![]() ![]() The initial impression that comes to mind with Bloodroot, from the opening track, "Celandine," is of a harpsichord. ![]() Moran harnesses these possibilities to create a sound at once simple and complex, modern and antiquarian, eerie and beautiful and, oddly, suffused with a sort of alien sacredness, like a soundtrack to an extraterrestrial (Frank Herbert's Dune world, perhaps) civilization. ![]() The alteration of the piano's sound, via inserted objects, abetted by the electronic aspects of samples and ebows, unleashes a world of sonic possibilities. But Moranwho studied under Kei Akagi an University of Irvinetakes the Cage idea a step further, with the use of e-bows and electronics on her ambitious Bloodroot. It's called "prepared piano," a page from the playbook of avant classical composer John Cage's late-1940s works, Sonata's And Interludes. An observer of this purchase might assume an imminent assembly of a back yard patio set, but in reality, these itemsamong other thingsare destined for insertion inside Moran's piano, between the piano strings, creating alterations to the vibrations, resulting in sounds you may never have heard before. It seems that pianist Kelly Moran's approach to crafting her artistry requires a trip to Home Depot, for the purchase of a variety of screws and bolts. ![]()
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