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Here are a few things about this piece, which, listening for them the first time through, might spice up the experience a bit: The piece falls into a kind of pattern: fast (or at least dense) for a while - empty space - majesterial stasis - whispy mysterious lament tune, dying away; return (sort of) to the opening material - move to the center. There is a lot of exploration of resonance in the piece--use of middle pedal and sustain pedal in various combinations to hold chords and colors through. There is also a lot of dense, overlapping counterpoint going on in various parts, and I sometimes wondered if it was worth it to have that sort of material on such a homogeneous instrument like the piano. But, as Shiau-Uen was recording this work in the studio, I realized that this almost-impossible density of counterpoint really made for an audible experience, created a wild spindly tangliness which brought me great joy to hear.


from Glimmering Webs, released January 8, 2016
Shiau-Uen Ding, piano



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Christopher Bailey Boston, Massachusetts

Born outside of Philadelphia, PA, Christopher Bailey is currently based in Boston, but frequently participates in musical events in New York City. His music explores a variety of musical threads, including microtonality, acousmatic and concrète sounds, serialist junk sculpture, ornate musical details laid out in flat forms, and constrained improvisation. ... more

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