Label: New World Records

約4年という長い沈黙を破り待望の新録を出版!!2024年重要作。Blumeからの1st LP、2018年mappaから連名作[Sisters]、そしてケージやルシエ、エレン・フルマンといった重鎮のリアライズを行いつつ、毎度ベストリリース的音源を残す素晴らしい音楽性を持つ女性作曲家Sarah Hennies。米コンテンポラリー/実験音楽の老舗New World Recordsからは2タイトル目となる2CD大作を発表!!脳の活動や日常のリズムをコンセプトに掲げ新たに試みたアンサンブル録音3曲を収録、ひたすらに反復を繰り返し、各セクション毎にクライマックスを作り緩急をつけた極上の催眠楽曲集。演奏は"Ensemble Dedalus"をはじめ、"Talea Ensemble"、"Ensemble 0"といった強者集団が担当。

Sarah Hennies (b. 1979) is a composer and percussionist whose work is concerned with a variety of musical, sociopolitical, and psychological issues including queer & trans identity, psychoacoustics, and the social and neurological conditions underlying creative thought.

The booklet for this, her second New World recording, features an extensive and wide-ranging conversation with the composer, wherein Hennies discusses her compositional practice and how these three pieces—all in some way related to brain activity, specifically mood disorders and circadian rhythm—represent an important step in the evolution of her work.

“[T]hese works do signal a transformation. Up until Clock Dies, for instance, every piece I had written involved a stopwatch. But Talea Ensemble wanted a work with a conductor, and so Clock Dies was the first piece I made where I thought, “Let’s see if I can make chamber music.” So Clock Dies is through-composed; of course there’s lots of repetition, there’s a form with sections and climaxes—things happen. There’s a more traditional kind of contrast in Clock Dies and really in all three of these pieces. But Clock Dies specifically was the first piece where I challenged myself in a practical way to see if I could make “normal” music.

Motor Tapes is … well, it came about in a similarly practical way, where because of when the commission [from Ensemble Dedalus] came and where it was being played, I had a long time to make it. And I really, really wanted to challenge myself to make something with a lot of detail, to work harder on something than I had in the past. There’s a Word-doc outline of Motor Tapes that’s pages long because it got so complicated. And finishing the last 20% was so challenging; it had become so unwieldy that I had to make a to-do list of tasks because I couldn’t view it as a totality anymore. And now that it’s done and I can see it as a whole, there’s a very clear order of events, a script, it follows a very birth-to-death trajectory …”