LUKA LIGETI / THOLLEM McDONAS - Imaginary images
Leo Records CD LR 709
Lukas Ligeti: drums, electronic 'marimba lumina' (think percussion and xylophone) – the marimba is native to Africa; Thollem McDonas, piano
The recognisable rhythmic is held at bay here as drums and piano seek out the essence of spontaneity and improvisation in a diversity dependent ultimately within the (extensive) limitations, the actualities of their particular instruments. Short, seemingly ingenuous models and outlines are woven together asconvoluted webs and fabrics of material sounds, but with autonomy from synchronicity and pitch. The emphasis is more towards sound quality and tenor, as in much contemporary musical practice.
Silence, too, plays an occasional part in the music, whether as partial or absolute sound absence. John Cage and György Ligeti both exploited the technique. György was Lukas' father and is often thought to be the greatest of the 20th century composers, certainly of the post-40s. He was to use musical pointillism in his Nouvelles Aventures and like father, Lukas does here. It is true though that this is merely his use of a recognisable technique, not a doffing of the cap to daddy.
The music in this album is insolently idiosyncratic and echoes a vast array of dissimilar experiences from gamelan to post-punk. Despite the apparently hard edges, it is not without an emotional impact.
Reviewed by Ken Cheetham
Leo Records CD LR 709
Lukas Ligeti: drums, electronic 'marimba lumina' (think percussion and xylophone) – the marimba is native to Africa; Thollem McDonas, piano
The recognisable rhythmic is held at bay here as drums and piano seek out the essence of spontaneity and improvisation in a diversity dependent ultimately within the (extensive) limitations, the actualities of their particular instruments. Short, seemingly ingenuous models and outlines are woven together asconvoluted webs and fabrics of material sounds, but with autonomy from synchronicity and pitch. The emphasis is more towards sound quality and tenor, as in much contemporary musical practice.
Silence, too, plays an occasional part in the music, whether as partial or absolute sound absence. John Cage and György Ligeti both exploited the technique. György was Lukas' father and is often thought to be the greatest of the 20th century composers, certainly of the post-40s. He was to use musical pointillism in his Nouvelles Aventures and like father, Lukas does here. It is true though that this is merely his use of a recognisable technique, not a doffing of the cap to daddy.
The music in this album is insolently idiosyncratic and echoes a vast array of dissimilar experiences from gamelan to post-punk. Despite the apparently hard edges, it is not without an emotional impact.
Reviewed by Ken Cheetham
