| Notice (en) : |
Fabric for Ché was realized at the Brooklyn Polytechnic Institute, using taped sequences originally generated at Bell Labs. It was, to a great extent, influenced by the political and social upheaval of the time, and I have often heard the piece as an angry, beautiful shout. Tenney has said it was an attempt to create a continuous sonic event with no beginning and no end. Like much of his other music, he describes the whole piece conceived as consisting of but a single sound, more or less complexly modulated (from The Early Works…). It is surprising to hear it today, with its many-faceted sonic relationships: to the music of Xenakis, to works of composers using techniques like granular synthesis, and even more appropriate perhaps, to industrial noise music of the 1970s and 1980s. The piece is, like Music for Player Piano, a palindrome (like some of the music of Carl Ruggles, which has been so influential for Tenney): the second half is simply the reverse of the first. |