Michael Gordon’s RUSHES transports the sound of seven bassoons into new and otherworldly territory.
AVAILABLE MARCH 25
Preorder here: bangonacan.org/store/music/rushes
Upcoming performances in March:
Granoff Music Center, Tufts University, Boston, MA (3/26)
The Icebox at Crane Arts Center, Philadelphia (3/28)
Peak Performances, Montclair State University, New Jersey (3/29)
Composed for seven bassoons, Rushes takes its place alongside Michael Gordon’s Timber for expanding the boundaries of a single instrument’s repertoire into unknown (and at times, otherworldly) spaces. Like Timber, which maps new percussive territory for the simantra—a simple two-by-four slab of wood, amplified and played in a group of six to yield trance-like sonic textures—Rushes brings out tonal and timbral aspects of the bassoon that are meant to induce a quasi-meditative, almost ecstatic state, in the listener as well as the performer.
“The name comes from the tall grass that’s reminiscent of the reeds that bassoon players use,” Gordon told the Times-Union newspaper, just before the piece’s September 2012 premiere at Rensselaer Polytechnic Institute’s Experimental Media and Performing Arts Center (EMPAC) in Troy, New York. “It also refers to an ecstatic rush, a euphoria that I’m trying to build. It’s very visceral for the players, who are playing basically nonstop for an hour, and that requires a sense of intensity and concentration.”
Rushes is also exquisitely packaged with stunning images by Israeli photographer Moses Hacmon, whose Faces of Water series is part art, part science and part spiritual awakening. Using a photographic technique he developed himself, Hacmon captures the hidden essence of water, frozen in time, to create haunting impressions and visions never imagined. It’s the perfect complement to the musical concept behind Rushes, describing a mystical, dreamlike world where all paths lead back to the life-giving source.
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This is the intro track from my debut album ‘A Good Land, An Excellent Land’ released last year. The piece was written as a graphic score for harmonics on Cello, Violin & Double-bass, accompanied by bowed guitar & electric bass. It was ironically the last track recorded on the album & a really special moment when all the parts were first heard together, extending beyond my expectation for the opener. If you buy the CD you also get the seamless design by which this runs directly into track two & the last track runs back into this when on looped playback. It could well be my favourite moment of the albums conception. Cover photo is by Oscar May at Union Chapel.
To buy the album go here :- http://tinyleaves.bandcamp.com/
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