Music Reviews

Artist: Arturas Bumšteinas (@)
Title: Epiloghi
Format: CD
Label: Unsounds (@)
Rated: *****
Many zealous composers and academics delving into aesthetics, composition and musical history know that Renaissance and Baroque music anticipated many elements of contemporary music that the most of people is not able even to imagine down pat. That's just one reason why this interesting bridge that esteemed Lithuanian composer and sound artist Arturas Bumsteinas established between that period and the dawn of noise music and bruitisme by composing six possible epilogues for Jacopo Peri's lost opera "Dafne" and by matching the six primary passions (desire, love, hate, sadness, joy and wonder) that Descartes distingued in his notorious philosophical treatise "Passions of the Soul" with groups of noise-sound categories according to the interesting taxonomy that Italian futurist painter and composer Luigi Russolo, one of the forerunners of noise music, proposed on his manifesto "The Art of Noises" in 1913 seems to be an attempt of linking two key moments of music history by gliding through that hip-like label of so-called retro-futurism. The strategy that Arturas followed in order to render this metacultural and somehow "spiritual" connection is really amazing as he combined the sound of the progenitors of Russolo's Intonarumori, those Baroque noise-making machines, which were used in theater performances to illustrate mainly natural phenomena such as thunder, wind, rain, storm and so on, that Artusas recorded in several historical European theaters, with some instrumental parts, which come from different melodic and harmonic materials he grabbed from a selection of almost two hundred popular melodies from the 16th to the 21st century, while "Zang Tumb Tumb", the poem by Filippo Tommaso Marinetti which gives name to this amazing sound work, has only been explicitly quoted on "Epilogue 2. Hate - Noises Obtained by Beating on Wood". Besides "Epiloghi. Six Ways of Saying Zangtumbtumb", the release includes "Night on the Sailship", another remarkable assay of concrete music, where theater noise machines, stage prop and coulisse machinery have been used to render a sort of nocturnal soundtrack from an old galleon. I cannot but admire Artuars' figments of imagination.

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