Anthony Paul De Ritis: Electroacoustic Music
Vicky Chow, Xiao-Fen Min, Zhantao Lin, Jennifer Hymer, Kang Gamin, Orlando Cela, Bill Lowe, Anthony Paul De Ritis, Amy Advocat, Jianbing Hu, Patrick Owen, Demetrius Spaneas
Composer Anthony Paul De Ritis began studying with David Wessel at the Center for New Music and Audio Technologies after returning from his studies at the American Conservatory in Fontainebleau. Wessel exerted a tremendous influence on De Ritis, both as a teacher and as a person. This recording of De Ritis' music is a tribute to David Wessel.The pieces on this recording span more than 25 years. Listening to the music is captivating. Written for Western instruments or Asian instruments, the music sounds like a successful syntheses of East and West, where real-time processing devices transform the sound of acoustic instruments into a rainbow of sound colors. Having received a thorough Western education and then traveled the world, Anthony Paul De Ritis has come up with a music that is far more than the sum of its parts -- music that is imaginative and a wonderful balance of tone colors.
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Track Listing
| Title | Composer | Performer |
|---|---|---|
| Tangled Impressions | Anthony Paul De Ritis | Vicky Chow, piano |
| Plum Blossoms | Anthony Paul De Ritis | Xiao-Fen Min, pipa |
| Shui. Life | Anthony Paul De Ritis | Zhantao Lin, erhu |
| Tine Curve Preludes | Anthony Paul De Ritis | Jennifer Hymer, kalimba |
| Five Movements for Piri | Anthony Paul De Ritis | Kang Gamin, piri |
| Leo | Anthony Paul De Ritis | Vicky Chow, piano |
| Erhu-Flute | Anthony Paul De Ritis | Orlando Cela, flute |
| Elegguá 1 | Anthony Paul De Ritis | Bill Lowe, trombone; Anthony Paul De Ritis, laptop |
| Five Moods | Anthony Paul De Ritis | Amy Advocat, Bohlen-Pierce clarinet |
| Sheng | Anthony Paul De Ritis | Patrick Owen, cello; Jianbing Hu, sheng |
| Filters | Anthony Paul De Ritis | Demetrius Spaneas, saxophone |
Reviews
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"When synthesizers first started really coming on the scene in the 1960s and 1970s, one of the reactions against them was rooted in the concern that they would take the place of analog and acoustic instruments. But to me, what always made synthesizers interesting wasn't how good they were at imitating other instruments, but the enormous variety of sounds they could create that couldn't possibly be made by any other instrument. And when synthesizers actually interact with acoustic instruments–well, the sky's the limit. In the mid- to late-20th century, some of the most interesting avant-garde music consisted of exactly such interactions, and over the past 25 years composer Anthony Paul De Ritis has continued developing that tradition. This disc brings together a large and varied assortment of electroacoustic pieces for such instruments as piano, alto saxophone, kalimba, trombone, and Chinese instruments like the erhu, pipa, and sheng. The music is sometimes whimsical and sometimes stark, and always interesting."
*Album cover provided for Editorial use only. ©Albany Records. The Albany Imprint is a registered trademark of PARMA Recordings LLC. The views and opinions expressed in this media are those of the artist and do not necessarily represent or reflect the views and opinions held by PARMA Recordings LLC and its label imprints, subsidiaries, and affiliates.