Dennehy / Dennehy: Surface Tension
Dennehy / Dennehy: Surface Tension
Format: CD
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Artist: Dennehy / Dennehy
Label: New Amsterdam
Product Type: COMPACT DISCS
UPC: 798304451665
Genre: Classical Artists
New Amsterdam Records presents Irish composer Donnacha Dennehy's album Surface Tension / Disposable Dissonance. Surface Tension / Disposable Dissonance opens with "Surface Tension", which was inspired by the Metropolitan Museum of Art's historic percussion collection. Dennehy explains, "I was inspired by the way various indigenous drums... play with the tension of the skin in order to bend the pitch and produce something almost approaching melody, and sought a way of making so-called un-pitched drums 'sing' in their own way in this piece." He continues, "I was particularly interested in creating a kind of mobile pitch-space that shifted in and out of various overtone-based tonalities." To accomplish this, Third Coast Percussion blows air into tubes attached to the side of the drums to stretch the drumheads and increase the harmonic range of the tom-toms - a technique they learnt from Glenn Kotche. Naturally, the drums drift out of tune from the continuous tightening and slackening of their heads, so Dennehy also wrote "tuning zones" into the composition, where the players gently tune their drums in a rhythmic way using their normal technique of turning the tension rods. This allows Dennehy to gradually build pitch centers and explore the space between them, creating a kind of fused harmonic texture amplified by standard-pitched instruments such as the marimba or bowed vibraphone. "Disposable Dissonance" features three continuous sections driven by different concepts of dissonance, each one "disposing" of it in a different way. In the first section, Dennehy explores pitch suspensions by using overtones that creep into the harmony, then resolve the dissonance by going into lower overtones against the ensemble. In the second section, the concept of dissonance plays out entirely on an equal-tempered field with an ever-increasing use of rhythmic consonance and dissonance that ultimately reaches it's peak in the third and final section.
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