Ingram Marshall

Ingram Marshall: Three Penitential Visions; Hidden Voices

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These two compositions from the late '80s explore reverberations and various looping techniques, while musing thematically on religious music and church acoustics. "Three Penitential Visions" begins with the heavily processed sound of a saxophone in a church -- like his "Fog Tropes," these deep, dark sounds come out of a mist of sound, disconnected to melody. The last section, "Fugitive Vision," is a sonata for "vibrating keyboards," sounding like Conlon Nancarrow in heaven. "Hidden Voices," from 1989, cuts and chops various funeral hymns, soprano voices, and plaintive spirituals, blending them with processed church bells and other ethereal sounds. Though quite experimental, its emotion is far from cold.

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