Palestine's music is not very well known today, partly because thereare few recordings available, but also because he moved on to othermedia as the massive commercialism of minimalist music developed in thelate seventies and eighties. His seemingly narrow escape from the titleof "minimalist composer" was fortuitous since what that has come toimply in musical terms today does no justice to his work. His music isdistinct from what became mainstream minimalism by its focus on soundrather than process and its deep emotional expressionism as opposed toaesthetics, grandeur and polish. Thus Morton Feldman is a much closerneighbor than is Steve Reich. "Schlingen-Blängen" is a drone organpiece which demonstrates Palestine's genius for pulling unbelievablesounds, colors and effects out of a familiar instrument. It isbasically one chord sustained for seventy minutes with infrequentadditions and removals of tones and changes of registration. Thisapproach to making music, of using stasis to force the listener intoconcentration on the sound itself, is very difficult to do well and Ihave never heard it so successfully performed as on this disk. First,there is the choice of the initial chord and its registration andalready it is clear that the musician has exquisite taste andexpressive powers, not unlike Messiaen in those aspects. Then beginsthe impressionism. The old Dutch organ in the church of the smallFriesland village of Farmsum Delftzijl starts magically to sing its ownmelodies and rhythms without the player needing to move any controls.The illusion of rapid activity is the result of interferences among thecomponents of the chord within the organ and the church. Such effectsare not unfamiliar but their depth and extent here are staggering.Above the dazzling impressionism is the expressionism, these rapidcycles of intensity, melody and colors, as though they were playingsome non-existent process-music score, are as painfully beautiful asthe original chord. Palestine's comment, "I'm the living hybrid in myown work of the physical gesturality of Jackson Pollock and thespiritual color chemistry of Mark Rothko," hits the nail on the head.The quality of the recording conveys enough of the massive physicalityof the experience to be satisfying while still conveying the sadnessthat one couldn't have been there. The acoustic space of the old churchis precisely rendered. Anyone that enjoys drone music and static soundpainting in any genre should own this CD—Charlemagne Palestine's musicis the archetype. Read More
