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Ingram Marshall|Three Penitential Visions/Hidden Voices

Three Penitential Visions/Hidden Voices

Ingram Marshall

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These two compositions from the late '80s explore reverberations and various looping techniques, while musing thematically on religious music and church acoustics. "Three Penitential Visions" begins with the heavily processed sound of a saxophone in a church -- like his "Fog Tropes," these deep, dark sounds come out of a mist of sound, disconnected to melody. The last section, "Fugitive Vision," is a sonata for "vibrating keyboards," sounding like Conlon Nancarrow in heaven. "Hidden Voices," from 1989, cuts and chops various funeral hymns, soprano voices, and plaintive spirituals, blending them with processed church bells and other ethereal sounds. Though quite experimental, its emotion is far from cold.
© Ted Mills /TiVo

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Three Penitential Visions/Hidden Voices

Ingram Marshall

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1
Three Penitential Visions: Eberbach I
Ingram Marshall
00:12:08

Kris Solem, Masterer - Paul Zinman, RecordingEngineer - Ingram Marshall, Composer, Music, MainArtist - Peter Randlette, Mixer, Engineer

© 2005 Rhino Entertainment ℗ 1990 Elektra Entertainment

2
Three Penitential Visions: Eberbach II
Ingram Marshall
00:05:43

Kris Solem, Masterer - Paul Zinman, RecordingEngineer - Ingram Marshall, Composer, Music, MainArtist - Peter Randlette, Mixer, Engineer

© 2005 Rhino Entertainment ℗ 1990 Elektra Entertainment

3
Three Penitential Visions: Fugitive Vision
Ingram Marshall
00:08:44

Kris Solem, Masterer - Paul Zinman, Engineer - Ingram Marshall, Composer, Music, MainArtist - Peter Randlette, Mixer, Engineer

© 2005 Rhino Entertainment ℗ 1990 Elektra Entertainment

4
Hidden Voices: Invocation / Slouching Toward Bethlehem / Lamentations / The Wedding / Tolya's Scream / A Gathering
Paul Zinman
00:19:08

Paul Zinman, Engineer - Ingram Marshall, Composer, MainArtist - Peter Randlette, Mixer - Cheryl Bensman Rowe, Soprano Vocals

© 2005 Rhino Entertainment ℗ 1990 Elektra Entertainment

Album review

These two compositions from the late '80s explore reverberations and various looping techniques, while musing thematically on religious music and church acoustics. "Three Penitential Visions" begins with the heavily processed sound of a saxophone in a church -- like his "Fog Tropes," these deep, dark sounds come out of a mist of sound, disconnected to melody. The last section, "Fugitive Vision," is a sonata for "vibrating keyboards," sounding like Conlon Nancarrow in heaven. "Hidden Voices," from 1989, cuts and chops various funeral hymns, soprano voices, and plaintive spirituals, blending them with processed church bells and other ethereal sounds. Though quite experimental, its emotion is far from cold.
© Ted Mills /TiVo

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