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Maybe
my characterization of Larry Kucharz’s techno-expansions could fit as
well as a hint into Salvatore Linguido’s programmed pianism; Mondrian
music… but then again, perhaps not. A clear association goes directly
to Swedish-Italian composer Aldo Clementi, and… Josef Matthias Hauer
(as I heard Herbert Henck interpret him in Stockholm in the spring of
2001). However, this is only for guidelines, for directions of the compass…
because Linguido’s music for programmed piano could as well have its
mineral correspondences, way down in the crystal worlds of rock, of
granite, of rock bottom – because there is something of a molecular
structure in these compositions. The reinforced progressions of tones
are relentless like the core of solid rock, simply stating their own
fact, their own very persistent and explicit existence, right in the
middle of their own gravitational drag. Yes, in these recordings you
flash from micro cosmos to macro cosmos in the wink of an eye. Star
signs can serve as models for these rigid self-reflections (as in the
oeuvres of Stockhausen or Cage) as well as the clattering of moraines
below glacier heads in Lapland (Björk and early Ralph Lundsten and
especially the vocal art of bewitching Hebriana Alainentalo; a medium
for… a spokeswoman for… shifting ice shelves and cracking glaciers).
Rocks and glaciers and minerals and flowing melting water in mountain
streams can be very meditative, and so is this music, which can
deconstruct and reconstruct many a floating image displayed on the
inside of your skull, revealing it to you in hitherto unseen splendor.
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