Leslie Ross’s Drop by Drop, Suddenly is a set of texturally exploratory pieces for bassoon augmented by multiple microphones. As a performer, Ross, an instrument builder as well as an instrumentalist with experience in experimental, classical and early music, has focused her attention on the physical aspects of sound, particularly as manifested through the use of multiphonics and microtones. The two CDs making up this release attest to the variety of textural and acoustic effects that can be created with a single wind instrument, with and without real-time sound processing.
Although Ross deliberately eschews large-scale pitch movement and otherwise strips her basic sound material down to a minimum, her performance techniques and use of miking serve to unravel individual tones and reveal them as containing multitudes—complex sound spectra of varying internal consonance and dissonance. Ross pushes far into this territory in two ways: first, with all those microphones, which she places at tone-holes and feeds out to multiple speakers; and second, by reducing musical movement to increments. The microphones pick up minute differences of timbre and pitch across the instrument, differences created and enhanced by circular breathing and multiphonics. Out of this she’s able to create textures that follow the breath as they expand and contract in thickness, volume and frequency–much like the cycling of lungs filling and emptying of air.
Like the double bass in the 1950s, the bassoon is an instrument often overlooked as a solo voice with the potential to push the boundaries in new music. In order to change that, bassoonist Dana Jessen has been endeavoring to develop an adventurous repertoire of new work for solo bassoon. On Carve, her debut release, she does that with a set of four pieces she commissioned from contemporary composers for solo bassoon and electronics.
The four compositions, written in 2014 and 2015 and recorded in September, 2015 and May, 2016 at Jessen’s home institution of Oberlin Conservatory, are the products of a collaborative process. Jessen met with the composers and played some improvisations for them; these served as the kernels around which the compositions were constructed, each of which was shaped as much by her musical language and sensibility as by the composers’ own ideas. Working this way entailed a strategy of mutual interpretation that upends and in a way reverses the conventional relationship between the composer as originator and the performer as interpreter.
On all four pieces, creatively employed electronics serve to transform, supplement or challenge the sound of the acoustic instrument. Paula Matthusen’s of an implacable subtraction is a melodic piece whose minor modality is tinted with melancholy; the electronics pick up and reinforce key points in the bassoon line, stretching and repeating them to make them a harmonic bed of lingering tones. In Points against Fields by Sam Pluta, Jessen’s extended technique and energetic playing lend the bassoon an otherworldly sound that complements the surrounding surf of electronic splashes, chirps and static. Peter V. Swendsen’s Fireflies in Winter casts fragments of bassoon melodies in the role of commentators on field recordings of the natural and urban environments. During one passage in which the bassoon is surrounded by the sounds of crickets and other nocturnal wildlife, one can almost hear the vast expanses of night sky reaching above. Cadenza and Degradations seems a contemporary improvised bassoon sonata, with an elastically-scaled virtual wind ensemble made up of composer/oboist Kyle Bruckmann’s multiply recorded oboe and bass oboe forming the backdrop for Jessen’s elegant solo lines. In between the compositions are brief solo interludes each of whose sounds derive from a gesture or technique relating to the pieces on either side. These interludes lend the CD the cohesive feeling of a suite of distinct but mutually supporting performances.
A second factor that gives the release a notably holistic sense is Jessen’s own voice. Hers is an expressive presence with a warm tone and a refined vibrato, both of which preserve a humanistic heart in the midst of technological embellishment. It’s a finely calibrated balance, achieved as well by the composers’ sensitively crafted environments in which Jessen’s voice can resonate. And in the end, it’s Jessen’s appealing musical personality that animates this outstanding collection of work.