In Two Worlds

This recording addresses the issue of historic preservation and performance practice of electronic music. The technology originally used to create In Two Worlds is no longer viable and available. Thanks to the interest of Susan Fancher and the programming chops of Jeff Heisler and Mark Bunce, the work gains new life. I love it when a work of this nature is embraced by such talents that are unwilling to let technological adversaries overcome the access to the music. 

…A fun ride.

– Jay Batzner, Sequenza 21

A daring and important recording in the world of electro-acoustic music. 

Any instrument is fair game for inclusion in the ever-emerging world of electro-acoustical and computer music, but the saxophone would seem to have a special place. Born out of developing technology itself in the late 19th century, with a tone that has never been rooted in one musical style, it is ideal for sonic exploration. And as this disc shows, contemporary composers have certainly responded to it. It opens with Morton Subotnik’s seminal In Two Worlds, an early classic first recorded in 1988 but lost due to software issues. Fancher’s silvery timbre floats in almost Gymnopédie fashion above the interactive accompaniment in the opening and then dances with it compellingly to the end. Worth the disc alone to hear this history given new life. 

Judith Shatin’s Penelope is a compelling piece of musique concrète using the sound and rhythm of a weaver’s loom to tell the story of Odysseus through his wife’s view. John Anthony Lennon’s Aeternauses (relatively) simple echo effects to do some marvelous sonic weaving of its own, again with Francher making it work with precise and smooth playing. She soars in Reginald Bain’s Jovian Imagesabove a sci-fi atmosphere “inspired by the sounds of the Jovian planets”, and jams through the highly interactive and textually complex SaxMax and James Paul Sain’s Slammed. The stringent “constraints” imposed by composer Edmund Campion’s Corail may be the most difficult for Francher to navigate, but the result is still intriguing. In all, a recording with performing artistry to match the compositional daring.

– Andy Druckenbrod, Gramophone

Yet more proof of a happier life through television, er, I mean, modern classical music! That’s what this disc is, all right – Susan Fancher plays soprano, alto, and tenor saxophones and electronic whatsis to bring to vibrant life pieces by seven composers that yet walk among us.

…Some of this set is to get lost within, some will give the cerebral machinery a bit of a workout.

– Mark Keresman, Icon

One thing is clear: if you have any interest whatsoever in music for saxophone and electronics, then you need this disc…

…Susan Fancher plays wonderfully here, and setting aside the merits of the pieces for a moment, her control and fluency on all three saxophones is worth the price of admission…

… Precise when required, expansive when appropriate, at all times sensitive, Fancher’s playing shows that she has thought carefully about every phrase…

…Even if you have no current interest in music for saxophone and electronics, get this disc and you will develop a craving for more.

– Rodney Waschka, New Music Connoisseur