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Moersbow/Ozzo
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Fields wrote OZZO and Moersbow with the idea of having a book (which continues to grow) that could be performed
by any ensemble stocked with at least sixteen traditionally trained musicians who play pitched instruments and who
improvise. The piece can accommodate many more pitched or unpitched instruments as well.
The musicians in this orchestra reflect Cologne’s deep and wide musical pool. For decades the city has been a magnet
for creative musicians of a particular ilk. Classical matter whetted, they are nonetheless zealous improvisers, boundary
violators, genre ignorers, alliance formers, vagabonds. For decades they have been drawn to Cologne by Germany’s
largest music conservatory, supportive venues such as the Loft, the presence of avant-garde pioneers such as
Stockhausen, Kagel, Ligeti, and Koenig, and close proximity to other musical centers such as Amsterdam, Paris, and
Berlin.
OZZO, which takes up most of the bytes on this disc, is the most recent of Fields’ modular compositions. The first was
48 Motives and the second was 96 Gestures. An improvising conductor, Fields on this recording, selects material and
indicates when, and sometimes how, the musicians are to improvise. The language that the conductor and musicians
use to communicate is a set of physical gestures drawn from the American Manual Alphabet (the letter shapes that
many deaf people use to spell words with their hands) and traditional conducting movements.
In addition to playing their instruments, the musicians also can suggest, in the moment, modules they would like to
play and with whom, whether they would like to improvise, solo, or even stop playing. This interaction makes the
performances unusually organic and dynamic.
Moersbow is an homage to the Japanese electronics master Merzbow, who works the interactions of phased noise at
extreme volume levels. In contrast to the music of its namesake, Moersbow is meant to be performed as quietly as
possible. The ensemble is divided into groups that a conductor triggers to play a series of independent loops. The loops
contain some combination of noises, pitch material, small melodies. Although Moersbow’s outcome is not as variable
as Ozzo, the phasing and timing of the loops and choices the performers make do result inconsiderable differences
between performances.
Recorded at the Loft, Cologne, Germany, January 25, 2009. |
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ARTISTS
Scott Fields conductor / Christina Fuchs soprano saxophone, clarinet / Frank Gratkowski alto saxophone
Michael Heupel flute, bass flute / Carl Ludwig Hübsch tuba / Thomas Lehn analog electronics / Axel Lindner
violin / Tom Lorenz vibraphone / Matthias Mainz trumpet / Annette Maye clarinet, bass clarinet / Udo Moll
trumpet / Matthias Muche trombone / Melvyn Poore tuba / Eva Pöpplein computer / Norbert Roderkicher
wooden flute / Vincent Royer viola / Matthias Schubert tenor saxophone / Angelica Sheridan flute, bass flute /
Florian Standler accordion / Radek Stawarz violin / Achim Tang contrabass / Christian Thomé percussion /
Georg Wissel alto saxophone / Marion Wörle (aka Frau W) computer / Philip Zoubek piano |
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