Annea Lockwood
(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )
The Glass World (Tangent, 1970) **
A Sound map Of The Hudson River (Lovely, 1990) ***
Thousand Year Dreaming (What Next, 1993) ***
Sinopah (XI, 1998)
Breaking the Surface (Lovely Music, 1999)
Thousand Year Dreaming/ Floating World (2007), 7/10
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Sound sculptor Annea Lockwood, born in New Zealand (1939) but relocated to New York (1973), began to explore natural sounds with her Glass Concerts (1966-1972), as documented on The Glass World (Tangent, 1970).

A Sound map Of The Hudson River (Lovely, 1990), una composizione del 1982, è una registrazione documentaria dei suoni naturali e delle voci umane che si incontrano lungo il fiume Hudson.

Thousand Year Dreaming (composta nel 1991) è una suite per conchiglie conciate, didjeridu, corno inglese, oboe, clarinetto, trombone, voce e percussioni in cui gli strumenti sono suonati al minimo volume e fra frequenti pause. L'esotismo dei timbri e della sceneggiature ricorda quello di Steve Roach, ma molto più dimesso. Fra gli esecutori si contano Jon Gibson, Peter Zummo e Charles Wood.

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Sinopah (XI, 1998), a split album with Ruth Anderson, contains Lockwood's 46-minute World Rhythms (1975), a live improvisation that broadcasts natural sounds, from volcanic eruptions to earthquakes to geysers to bonfires to waves to human breathing. The continuum thus spans the dimensions of the human experience.
The album also contains Ruth Anderson's 23-minute Come Out Of Your Sleep (1997).

Breaking the Surface (Lovely Music, 1999)

Lockwood has also composed Shapeshifter (1996), microtonal concerto Western Spaces, Tongues Of Fire Tongues of Silk for eight sopranos and percussion.

Early Works 1967-82 (EM Records, 2007) contains The Glass World and the 19-minute Tiger Balm (1970).

Thousand Year Dreaming/ Floating World (Pogus, 2007) collects the 35-minute electroacoustic piece Floating World (1999), created in studio from "spiritual" field recordings by her friends, and the 43-minute four-movement suite Thousand Year Dreaming (1991) for conch shell, trombone, multiple didjeridus, oboe, English horn, vocals (Annea Lockwood herself), clarinet and percussion, her sublime exercise in slo-motion subliminal glissandi and microtones bordering on both post-classical chamber music and creative jazz music. The languid and funereal timbres of trombones and didjeridoos sound like coyotes barking at the moon in the first movement. The wailing horns permeate the second movement at a volume that is barely audible, their black and white tapestry wrapped onto itself like a Moebius strip. The third movement increases the sense of musical alienation by staging a subdued melodic line in a swamp of fluttering patterns. The fourth movement continues to evolve the mono-dimensional tapestry with the clarinet's Stravinsky-ian motif, the didjeridoo's massive raga-like vibrations, the trombone's controlled deflagrations. The piece closes with a few anguished notes by the clarinet after a cryptic burst of polyphony.

Floating World (1999) belongs to a different genre of music altogether, a collage of electronically manipulated sounds of nature.

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