Lea Bertucci is an accomplished saxophonist, sound designer and minimalist composer based in New York City. She is the recipient of many honours and residencies, as well as working in theatre and dance. What sets Bertucci's work apart from that of other composers is her fascination and engagement with the spaces where music can be and is created, treating the environment itself as a collaborator in its own right.
From her early work in cement mines, to utilising bunkers as reflective spaces, she also worked with spatializing individual elements of traditional instruments by enabling individual strings and bodies to sound different speakers in a given space.
Resonant Field is a series of four works with different approaches to sound and texture. "Wind Piece" is a central base of layered saxophone movements that glide gracefully through small electroacoustic events. The title track, "Resonant Field" starts out in the same manner of reverbed saxophone layering, but quickly collapses in a welter of industrial sounds, birds and unidentifiable water hisses. The saxophone makes its entrance a couple of more times, again sounding like it was recorded in a reverberant space.
Lea Bertucci has a strong sense of the cinematic, and the music itself has a clear narrative arc where there are no wasted moments. This is a fine example of how sound itself can move in a linear fashion, taking the listener on a journey that should not be considered merely ambient or passive.
(NNA Tapes)From her early work in cement mines, to utilising bunkers as reflective spaces, she also worked with spatializing individual elements of traditional instruments by enabling individual strings and bodies to sound different speakers in a given space.
Resonant Field is a series of four works with different approaches to sound and texture. "Wind Piece" is a central base of layered saxophone movements that glide gracefully through small electroacoustic events. The title track, "Resonant Field" starts out in the same manner of reverbed saxophone layering, but quickly collapses in a welter of industrial sounds, birds and unidentifiable water hisses. The saxophone makes its entrance a couple of more times, again sounding like it was recorded in a reverberant space.
Lea Bertucci has a strong sense of the cinematic, and the music itself has a clear narrative arc where there are no wasted moments. This is a fine example of how sound itself can move in a linear fashion, taking the listener on a journey that should not be considered merely ambient or passive.