multi-track conversation with himself and the piece's score. Ten Holt composed InchCanto OstinatoInch between 1976 and 1979. The rhythmic motif (ostinato) repeated over it's entire length has a limited number of printed notes. It is up to the performers how to play them, for how long, where to place accents, etc. In the score, the composer calls on musicians to interact and evaluate, to fuse sounds and colors into one cohesive musical universe. Then a cosmos is created. You can get lost in that. You want to get lost in that, like in the original live recording with four pianos. InchThat performance is deeply compelling, almost otherworldly,Inch says Hall. He has always been drawn to music that is based on repetition, harmonically rich, and tonal. He previously added a groundbreaking dimension to Steve Reich's 1976 minimal masterpiece InchMusic for 18 MusiciansInch, and- as again now with 'Canto'- his motivation is the love of the music itself. InchWhen I first heard the piece, I was captivated.Inch Then the plan emerged to undergo the same focused practice as before. He stacked seven total layers of his 1962 Hammond M-101 organ, a 1910 Steinway grand piano, and a 1978 Rhodes electric piano, each performance informed by those that preceded it. Erik Hall's InchCanto OstinatoInch lasts for one hour, and from the sheer joy of playing this wondrous composition emerges an elegantly meandering journey. In it, music rises above itself, higher and higher, like a lark jubilating freedom in the sky.
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- GenreClassicalDescriptionIn the fall of 2021, Simeon ten Holt's InchCanto OstinatoInch was reborn in a 'solo version for seven keyboards'. During the weeks leading up to the birth of his son Lark, Erik Hall moved methodically among the instruments in his recording studio, conducting a multi-track conversation with himself and the piece's score. Ten Holt composed InchCanto OstinatoInch between 1976 and 1979. The rhythmic motif (ostinato) repeated over it's entire length has a limited number of printed notes. It is up to the performers how to play them, for how long, where to place accents, etc. In the score, the composer calls on musicians to interact and evaluate, to fuse sounds and colors into one cohesive musical universe. Then a cosmos is created. You can get lost in that. You want to get lost in that, like in the original live recording with four pianos. InchThat performance is deeply compelling, almost otherworldly,Inch says Hall. He has always been drawn to music that is based on repetition, harmonically rich, and tonal. He previously added a groundbreaking dimension to Steve Reich's 1976 minimal masterpiece InchMusic for 18 MusiciansInch, and- as again now with 'Canto'- his motivation is the love of the music itself. InchWhen I first heard the piece, I was captivated.Inch Then the plan emerged to undergo the same focused practice as before. He stacked seven total layers of his 1962 Hammond M-101 organ, a 1910 Steinway grand piano, and a 1978 Rhodes electric piano, each performance informed by those that preceded it. Erik Hall's InchCanto OstinatoInch lasts for one hour, and from the sheer joy of playing this wondrous composition emerges an elegantly meandering journey. In it, music rises above itself, higher and higher, like a lark jubilating freedom in the sky.ArtistErik HallTitleCanto OstinatoFormatCDLabelWestern Vinyl
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In the fall of 2021, Simeon ten Holt's InchCanto OstinatoInch was reborn in a 'solo version for seven keyboards'. During the weeks leading up to the birth of his son Lark, Erik Hall moved methodically among the instruments in his recording studio, conducting a multi-track conversation with himself and the piece's score. Ten Holt composed InchCanto OstinatoInch between 1976 and 1979. The rhythmic motif (ostinato) repeated over it's entire length has a limited number of printed notes. It is up to the performers how to play them, for how long, where to place accents, etc. In the score, the composer calls on musicians to interact and evaluate, to fuse sounds and colors into one cohesive musical universe. Then a cosmos is created. You can get lost in that. You want to get lost in that, like in the original live recording with four pianos. InchThat performance is deeply compelling, almost otherworldly,Inch says Hall. He has always been drawn to music that is based on repetition, harmonically rich, and tonal. He previously added a groundbreaking dimension to Steve Reich's 1976 minimal masterpiece InchMusic for 18 MusiciansInch, and- as again now with 'Canto'- his motivation is the love of the music itself. InchWhen I first heard the piece, I was captivated.Inch Then the plan emerged to undergo the same focused practice as before. He stacked seven total layers of his 1962 Hammond M-101 organ, a 1910 Steinway grand piano, and a 1978 Rhodes electric piano, each performance informed by those that preceded it. Erik Hall's InchCanto OstinatoInch lasts for one hour, and from the sheer joy of playing this wondrous composition emerges an elegantly meandering journey. In it, music rises above itself, higher and higher, like a lark jubilating freedom in the sky.
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The slyly absorbing new volume from Michigan-based musician Erik Hall understands the contemplative joy in repetition. Solo Three is the culmination of what Hall describes as a loose trilogy, following his radical reinterpretation of Steve Reich's minimalist masterpiece Music for 18 Musicians, and his subsequent rendition of Simeon ten Holt's Canto Ostinato, a winding work of Dutch minimalism.This time, Hall boldly reimagines works by four distinct contemporary classical composers Glenn Branca, Charlemagne Palestine, Laurie Spiegel, and, again, Steve Reich. It is a particular grouping that exists through Hall's singular lens for magnetic repetition and harmonic resonance. The resulting program unravels subtly but masterfully, each piece a kind of contrapuntal bliss a touch livelier than the last, all building to the Reich-ian reprise-an apt bookend to the series.Altogether, Hall has crafted a richly varied homage to four pillars of American minimalism, an elegant mix of accessibility and discovery. As ever, he performed and multitrack-recorded all the parts himself without loops, programming, or sequenced instruments, his solitary method still arguably novel to the classical canon. Meanwhile, within the context of modern production, this analog approach works as a gentle rebellion against a culture of faceless automation, instilling these recordings with a flesh-and-blood human touch. InchIt's just so much more interesting to actually play every note,Inch Hall says. InchYou then get them directly juxtaposed, and as they repeat, all of those micro-differences between them create a sort of living, breathing magic.InchThat living, breathing magic imbues every crevice of Solo Three, making it not just a stirring tribute to four giants of 20th-century minimalism, but a reflection of how their influence continues to reverberate today.
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