Linea Nigra (2015) began as an orchestration of my piano piece Canon Chorale (2005). It is scored for string octet, in this case the same configuration as a double string quartet. Most of the structure and content of the earlier work are retained as a kind of continuo, to which newly devised material adds range and contrapuntal detail.
The general technique is a variation of first species counterpoint. A set of short melodies in each of the modes of C major are heard in two- to six-voice, note-on-note canons at the unison and octave, creating a sequence of block chords, or a chorale. The resulting harmonic progressions may have a cloud-like feel to them especially as melodic lengths and part density increase, and chord roots become ambiguous. Towards the end, faster melodic lines develop out of a recurring a triplet pattern.
The title of the piece reflects my own quest for my biological and cultural roots. Linea nigra (“black line”) thus references the vertical line that appears on a woman’s belly in some pregnancies, while it also suggests Black lineage and survival. It could also stand in the sense of a melodic line, printed or otherwise.
My great thanks go to Ashil Mistry, who suggested the instrumentation and generously edited the score, as well as directing the performance heard here.
Recorded July 3, 2016, London, UK
Ashil Mistry, conductor
Music and composer’s notes copyright Bruce A. Russell 2016
Some great new discoveries and otherwise the usual company in abundance.
John Adams Absolute Jest · Grand Pianola Music San Francisco Symphony · Michael Tilson Thomas · John Adams (SFS Media)
Bang on a Can All Stars Field Recordings (Cantaloupe)
eighth blackbird Filament (Cedille)
Mahan Esfahani Time Present and Time Past (Archiv)
Morton Feldman · Erik Satie · John Cage Rothko Chapel [Gnossiennes, In a Landscape, etc.] Kim Kashkashian · Sarah Rothenberg · Steven Schick · Houston Chamber Choir · Robert Simpson (ECM)
Floating Points Elaenia (Luaka Bop/Pluto)
Kendrick Lamar To Pimp a Butterfly (Top Dawg · Aftermath · Interscope)
Steve Martland Band Martland (NMC)
Steve Reich Music for 18 Musicians Ensemble Signal · Third Coast Percussion · Brad Lubman (Harmonia Mundi)
Max Richter Sleep (Deutsche Grammophon)
Linda Catlin Smith Thought and Desire Eve Egoyan (Earwitness Editions)
Stephen Sondheim Liaisons: Re-Imagining Sondheim from the Piano Anthony de Mare (ECM)
Ann Southam Glass Houses for Marimba Taktus (Centrediscs)
Tennyson Like What EP (self-released)
Kamasi Washington The Epic (Brainfeeder)
John Williams Star Wars: The Force Awakens Gustavo Dudamel · William Ross · John Williams (Walt Disney)
reissues · remasters
Bernard Herrmann Obsession Special Archival Edition (Music Box)
The Spinners Spinners (BBR)
John Williams A.I. Artificial Intelligence Expanded Archival Collection (La-La Land)
John Williams Jaws and Jaws 2 (Intrada)
John Williams, Herman Stein, Hans J. Salter, Joseph Mullendore, Alexander Courage, Cyril J. Mockridge, Gerald Fried, Leith Stevens, Robert Drasnin, Fred Steiner and others Lost in Space 50th Anniversary Soundtrack Collection (La-La Land)
John Adams, The Gospel According to the Other Mary – Los Angeles Philharmonic, LA Master Chorale, Gustavo Dudamel
John Luther Adams, Become Ocean – Seattle Symphony, Ludovic Morlot
D’Angelo and The Vanguard, Black Messiah
Morton Feldman, String Quartet No. 1 – FLUX Quartet
Flying Lotus, You’re Dead!
Philip Glass, The Complete Piano Etudes – Maki Namekawa
Meredith Monk, Piano Songs – Ursula Oppens, Bruce Brubaker
Laura Mvula, With Metropole Orkest Conducted by Jules Buckley at Abbey Road Studios
Steve Reich, Radio Rewrite – Jonny Greenwood, Vicky Chow, Alarm Will Sound, Alan Pierson
Ann Southam, Glass Houses Vol. 2 – Christina Petrowska Quilico
tuku, moonday sessions:the black
Herbie Hancock, The Complete Columbia Album Collection 1972-1988 (rel. late 2013)
Odyssey, Happy Together (Expanded Edition)
Sly Stone & various artists, I’m Just Like You: Sly’s Stone Flower 1969-1970