The neologism
Percutronique is a perfect description of these pieces for percussion and electronics, in which the distinction between the natural and the electronically altered sounds is frequently blurred. Belgian percussionist
Jessica Ryckewaert performs virtuosically on the bass marimba and vibraphone and coordinates her playing apparently effortlessly with the electronics in these three works by Belgian composers.
Piece pour deux percussionnistes et electronique, by
Gilles Gobert, in which she is joined by percussionist
Bernard, uses prerecorded synthetically generated sounds whose deployment during the performance is controlled by a third performer. In
Passacaille pour marimba and live electronics by
Pierre Bartholomee and
Philippe Boesmans'
Day Dreams pour marimba et instruments de synthese, the sounds the soloist produces are processed live through MIDI devices so that she is essentially playing a duet with an electronically modified version of her own performance.
Bartholomee's work is a passacaglia, a form with a controlled musical structure, so the altered sounds are programmed to correspond very precisely with the performer to produce a tightly controlled polyphonic work that is notable for its economy of means and its playful character.
Boesmans' 30-minute
Day Dreams is formally freer, with more the character of an evolving fantasia. His concerns are primarily with timbre and pitch alteration to create notes to "fill in" the gaps between the pitches the instrument is capable of producing, and the effect is, in fact, dreamy and hallucinatory. The sound is clean, with good balance and nice resonance. ~ Stephen Eddins
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