How to advertise an evening of new music? Invite the public to hear part of it and be part of the performance itself. Earlier this evening in the high-ceilinged cafe/anteroom leading to Alice Tully Hall, International Contemporary Ensemble premiered group leader Nathan Davis’ gently mesmering electroacoustic composition simply and aptly titled Bells: they were scheduled to play later as part of Lincoln Center’s ongoing avant-garde Tully Scope festival. Perched in the balcony high overhead, Davis judiciously alternated between a series of bells and gongs, sometimes using mallets, other times bowing them for a flute or clarinet-like tone, at times smacking a huge Javanese gong behind him to add contrasting low, practically subsonic sustained tonalities. Below him, the rest of the group – Joshua Rubin on clarinet, Claire Chase on flute, Eric Lamb on both piccolo and gong – interjected occasional terse, sustained notes or simple motives while a dozen other players on “spatialized crotales and triangles” wandering casually, almost imperceptibly through the crowd. When they weren’t adding the occasional, spare accent, they moved among the audience holding up their phones. Taking a page out of the Phil Kline fakebook, Davis wrote the piece for audience participation: an engineer ran the mix through what seemed an endless series of echo and loop effects, then sent it out on four separate phone lines available to audience members to call and then play back on their phones as the group continued to play. Given the limited amplification of the phones in use, the addition of a potentially unlimited number of unique textures never really materialized since the musicians were amped so loudly, but in a larger space the effect would have been more significant.
With the addition of quadrophonic sound – speakers in every corner of the room, each with a different mix – the overall effect was as psychedelic as it was comforting. The piece unwound slowly, a spaciously pinging, ringing, and occasionally booming tone poem of sorts, with breaks where it seemed that it was playing back on itself, other times picking up the pace with all the musicians contributing. Although it spanned what seemed to be the entire audible sonic spectrum, the melody didn’t move around much from a central tone, octaves and overtones playing a large role in the overall picture. There was a brief moment of what seemed to be feedback, which was as bracing as expected; otherwise, a kaleidoscope of tonalities and textures moved through the frame, and out, and then sometimes back again. After roughly twenty-five minutes, nonstop, except for a brief pause about two-thirds of the way through, it wound itself out gracefully if a little unexpectedly. The only thing missing was the interior of a planetarium: imagine what could be done with this at the American Museum of Natural History!