Sonic sounds by Suzanne Ciani kick off Amsterdam Dance Event
High waves raised by the wind. Gentle waves in shallow water. They all come from the buchla 200e, the modular analog synthesizer from American electronic music pioneer Suzanne Ciani. There is almost no performance of the recording of her without the sound of waves crashing on the beach. They are fakes – created from Ciani’s machine and therefore almost too perfect actually. But sent through the four mega-boxes in the Rabozaal of the Melkweg, a quadraphonic set-up, the noise and roar in ‘Seashore’ is a reassuring start to a beautiful sonic experience.
On the opening night of the Amsterdam Dance Event, a four-day event throughout Amsterdam where dance music is experienced, discussed and discussed at countless events, you can feel relief. Finally, after last year’s stripped-down, limited edition (many afternoon parties) it can be completely demolished. While Ciani and the Metropole Orkest make the opening concert a successful crossover, the Senegalese Youssou N’Dour plays West African dance music (mbalax) in the Concertgebouw, Nick Verstand gives a multidisciplinary show in Theater Carré, a mega production in the Ziggo Dome. holograms illustrate the beats of Swedish producer Eric Prydz.
Metropole Orchestra
Behind her modular synthesizer, a cabinet with the many plugs and cords that she changes and plugs in differently, Suzanne Ciani is a determined sound alchemist. Now 76 years old, the acclaimed sound designer for film, games and commercials is now. A soloist, but not tonight, between the Metropole Orkest with percussion and vibraphones next to him, the strings behind him and the rhythm section to the right. Her electronic music improvisations – her performances can be followed on the screen – are now guided by British conductor Simon Dobson. It is the indispensable switch that layers layers and increases voltage between all electronics and the various sections.
Also read: Is the Netherlands still ‘the Silicon Valley of dance’?
Surfing on bombast, Ciani seems to enjoy the orchestral parts even more. And again there is her expectant look towards Dobson: may I, is it now performance? In the sturdy ‘Contrapuntal’ the solo by trumpeter Rik Mol also stands out. Again and again makes the sound move in one direction. When the strings sway, their violin bows clatter rhythmically on the strings, Ciani’s hollow sonic sounds jump from box to box high in the hall.
Pieces like ‘Animal Kingdom’ and ‘Chase Scene’ have dark edges. There is unrest when Ciani now also brings alienating crackling effects via a kind of theremin. The orchestra allows itself to be carried away quietly in the swelling sound storm, all in the direction of danceable orchestral techno with flawless melodic vibraphone tones as bright spots. Until the storm subsides and the sea finally calms down again.