Mindaugas Peleckis
2016 m. Rugsėjo 30 d., 15:47
Skaityta: 3851 k.
Laurie Spiegel's grandmother came to Chicago, where Laurie Spiegel was born, from Kaunas, Lithuania. One of the most famous composers worked with Jacob Druckman (who later took her as an assistant), Vincent Persichetti, Michael Czajkowski, Hall Overton, Max Mathews, Emmanuel Ghent, who were important teachers. Having worked with analog synthesizers since 1969, she sought out the greater compositional control which digital computers could provide and wrote interactive compositional software at Bell Labs from 1973-1979. She later founded New York University's Computer Music Studio, and became famous in rock music circles for her music software for personal computers, especially MusicMouse. Laurie Spiegel is one of those rare composers in whom head and heart, left brain and right brain, logic and intuition, merge and even exchange roles.Though she is one of the highest-tech computer composers in America, Spiegel is also a lutenist and banjo player, and sees the computer as a new kind of folk instrument. She makes her most intuitive-sounding and melodic music from mathematical algorithms, and her most complex computerized textures by ear and in search of a desired mood. Form and emotion are as difficult to separate in her music as they are in that of her idol, J.S. Bach. Despite her innovative involvement with technology, Spiegel the composer has never been dominated by Spiegel the computer technician. Her music from the 70s used compositional algorithms (in one case a realization of Kepler's "Harmony of the Planets", included in the Voyager spacecraft's record Sounds of Earth) to generate music in an accessible, minimalist vein. Some of that music was captured on her record on the Philo label, The Expanding Universe, containing works from 1974-1976. But in the early 80s, Spiegel distanced herself from the downtown New York scene that she had helped create, complaining that the new music scene's general direction was toward an "expansion of the collection of tools and techniques available to make music (useful, but not as the central content of a work)". Those who fell in love with the folk like melodies and early algorithms of The Expanding Universe may be surprised to hear how much darker and more complex Spiegel's recent music has become. "Minimalism" may still aptly describe the slow movement of pitch in these pieces (Unseen Worlds), but it gives no hint of their complex timbres, glacial momentum,and cathartic climaxes. Such vibrant, expressive music could only have come from a composer who put her intuition and imagination first, yet who had the immense technical know-how needed to meet the challenges they posed. [http://retiary.org/ls] Radikaliai.lt is proud to present an exclusive interview with Laurie Spiegel (2016 09 30).
