Good pedalling should be almost impossible to notate. The impact of all of this can also be felt in the sustained echoes of a crash announced by the brass and heavily pedaled piano in “Pneuma”, where the longer pedallings are made possible because the chords played are ideally balanced and phrases uttered by the brass and woodwinds are utterly well-graded and suited, dynamically, to the crescendo of the conversation.
It is not, of course, that the music is driven by the mathematics of the metronome rather it is by Mincek’s own inductive logic that seems to be propelled by his fascinating algebraic concepts focussed on beauty and barriers, longing, sadness and joy, which are set to musical pieces, each evoking a purer emotional beauty. As in “Pendulum VII”, the “Harmonielehre” pieces and “Torrent”, Alex Mincek makes clear the matters of the heart in the resonant opening bars of each piece, in which woodwinds, piano and percussion initiate a high-level deconstructed dialogue and ordered syllogism that culminates in a compelling quod erat demonstrandum in the cathartic silence of each piece. The five works are also united by the alchemical means Mincek brings to the sounds and silences of poetry in short and long-form composition concerning elemental phenomena that ripple across his unique worldview.
And they explore, in delicately-charged detail, the sonic horizon while seeking what lies beyond in its infinite and comforting darkness. Each of these fine Alex Mincek pieces written from 2010 ongoing is exquisitely played, and all but sung by Mincek and other instrumentalists as astute as himself, the Yarn/Wire/ & Mivos Quartet as well as the iconic Wet Ink Ensemble conducted by Eric Wubbels.
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