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Ingram Marshall

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Ingram Marshall
Alcatraz

Ingram Marshall
Dark Waters


Ingram Marshall
Evensongs


Ingram Marshall
Fog Tropes; Gradual Requiem; Gambuh I


Various Artists
Portraits


Ingram Marshall
Savage Altars

"I hope my music is remembered for its personality rather than its style or historical position." Ingram Marshall feels that his music emanates from an extremely personal and private source, and that critical attempts to lump him with the minimalists, downtowners, New Romanticists or the "California School" are futile. "Stylistic monikers are handles which make discussion of art easier. I might say I am a minimalist just to let someone know, right off the bat, what I am not (e.g., not a serialist, not a rock n' roll song writer), but usually I regret having said it. I feel strongly now that music always points to something else, has other meanings—even when it means only itself—and in this sense I am an 'expressivist'.

Much of Ingram Marshall's aesthetic was developed in the mid-sixties to mid-seventies when he spent hours in solitude working in the sonic cave of an electronic music studio. Even though he has moved away from purely electronic music, and composes more for instrumental ensembles or mixed media, Marshall's earlier "one-to-one" experience with electronic music seems to have shaped his personal, "painterly" approach to music making.

His earliest encounters with electronic music were in the mid-sixties while a graduate student at Columbia University. Although officially working in the area of historical musicology, he managed to study with Ussachevsky, Davidowsky and Mimarogulu at the famed Columbia-Princeton Electronic Music Center. After leaving Columbia he decided to concentrate on composition and worked briefly at the NYU Composers Workshop in Greenwich Village with Subotnick and Tcherepnin. In 1970 he became a graduate assistant to Subotnick at Cal Arts and stayed on to teach there for several years after receiving an MFA in 1971.

It was at Cal Arts that he became seduced by the dark colors and endless forms of Indonesian music, for there it was possible to study the gamelan traditions of Java and Bali under the tutelage of the master Jogjakartan musician, KRT Wasitodipura. A summer study trip in 1971 to Indonesia, and further work at the ASEA summer schools in Berkeley and Seattle in subsequent years furthered his knowledge and interest.

Much of Marshall's music has a quality of slowed-down sense of time and dreamy evocativeness that is clearly derived from what he heard and played in Indonesia. The gamelan gong forms have also influenced the way his music is structured in some works, but he has not made a major theoretical issue out of this, feeling that form and procedure is largely intuitive and personal.

With his interest in the technology of electronic music and love of the traditions of Asia, it was not surprising that he developed, in the mid 70s, a series of live-electronic performance pieces which employed the Balinese flute (gambuh), and analogue synthesizers with elaborate tape delay systems. Marshall also maintained an interest in "text-sound" composition which resulted in a series of tape pieces based on the manipulation of the spoken voice. A Fulbright Fellowship allowed him several months in Sweden in 1976 to pursue his interest in that area. His most significant live- electronic performance work from this period is "The Fragility Cycles", which combines music from the gambuh series with experiments in the text sound genre. Marshall performed this work widely in Europe and the USA.

His fascination with tape delay systems in the live electronic solo work led him to try similar ideas with instrumental combinations. "Non Confundar" (string sextet, clarinet, alto flute), written for the San Francisco Conservatory New Music Ensemble in 1977 was an attempt to bridge the gap between the immediacy and personality of the soloistic live-electronic medium and the more formalized environment of the fully notated ensemble piece. He has since developed a series of instrumental works which require real time electronic manipulation through tape delay or digital processing. Examples are "Fog Tropes" for brass sextet and tape (1982) and "Voces Resonae" for string quartet written for the Kronos Quartet in 1984. "Fog Tropes" has been widely performed and is perhaps Marshall's best known piece. It was selected as one of two official American entries for the 1985 UNESCO International Composers Rostrum in Paris.

In the early eighties, Marshall collaborated with photographer Jim Bengston on two works, "Alcatraz" and "Eberbach" which combined moving still photography with live electronically processed music. They toured with these works in Europe and the States. The music for "Alcatraz," along with a booklet of some of the Bengston photographs, was released on New Albion in 1991. The music for "Eberbach" appeared on a Nonesuch recording as "Penitential Visions."

Marshall's main focus since 1985 has been ensemble music, both with and without electronics. His "Sinfonia 'Dolce far Niente'", commissioned by Leonard Slatkin and the St. Louis Symphony, juxtaposes gamelan-inspired textures and rhythms with music which unabashedly derives its inspiration from composers such as Bruckner and Sibelius. Based on a four-note motif, it uses gradual accumulation and subtle repetition to build up its structures.

The recent "Hidden Voices", commissioned by Nonesuch Records, had its premiere at New Music America at The Brooklyn Academy of Music in 1989. It features digitally sampled voices from old recordings of Eastern European lament singers along with a "live" soprano. One of the main conceits of this piece is the simplicity and purity of the solo voice over the wild, keening, often frenetic choirs of vocal sounds he concocts through his electronic wizardry. Marshall's new work, "A Peaceable Kingdom", commissioned for the Los Angeles Philharmonic New Music Group by Betty Freeman, uses a chamber ensemble in concert with a tape part. Bearing some relationship to "Hidden Voices", it combines multi-layered textures of church bells and a Yugoslavian village band with the peaceable utterances and commentary of woodwinds and strings.

More recent work has been with the Kronos Quartet ("Fog Tropes II") and the singer Paul Hillier for whom "Sierran Songs" was written in 1994 . In 1996 Marshall composed "Kingdom Come" on commission from the American Composers Orchestra. It was subsequently recorded and released on Nonesuch along with the Kronos version of "Fog Tropes II" and the Paul Hillier Theater of Voices rendition of "Hymnodic Delays."

"Evensongs" for String quartet and taped interludes was released on New Albion in 1996 along with his piano quartet, "In My beginning is My End."

"Dark Waters" and "Holy Ghosts" were both written for oboist Libby Van Cleve and are good examples of Marshall's use of live digital delays to create rich tapestries of sound with haunting resonances of other times and cultures. They were released on New Albion in 2000.

Marshall's recent works for large ensembles include "Bright kingdoms" for orchestra and tape (2003—a Magnum Opus commission), "Dark Florescence", a concerto for two guitars and orchestra written for Andy Summers and Benjamin Verdery (premiered by the American Composers Orchestra at Carnegie Hall in 2005), and a newly commissioned work based on the Orpheus myth for the New York based chamber orchestra "Orpheus" (2006)

Ingram Marshall's email address is IDM42@sbcglobal.net

 

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