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Sebastian Claren: Sex (Jared Redmond, piano)

Sebastian Claren (b.1965) - Sex (1995/6) Jared Redmond, piano live, Sejong Center for the Performing Arts, 2024 "At the time I wrote 'Sex' [...] I quickly decided that touch, the place where performer and instrument meet, would be the central metaphor of the piece. Next, I decided that the piano would be the instrument of choice because, unlike other instruments, it never merges with the performer, but always maintains its own presence on stage. Also, there seems to be no other instrument where the point of touch is as clearly defined as on the piano, where each key corresponds to a single note; it is either this pitch or that pitch, but nothing in between. The modern piano is an invention of the Industrial Revolution. It's the only instrument central to the classical repertoire that resembles a mechanical machine more than an instrument in the traditional sense. Yet when we hear the sound of a piano being played, more than with any other instrument, we can clearly imagine and somehow feel the touch of the pianist's fingers on the piano's keys. The instrument acts almost as an investigative device, magnifying even the most minute nuances of the performer's playing. So it's very ironic, and also very moving, that this machine-like instrument is able to bring out some of the most sensitive and tender aspects of human music-making, especially in terms of how the human body and the body of the instrument communicate with each other. At the time, I was also very interested in the protagonists of the so-called golden age of pianism, such as Josef Hofmann or Josef Lhevinne, with their flawless virtuosity and incomparable understanding of the sound of the piano. A lot of the chords in Sex were consciously built after the sound of Busoni's recordings (not his compositions), a very unique sound, I think, that was really specific to his and his pupil's playing. In other words, the piece is really very much about the piano and how we play it. One of the main formal strategies of the piece became the definition of different kinds of touch in terms of intensity and speed, sequence and combination, without ever leaving the keyboard as the main stage of the action. Some of the building blocks of the piece are quite extended, partly to make the nature of a particular touch very clear, partly to make it an experience that can be understood not only in purely musical terms, but also in terms of attention and care by both performer and audience." (- Sebastian Claren) www.jaredredmond.com sebastianclaren.wordpress.com audio mastering: Richard Chowenhill