Alvin Lucier – I Am Sitting In A Room (1980)

I am sitting in a room is Alvin Lucier’s idea of pure sound experiments. Through playback and recording of successive generations of his own voice the sound is washed until his talking is a pure harmonic. The album starts with a relatively bland Lucier..”I am sitting in a room” but as the generations progress everything becomes a pure ambient. As Lucier suggests in the recording, this sound is the dynamic of the room he records in. It is released in two parts on well pressed vinyl.

“I am sitting in a room, different from the one you are in now.” So begins one of the masterpieces of 20th century music merging processed music, minimalism, and self-reference into an utterly amazing and ultimately beautiful work. The instructions for producing the piece are, in fact, the piece itself. The composer sits and describes what will happen, and then it happens. Lucier tapes these instructions (about 80 seconds worth), tapes it, replays that tape into the room, tapes that, plays the second tape into the room, etc., and so on. Little by little, the “natural resonant frequencies of the room” erode the source material, softening hard edges, blurring boundaries between words. Different rooms will, presumably, give different results depending on their individual architectural properties. After ten or 12 repetitions, the listener already has difficulty distinguishing individual words, though the rhythmic pattern remains. But, and this is one of the cruxes of the work, all is not entropy. As the text becomes indecipherable, elements of undeniably musical tones emerge from nowhere, as though they were embedded in the original speech and only came to light after the surface structure was eliminated. Indeed, small melodies can actually be heard and the effect is absolutely magical. Fifteen minutes into the composition, Lucier’s speech has become a hazy cloud of wavering, bell-like tones interrupted by the occasional sibilance, the latter generated by the composer’s stutter, which adds an element of poignancy to the piece’s conception. Halfway through, no aspect of the speech can be gleaned except a rough cadence; instead, the listener has been transported to a sound world at such a far remove from the initial text as to leave one both baffled and awash in wonder. I Am Sitting in a Room is a unique, extraordinary idea/composition, a landmark among late 20th century avant-garde music and a touchstone for a generation of composer/theoreticians. It’s a rare combination of sensual beauty and intellectual rigor, and should be heard by anyone interested in contemporary music. [source]

Side A. I Am Sitting In A Room Pt. I (21:50)
Side B. I Am Sitting In A Room Pt. II (23:10)

This record was made by the composer on October 29 and 31, 1980 in the living room of his home in Middletown, Connecticut. It consists of thirty-two generations of the composer’s speech and was made expressly for this Lovely Music record.

Alvin Lucier – Vocals

 

SONY DSC

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Carl Ruggles – Angels (original trumpet version) (1938)

Angels by Carl Ruggles is originally written for six trumpets, in 1921. This recording is from 1938. The artists  in the Brass Ensemble is unknown, but they were lead by Gerard Schwarz. In 1940, Ruggles rescored the work for trumpets and trombones.

Charles “Carl” Sprague Ruggles (March 11, 1876 – October 24, 1971) was an American composer of the American Five group. He wrote finely crafted pieces using “dissonant counterpoint”, a term coined by Charles Seeger to describe Ruggles’ music. His method of atonal counterpoint was based on a non-serial technique of avoiding repeating a pitch class until a generally fixed number such as eight pitch classes intervened. He wrote painstakingly slowly so his output is quite small. [source]

Photo: Carl Ruggles at work table by John Atherton, ca. 1950.

The complete work of Ruggles (including Angels) can be found on the double album “Carl Ruggles – The Complete Music Of Carl Ruggles”, released in 1980 on Avant Garde Project.