Editorial Reviews Given the just intonation--and Fullman's collaborations with Pauline Oliveros--it comes as no surprise that throughout Change of Direction, echoes of Oliveros and Stuart Dempster's Deep Listening Band are clear. The stretching of tones and almost absolute absence of any discernible beginning-middle-end sort of construct make Fullman's music so clearly progress-oriented that it's fascinating no matter how you listen (on headphones, through speakers, loudly, softly, etc.). This is expansive, creatively big music. Don't miss it. --Andrew Bartlett
Amazon.com
At its most extended point, the Long String Instrument reaches 90 feet and requires multiple performers. Virtuoso Ellen Fullman takes the unwieldy giant as if it were orchestral at heart, playing it in just intonation with Elise Gould and Nigel Jacobs and making its near-microtonal range sing. Fullman's composition titles are some of the best descriptives: "Plucking," "Bass Melody," "Harmonic Cross Sweep," etc. But the instrument is far more evocative than the titles might point out, etching a melody that sounds like traditional Chinese erhu (pitched far lower, of course) and then diving into a splayed deep end that could easily come from Xenakis's stochastic methods.
Change Of Direction / Fullman, Music, Ellen Fullman, Chamber Music & Recitals, Classical, Classical Composers, Popular Music
Average customer rating: 
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Change Of Direction / Fullman
Ellen Fullman Manufacturer: New Albion Records ProductGroup: Music Binding: Audio CD  Chamber Music
| Forms & Genres
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
General Modern
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Chamber Music
| Classical
| Styles
| Music
ASIN: B000003TM5 Release Date: 1999-03-23 |
Tracks:
Amazon.com
At its most extended point, the Long String Instrument reaches 90 feet and requires multiple performers. Virtuoso Ellen Fullman takes the unwieldy giant as if it were orchestral at heart, playing it in just intonation with Elise Gould and Nigel Jacobs and making its near-microtonal range sing. Fullman's composition titles are some of the best descriptives: "Plucking," "Bass Melody," "Harmonic Cross Sweep," etc. But the instrument is far more evocative than the titles might point out, etching a melody that sounds like traditional Chinese erhu (pitched far lower, of course) and then diving into a splayed deep end that could easily come from Xenakis's stochastic methods.Given the just intonation--and Fullman's collaborations with Pauline Oliveros--it comes as no surprise that throughout Change of Direction, echoes of Oliveros and Stuart Dempster's Deep Listening Band are clear. The stretching of tones and almost absolute absence of any discernible beginning-middle-end sort of construct make Fullman's music so clearly progress-oriented that it's fascinating no matter how you listen (on headphones, through speakers, loudly, softly, etc.). This is expansive, creatively big music. Don't miss it. --Andrew Bartlett
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