Album Remarks & Appraisals:
Scott Miller's Tipping Point chronicles a long collaborative relationship between him and Minneapolis based new music ensemble, Zeitgeist. The members of Zeitgeist have regularly acted as a musical proving ground for Miller's explorations, particularly those combining acoustic instruments with interactive-electronic effects. From the opening measures of the title track, Miller's approach to integrating acoustic instruments into an electroacoustic environment is apparent. The tipping point Miller refers to may well be the edge at which we can no longer identify where the acoustic instruments end and the electronics begin. Funhouse dives immediately into this ambiguity, as snarling bass clarinet multiphonics mimic and later become absorbed into the carefully crafted noise world of the electronics. Pure Pleasure's percussive rhythms are manipulated timbrally as well as sent swirling around the stereo field in passages of spatialized virtuosity. Featuring soprano Carrie Henneman Shaw, Forth and Back's haunting minimalism suggests the slow evolution of a mind at work as it gains understanding over a puzzling paradigm: none other than time itself and our ability to transcend it through union with another. Mr. Miller is currently the President of the Society for Electro-Acoustic Music in the United States (SEAMUS).
American Record Guide, September/October 2015
Scott Miller's "ensemble+electronics explorations" are more approachable and musical than Burtner's. Tipping Point is a fascinating entity. I admit I have a penchant for the bass clarinet, but Miller's use of it with piano and marimba creates a great timbre. The repetitive growth of force that eventually pushes or tips the piece into a new area is done with intelligence. `Twilight' is a beautiful piece for soprano, mallet percussion, clarinets, and electronics. The vibraphone and electronics give the round sound of the bass clarinet and Carrie Henneman Shaw's tender delivery craft a relaxing atmosphere. Pat O'Keefe gets free reign with his bass clarinet in Fun House, a spatial work involving microphones, speakers, and computer programs altering sound objects as they occur in specific spaces. Fun House is convincing.
Audio Mixer: Scott L. Miller.
Liner Note Author: Scott L. Miller.
Recording information: Wild Sound Recording Studio, Minneapolis (2010-07-05_2010-07-06&2013-).
ReviewsThere are currently no reviews, be the first one!
Bach & Beyond, Part 1 - J.S. Bach: Partitas for solo violin nos 2 & 3; Ysaye: Sonata no 2; Saariaho; Mazzoli / Jennifer Koh, violin
Nature: Works for Wind Quintet by David Lang, Luciano Berio, Denys Bouliane & Nat Evans / City of Tomorrow Quintet
Enlarge Your Sax: Music for Saxophone & Electronics / J. Sanchez, Pedro Bittencourt
Bach & Beyond, Pt. 2 - Works for Violin Solo by J.S. Bach, Béla Bartók & Kaija Saariaho (b.1952) / Jennifer Koh, violin
Bang on a Can All-Stars: Field Recordings - Works by Steve Reich, Nick Zammuto, David Lang, Tyondai Braxton et al.
Claudio Monteverdi: Il Ritorno d'Ulisse in Patria / Fernando Guimarães, Jennifer Rivera et al.; Boston Baroque; Martin Pearlman
Messiaen: L'Amour et la Foi / Danish National Vocal Ensemble, Concert Choir & Chamber Orchestra
Gyora Novak: The Jews of York / Gyorak Novak, Rohan McCollough, narrators; Idit Arad, mzz.; Nicholas Hill, horn; David Watkins, harp et al.
Johann Bach, Johann Christoph Bach, Johann Michael Bach: Motets for double choir / Vox Luminis, Lionel Meunier