Nico Muhly

Softcover Click here to download the pre-recorded element (first link below the separator). Please email Wise Music if you encounter problems downloading the audio file. On the page, the violin part for Honest Music looks something like Terry Riley''s In C, insofar as it''s a collection of discrete, modular phrases to be recombined in performance, or in this case, by the electronic manipulation of the recording. But these aren''t Riley''s musical Lego blocks; most of these are long, expressive, idiomatic gestures, combining Nico''s soaring English-choirboy diatonicism with Romantic, violinistic leaps and slides up and down the fingerboard. As these figures pile on top of each other, the close-miked, aberrant fiddle timbre comes to seem, as per the title of the piece, brutally candid. The other fragments, imitated in character by the sputtering harp and percussion of the accompaniment, sound more like scraps swept from a cutting-room floor somewhere - all false starts, warm-ups and afterbeats - and the glitchy, staticky noises in the background contribute to the sense of something rough, half-finished. The result is to suggest that all of Honest Music is an out-take, a rehearsal for another, wholly imaginary piece. But the gravity and authority of the harmonies (and the low drones) lend the makeshift nature of the piece an authentic drama in its own right: the sad beauty of things coming together and things falling apart.Softcover Click here to download the pre-recorded element (first link below the separator). Please email Wise Music if you encounter problems downloading the audio file. On the page, the violin part for Honest Music looks something like Terry Riley''s In C, insofar as it''s a collection of discrete, modular phrases to be recombined in performance, or in this case, by the electronic manipulation of the recording. But these aren''t Riley''s musical Lego blocks; most of these are long, expressive, idiomatic gestures, combining Nico''s soaring English-choirboy diatonicism with Romantic, violinistic leaps and slides up and down the fingerboard. As these figures pile on top of each other, the close-miked, aberrant fiddle timbre comes to seem, as per the title of the piece, brutally candid. The other fragments, imitated in character by the sputtering harp and percussion of the accompaniment, sound more like scraps swept from a cutting-room floor somewhere - all false starts, warm-ups and afterbeats - and the glitchy, staticky noises in the background contribute to the sense of something rough, half-finished. The result is to suggest that all of Honest Music is an out-take, a rehearsal for another, wholly imaginary piece. But the gravity and authority of the harmonies (and the low drones) lend the makeshift nature of the piece an authentic drama in its own right: the sad beauty of things coming together and things falling apart.

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