‘VORTEX’ piece Music on Spotify

THE PROCESS OF MUSIC
By Katya Richardson

The process of creating the Vortex score parallels the exploration of Abstract Expressionism, with nearly all the sounds derived from a singular instrument - the piano.

The first conversations surrounding music began when I improvised at the piano in Maliphant’s studio, reacting in real time to the dancers and lighting, as if scoring a film. In this early stage of distilling the choreographic language, the dancers’ movement was largely improvised, so it seemed only natural that the soundtrack germinate from a reactive space as well.

What initially began as an improvisatory sandbox, however, soon evolved into an overarching concept; drawn to the versatility of the piano, Maliphant and I were curious to explore the extent to which the keyboard could be manipulated. As an instrument so closely associated with classical tradition, the question of distorting that association quickly rose to the fore: in what ways can a piano be reframed and distorted, and how does limiting oneself to a singular parameter influence creativity?

By layering my live recordings and electronically processing the piano, I created a palette of musical colors to experiment with. Throughout my creative process, I was largely influenced by Pollock’s contemporary, composer John Cage. Cage is known for his response to Abstract Expressionism through his development of the “prepared piano” - utilizing it most famously in his collaborations with choreographer Merce Cunningham in the 1940s. From using the body of the instrument for percussive knocks, to sampling the thundering effect of the sustain pedal, I similarly employed Cage-like techniques to alter the sound of the piano. I “prepared” the instrument by placing everyday objects such as screws and putty on the strings, along with close-miking the soundboard in order to amplify the inner- mechanisms of the instrument.

Through the thematic lens of Pollock, I deconstructed the piano’s duality as both a stringed and percussive instrument - juxtaposing the melodic and the mechanical. The score nods at neoclassical harmonies akin to Beethoven sonatas and explicitly quotes J.S. Bach’s Prelude in C minor BWV 846, playing with reframing within the classical space. This is contrasted by more abstract soundscapes that develop in motivic relationship to the moving wall, and evolve as the wall is repurposed throughout the piece.