I don't mean one or the other. I'm referring to the actual sounds of the instruments we've chosen to write for for this project. The individual colors, the combinations, and what I find perhaps the most exciting, the context we choose to place these individual voices in.
For me, a sound or an instrument can evoke a feeling, and/or an association to the setting I expect to hear it in- a musical setting that I've processed, that I'm familiar with. But it's also thrilling to discover a familiar sound in an unfamiliar context- it can evoke a completely different feeling. To wit: a clarinet melody slides alligator-like into the moonlit bayou of a shimmering koto chord (apologies to the metaphor police).
Conversely, how often do we get to hear a shakuhachi softly shredding over a chamber group? This changing of reference points is what I look forward to most when listening to, and writing music. The unexpected element that defies ones expectations; that changes something. This, to me, is the "Sihr Halal" or "lawful magic."
Not that we're planning something with Julie Andrews anytime soon, but stranger things have happened...
For audio excerpts and more commentary on Josh's Sihr Halal contribution, "While You Were Out," listen to Josh's podcast. This piece will be premiered at our Sihr Halal concert at Roulette on May 5.
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