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Larry Kucharz
1946 -
United States of America, IL
No picture
L.W. Kucharz
Lawrence W. [Larry] Kucharz (09/1946), an American composer, from Chicago. He is an electronic musician at the border between space and ambient music. He has been around the New York music scene for more than thirty years as a “contemporary classical” composer in the experimental and minimalist genre. In the last decade he saw the music writing on the wall: classical music is just about dead except as an unprofitable museum. So he decided to market his music not as traditional concert performance but as electronic music on CD’s, published on his own private label, “International Audiochrome.” He has done not only “modern classical” but also techno, dance, and popular music releases.
Lawrence Kucharz, who opened a weeklong series of performances by various artists at the Experimental Intermedia Foundation on Wednesday, is a formalist. What that means, in the context of the SoHo experimental music milieu, is that Mr. Kucharz evidences an apparent distrust of exoticism, repetition for hypnotic purposes and the last gasps of post‐Serialism. His music is so minimal there is no place in it for melody, nor does harmonic resonance play a very important part.
Requiem aeternam no.6
Composed in:1987
Musical form:fragment
Text/libretto:Latin mass
Length: 10 minutes. Instrumentation: choral a cappella: soprano, two alto's, two tenors and one bass.
Lux aeternam from Metachoral Visions
Composed in:1997
Musical form:song
Text/libretto:Latin mass
Label(s):Audiochrome IA26
Metachoral Visions (International Audiochrome, 1997) is inspired to the baroque format of the "chorale". Each of the ten tracks is a computer-generated choral. Liquescence is a brief demonstration of the technique: it is simply a series of vocal drones that float one on top of the other. The 12-minute "Phrygia" creates a more complex texture: a choir is sustained for a while, then replaced by or coupled with another one in an abrupt manner. The 13-minute "Ars Nova" is a more abstract exercise in tones that slowly assume the semblance of human voices. Organa is even more unstable, with frequent pauses deconstructing the emotional tension. The 13-minute "Ars Antiqua", perhaps the most dramatic track, increases the density and the pace of the choral voices, achieving an almost symphonic effect and an angst-ridden tone, at times reminiscent of Luigi Nono's electronic operas. The 10-minute "Lux Aeternam" has a more peaceful, resigned development, like a requiem imbued with new-age ecstasy.
The 10-minute Lux Aeternam has a more peaceful, resigned development, like a requiem imbued with new-age ecstasy.