Dallas (Texas, ÉU), 1955
Sur le web
Jonathan Goldman, éd.
Circuit, musiques contemporaines / CIRC 19_1 / 2009
Kyle Gann, Village Voice, 3 juin 1997… and as with all of Dolden’s music, you had to admit that his mind-boggling computerized detail creates timbres possible in no simple way.
[…] Dolden’s shtick is fantastically complex computer music using samples or orchestral instruments with textures of more than 200 lines at once, so dense that the ear can’t possibly make out individual lines. Admittedly, his The Frenzy of Banging on a Can was a makeshift attempt to work live instruments into his mix, and the Bang on a Can All-Stars, for all their hectic virtuosity, pretty muchdisappeared into the taped cacophony, presumably as planned. It was a chaotic mess, but a really interestingly articulated mess, and as with all of Dolden’s music, you had to admit that his mind-boggling computerized detail creates timbres possible in no simple way. The resulting noisefest left some listeners ready to wring his neck, others (like myself) stunned by the pandemonium.