Blue Veil

音楽家で作曲家のLucy Railtonによるソロチェロ作品を記録した初のリリース。今作はレルトンがチェロの最も微細な音響特性を慎重に奏でることを通じて表現され、想像する注意と感覚的なモダリティと調和しながら共鳴しています。チェロの体内の共鳴、彼女自身の体内の共鳴、そしてその振動空間を通して瞬間的に作曲を行い、彼女は音が求めるものを与え、時間的な透明性を通じた音の動きや、空間の次元的に密な領域を示す粗いテクスチャーの音を引き出しています。Catherine LambやEllen Arkbro、Kali Malone、 Stephen O'Malleyとの共同作業であり、Maryanne Amacher, Morton Feldmanなどの作品の演奏における解釈的実践から得た認識によって形成されています。

Avant-garde cello music isnt necessarily a common phenomenon at the top of classical music charts, but this release by cellist Lucy Railton made it there in the spring of 2025. There may be several reasons for this, including the fact that Railton attracts attention from beyond the classical avant-garde sphere in such publications as Pitchfork. However, the main one may be that she offers a brand of avant-garde music that, although it gives up nothing in rigor, is relatively accessible to general listeners. In the past, Railton has worked in electronic music, and the titles of the seven movements of Blue Veil, "Phase I" through "Phase VII," reflect that, as does the music itself. She uses only a cello, miked close up at the Eglise du Saint-Esprit in Paris so that one hears overtones and other sonic properties of the instrument immediately. It is as if Railton is trying to penetrate to the cellos essence. The general structure of the seven pieces comes from microtones, which are stated at the beginning and then explored. This device is clear enough to listeners with little background in avant-garde music. It is not exactly specified how much the engineering contributed to the overall effect; the credits list a premix editor, a mixer, and a mastering engineer. Whatever was involved, the sound of the cello is ravishing. Listeners interested in microtones and their possibilities in a close-up focused environment are advised to hear Blue Veil. ~ James Manheim