Stephen Scott, New Music for Bowed Piano - 51m 8s

Tracks & Durations

1. Rainbows, I	5:53
2. Rainbows, II	9:15
3. Music Three for Bowed Strings	5:47
4. Music One for Bowed Strings	7:27
5. Resonant Resources	10:55
6. Arcs	11:47

Note: The information about this album is acquired from the publicly available resources and we are not responsible for their accuracy.

Review

Listening to just the first minute of Stephen Scott's "Rainbows, I" (the album's first track) will shatter your notion of what piano music should sound like. With a heavy nod to the minimalism of Steve Reich, Scott and his group of students from Colorado College created one of the most memorable and original compositions of bowed piano strings ever recorded. Here, the white and black keys are overshadowed by a handful of musicians crawling over the open-topped instrument, armed with Popsicle sticks glued with horsehair (the perfect bow for reaching into a grand's tight corners). The drones created by the ensemble's bowing sound anything but acoustic, but there's some gorgeous music here, with subtle melodies surfacing above the repetitious fold. Scott's compositions sound both inventive and simple--ominous on "Music One for Bowed Strings," but absolutely pulsating on "Rainbows, II." Good vibrations, indeed. --Jason Verlinde I first became aware that one could bow the strings of a piano in 1976, when I heard David Burge play a composition by Curtis Curtis-Smith. This was a solo piano work, played mostly on the keyboard but utilizing also some prepared piano techniques. One striking effect was produced by drawing nylon fish line across the strings. I was captivated by the sound and began immediately (before David's performance was over as I recall) to imagine the sound of several players bowing a piano's strings simultaneously, thus producing sustained chords. Thus was born the first composition for ensemble-bowed piano, Music One for Bowed Strings, which I completed in 1977 and performed that year with the Colorado College New Music Ensemble. It should be stressed that all of the sounds heard in the ensemble pieces are produced by the piano strings; no electronics or other sound producing devices are involved. The recordings are made "live" exactly as they are performed in concert.

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