Lubomyr Melnyk at Le Poison Rouge
- Friday, November 27th, 2015
Lubomyr Melnyk appeared like an Orthodox hermit out of his cave at the Poisson Rouge in New York to share a quasi- mystic piano-experience. He spoke to us about the miracle of the piano and what he understands by continuous music.
Since the time of Terry Riley hypnotic flower-power and the minimalist fantasy, this bearded monk comes back to raise cathedrals using thousands of quavers, sixteenth notes, and demisemiquavers in endless sea waves and tsunamis of trembling piano strings. The listener has no choice but to swim, surf or dive into the foam of the waves and to give in to the pleasure of the wave or the sound birds in disarray that surrounds us and raises us.
But what is important here, according to Lubomyr, is the physical experience of the interpretation and the possibility of communicating directly to the listener. Lubomyr clarifies that, when he plays, he is not in a trance. But it is a fusion of fingers, arms, minds and ropes beaten with the notes, thousands of them, thrown into the air. It´s a fusion of the spirit of that vessel of opulent woods and smells, the beautiful and aristocratic piano that becomes a humble boat at the service of the explorer that looks for sound landscapes.
The body of the performer changes. The light changes. The air changes. The vibration of many notes in endless and unlikely arpeggios finally transforms the doors of perception as the gurus of yesteryear wanted. And we enter into a mental dance, in the style of the dervish, until birds of every melody interlaced, very slowly, very subtly, knotted, embraced by fast fingers are perching in each branch, in each rock, in each ear that awakens sweetly to reality.
“Rivers & Streams” Record Release
Lubomyr Melnyk is a Ukrainian composer and pianist who has pioneered ‘Continuous Piano Music’. Classically trained and greatly affected by the minimalist movement in the early 1970s, he has developed his own unique language for the piano, named after the principle of maintaining a continuous, unbroken stream of sound.
Lubomyr Melnyk is a true innovator, exploring new directions for contemporary music. Not only is he regarded as one of the world’s fastest concert pianists, his compositions also truly carry the listener to new realms. To witness one of his rare live performances is nothing short of a mind-opening experience.
Melnyk has shown a remarkable devotion to the instrument, always striving to discover new ways of composing music in the continuous mode. His focus is on the actual sound of the piano as much as the harmonies and melodies of the music.
Using rapid and complex note patterns, Lubomyr’s virtuoso piano technique forms overtones that blend, collide or even create new melodies in rare moments, and thereby shape the composition beyond its original form. To accomplish this requires a special technique, one that has taken him many years to master.
April 2013 saw Lubomyr Melnyk’s his first release on UK label Erased Tapes. Entitled ‘Corollaries’, the album was recorded and produced by Peter Broderick with the additional help of Nils Frahm and Martyn Heyne. Erased Tapes founder Robert Raths knew it was time to share the great musical legacy of Melnyk, to which he simply responded: ‘Where were you guys when I was thirty?’
Lubomyr Melnyk returns with a 24-minute mini album entitled ‘Evertina’ on December 15, 2014. Featuring three newly composed solo piano pieces, the long-form EP showcases another side to Lubomyr – his more gentle and melodic work.
Mionia is a solo project of a composer and singer Maija Licite that started her musical career three years ago with compositions that were made from A to Z on Iphone application Nano Studio. After going through different approaches, Mionia is still somewhere in between electronic music and classical heart-breaking ballads. As she describes herself – artistic pop. Her inspiring music tells about Universe, the endless potential of a human and the beauty of being.
A Pennsylvanian by birth, Keith Kenniff is an honors graduate of Boston’s esteemed Berklee College of Music, best known as the brains behind dulcet ambient/electronic practitioner Helios and the fingers on the ivories of post-classical piano minimalist music as Goldmund (the latter’s music once described by no less an authority than Ryuichi Sakamoto as “…so, so, so beautiful…”). Together with his wife Hollie, Keith also records as Mint Julep, and the two released their debut album “Save Your Season” which NME coined as “Unquestionably Beautiful”. A succession of albums under those aliases has made Kenniff the darling of discerning critics and his music has been widely used in film, tv and advertising, for clients such as Apple, Facebook, Google, Paramount, MTV and Warner Brothers.
Lubomyr Melnyk + Goldmund + Mionia November 27th 2015 at Le Poison Rouge
Como un eremita ortodoxo saliendo de su cueva se apareció Lubomyr Melnyk ante el público del Poisson Rouge para compartir una experiencia casi mística desde el piano.
Nos habló del milagro pianístico y de lo que él entiende por música continua.
Desde los tiempos del poder floral del hipnotismo de Terry Riley y de toda la elucubración minimalista regresa este monje barbado a elevar catedrales sonoras utilizando como material constructivo millones de corcheas, semicorcheas y fusas en interminables olas de mar y a veces tsunamis de cuerdas vibrando entre maderas brillantes.
El oyente no tiene más remedio que nadar, surfear o sumergirse entre la espuma y abandonarse al placer de la ola, de la desbandada de pájaros sonoros que nos rodean y elevan. Pero lo importante aquí, según Lubomyr, es la experiencia física de la interpretación y su posibilidad de ser traducida en intimidad cómplice al espectador. Aclara Lubomyr que no es trance el del pianista continuo, es una fusión de dedos, brazos, mentes y cuerdas golpeadas con las notas, miles de ellas, lanzadas al aire; fusión con el espíritu de esa nave de lujosísimas maderas y olores nobles y reflejos, el hermoso y aristocrático piano, que se convierte en humilde barca al servicio del explorador de paisajes sonoros. Cambia el cuerpo del intérprete, cambia la luz, el aire. La vibración de tantas notas en inverosímiles arpegios inacabables terminan por transformar las puertas de la percepción, como querían los gurús de antaño.
Y entramos en danza mental, al modo de los derviches giróvagos hasta que muy lentamente, muy sutilmente, las aves de cada melodía entrelazada, anudada, abrazada por dedos veloces se van posando en cada rama, en cada roca, en cada oído que despierta dulcemente a la realidad.
Más información sobre Lubomyr Melnyk aquí: