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Harold Budd          She Is a Phantom

5/2/1998

 
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She Is a Phantom
Harold Budd with Zeitgeist

One shatters glass in a vacuum, then finds the art part among the shards.
—Harold Budd


With this work, composed for Zeitgeist, plus the release of "By the Dawn's Early Light" in 1991, I returned to composing music for ensembles. For a decade I made mostly solo albums, sometimes collaborating with other artists, but I found that I was too often not interested in making a statement as much as I was interested in just making an album. This seemed pointless to me; I changed.
I became very attracted to the "suite structure" of Sandro Chia and others (and earlier in Mantegna and Barnett Newman, for example) and saw it as a way of making composition a process of literary discovery as opposed to searching for titles after the fact. (I first used this in 1988 with "The White Arcades".) Thus, for this work, I invented—conjured—at least two dozen "titles", more accurately called fantasies, observations, remembrances, whatever. I selected seventeen and placed them in a sequence that seemed absolutely right to me, that is, charged with arcane connections. The process of composing the music was in fact a process of discovery as I wound my way through maze of cross-references which only made themselves apparent in the process of confronting the hidden agenda in each work, in its placement. A Briefly Glanced Smile seems a recurring motive; number 13 is numbers 6 and 7 played simultaneously, a fact I didn't realize until well after the fact.
--Harold Budd


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The triangle and the spiral, a compound symbol of strength and motion, of pitch and time, of being here and going there... Once we created an imaginary road  sign that we painted and drove to Rte. 50 in the middle of Nevada.  There it became our postcard, our place, our mooring.
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