Why Fifty-Three?

The second work in the instrumental series welcomes the introduction of an exciting and original instrument..the anemoi.

Appropriately named in honour of the wind Gods from Greek mythology, the anemoi features fifty-four metal organ pipes tuned to the 53-tone just-intonation hyperchromatic scale.

In this work the anemoi is configured in a circular formation, evoking the imagery of an enclosed, ritualistic space. The audience can move freely around the spatiotemporal environment or position themselves in the central zone to experience an immersive 360º morphing sonic flux.

All the Time the Buzzing takes its title and influence from Samuel Beckett’s dramatic monologue, Not I. The work realises a scenario of what it might be like inside the skull. Sound and light are directed toward the interior.

The experience aims to disorientate and engulf the senses with densely throbbing beating patterns emanating from the anemoi. This is combined with beams of light directed at the central zone worn by each performer, creating a continuum of shifting illumination.

Here we encounter the continuous metamorphosis of sequential major 3rds, a slow evolution generating rapid changes in tempi. These sequences are articulated as four-note chromatic clusters. A four-stage transition is utilised to create the harmonic movement.

Durational note values are uniform throughout All the Time the Buzzing, with each pitch sustained for four beats. Each manual of the anemoi has a specific attack point in each bar. This arrangement creates a variety of rhythmic variations throughout the work. The tonal revolution becomes a spatialized revolution as the sequence revolves around the physical layout of the anemoi during transitional periods.

All the Time the Buzzing exemplifies the vigorous rhythmic shifts forged by sustained pitch and asks the audience to consider these compelling interactions of tones within this claustrophobic environment.