Tom Flaherty: Mixed Messages

, composer

About

Composer and cellist Tom Flaherty releases Mixed Messages, a collection of his electro-acoustic works for various instruments. Flaherty's music combines a versatile approach to diverse electronic approaches with a humanist's sensibility towards drawing inspiration from extra-musical events and phenomenon. Mixed Messages features performances by Sara Parkins, Maggie Parkins, Alma Lisa Fernandez, Cynthia Fogg, Jeff Gauthier, Sarah Thornblade, Mark Winges, Genevieve Feiwen Lee, and Vicki Ray.

Audio

Composer and cellist Tom Flaherty features several of his electro-acoustic works in this collection, highlighting his interest in phenomena, both musical and extra-musical. In each of these pieces, Flaherty posits a kind of puzzle and then uses the canvas of the piece to work through it, whether it relates to a programmatic idea, the relationship between instrument and electronics, or a component of the musical material itself. Within that frame, his expressive palette is broad and affecting and his development of material deft. This dynamic between conceptual frame and evolving detail gives Flaherty’s music substance and invites listening on multiple levels.

Shepard’s Pi for toy piano refers to the Shepard scale, a phenomenon of acoustics where simultaneous octaves are arranged in such a way as the sequence of pitches seem to rise endlessly without ever reaching the next octave. Flaherty chose to explore a similar paradigm on the toy piano because of the ambiguity that results from the sounding rods — in some registers the overtones of a given note can obscure the fundamental to such a degree that it is not clear what the principal pitch is. Flaherty toys with this concept and its manifestation on the toy piano, writing scale passages that mysteriously seem to remain in one register even as they ascend and rhythmic material that can be interpreted from different metric angles. Reinforcing the word play, Flaherty also embeds references to pi, 3.14159, in the number of sections, tempi, and electronic sounds that are integrated briefly.

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Reviews

5

Vital Weekly

Tom Flaherty has been around for many years, composing music for humans and electronics, though, as he says, he prefers humans. He is also a cellist who has played internationally, besides his daytime job as a professor at Pomona College in the USA. He has a long list of compositions, of which, unfortunately, only a few have been released as recordings - at least if Discogs can be trusted. The list goes back to 1974 - I guess when he was still studying - and only adds the electronic element from the 1980ies. The instrumentation causes curiosity as he mixes unusual sets, such as, '2 pianos, 16 hands, recorded electronics', 'viola, organ, electronics', violoncello & marimba etc.

This release collects several compositions written over the last 20 years, combining electronics with acoustic instruments, mainly strings and a toy piano. This instrument crops up several times in his list of works. He seems fascinated with not the basic sound itself but the behaviour of the harmonics of this instrument which are, in fact, a bit weird. I believe all recordings on this release are 'firsts', though probably performed several times already. Something I have come across with many of the SEAMUS composers, too, for instance, sporting long lists of compositions but very few, if any, recordings. Lots of work ahead.

The first track, 'Shepard's Pi' (a pun on the good old English pie, something you can actually eat in this country), is written for toy piano and consists of a long string of rising and receding scales, playing with the 'overtones' and mirroring the acoustic piano sounds in two different electronic processings. Not my favourite, though. 'Threnody', the second track, starts off the coming display of string music on this CD. The solo cello is no longer solo as the electronic processor plays back the sound, echoing, filtering, layering, and picking harmonics. I must say, this piece works better than the first, with the cello offering a better source for layering sound on sound and creating a space within which the music can develop and flow. 'Under the Weather' combines an organ with the cello (there is a distinct tendency towards the lower string scales here, but Flaherty is a cello player himself ...) into a very effective piece of music - electronic treatment (if any) is very sublime here. The three parts of 'Recess' have the Eclipse string quartet perform musical patterns that walk around the space, sparsely supported by live electronic processing (which eventually offers a continuous background) in a more expressionist than contemporary style. 'Violelation' does not address violence but violins ... in analogy to Bach's famous piece using the letters of his name, Flaherty uses here violinist Cindy Fogg's name to arrange and re-arrange notes of the solo viola. This might sound strenuous but actually works well, with a background growling drone made by processing the sounds (and yes, no i, n, y, or o). Again, the electronics allow the performer to play on several levels simultaneously, giving the music more breadth and the viola sound a variety of different characters, even breaking out into a Bartok-esque second half after pointillistic beginnings. 'Mixed Messages' is a duo of violin and piano, supported by a low growl of processed violin and a 'prepared piano' (?) sound reminding of Hania Rani. The final piece, 'Release', is a duo of strings with the electronics mostly limited to an echo track.

All in all, I had expected to find a more 'electronic' sounding approach - judging from the title. What we see, though, is strings-dominated music that is more related to Debussy, Bartok, and Janacek than contemporary electroacoustic music (which this does not pretend to be). Maybe I should have paid more attention to Flaherty's flippant remark that he 'loves humans more', though he teaches electronic music. An enjoyable release that reminds us that electronic processing can be a support for musicians in broadening the spectrum
of a performance and not only a means in itself.

— Robert Steinberger, 6.14.2022

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